His work is liked by:
Patricia Mato-Mora, Riccardo Costantini Contemporary, RilovaElvira, and 3 more

Look at all the things that have been flourishing
Horror Vacui
The Fine Line Between (Symbiosis and Parasitism)

Patricia Mato-Mora

Lives and works at London, United Kingdom

Born 09/03/1989


MEMBER OF THE ROYAL BRITISH SOCIETY OF SCULPTORS AFFILIATE MEMBER OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS ------------------------------------------------------------------------------------------------------------------------------------------------------------------ EDUCATION 2014-16 - Royal College of Art, School of Material Master of Arts Distinction Dissertation: A Single Ecstasy Sir Alastair and Lady Pilkington Scholarship Royal College of Art Bursary & Continuation Bursary 2009-12 - Architectural Association, School of Architecture AA Intermediate Degree Distinction Essay: Digital Craftsmanship Ralph Knott Memorial Award Nominated: Nicholas Pozner Prize for Best Drawing Architectural Association Bursary ------------------------------------------------------------------------------------------------------------------------------------------------------------------ SELECTED EXHIBITIONS mar 2017 - SOLO SHOW Posidònia Pilar i Joan Miró Museum, Palma de Mallorca, Spain mar 2017 - The Affordable Art Fair The Cynthia Corbett Gallery, London feb 2017 - Collect 2017, at the Saatchi Gallery Represented by The Cynthia Corbett Gallery, London oct 2016 - SOLO SHOW - Frieze Week Special: Horror Vacui Le Dame Art Gallery, London oct 2016 - Young Masters Exhibition: Celebrating the Launch of the 4th Edition, The Cynthia Corbett Gallery, London sep 2016 - Oisterwijk Groupshow European Ceramic Work Centre, Oisterwijk, NL sep 2016 - Test Case V European Ceramic Work Centre, Oisterwijk, NL jun 2016 - Show 2016 Royal College of Art, London jan - feb 2016 - The Emerging and The Established Alongside Picasso’s Ceramic Works Christie’s South Kensington, London nov 2015 - Off-Center: Fresh Out of the Kiln Hockney Gallery, Royal College of Art, London jul 2015 - Two Hundred Acres, Pump House Gallery, London apr 2015 - Up and Coming, Ceramic Art London jan 2015 - Then & Now, Upper Gulbenkian Gallery Royal College of Art, London jul 2014 - Big Clay: Raw, R.C. Turner Gallery Alfred, NY mar 2013 - Unbuilt Visions, University of Louisiana Design & Architecture Galleries Lafayette, LA ------------------------------------------------------------------------------------------------------------------------------------------------------------------ ARTIST RESIDENCIES 2017 - Artist in Residence - Konstfack (March to June) University College of Arts, Crafts and Design Stockholm, Sweden Scholarship Awarded by the Anglo-Swedish Society 2016 -17- Artist in Residence, Pilar i Joan Miró Museum Palma de Mallorca, Spain (October to March) Leading to a solo show in 2017 2016 - Artist in Residence, European Ceramic Work Centre Oisterwijk, Netherlands (June to September) Scholarship Awarded by the ekwc 2015 - Artist in Residence, Sculpture Factory Jingdezhen, China ------------------------------------------------------------------------------------------------------------------------------------------------------------------ AWARDS 2017 - Anglo Swedish Society Scholarship for Artist Residency at Konstfack University College of Arts, Crafts and Design 2016 - Le Dame Art Gallery Frieze Special Annual Prize 2016 - European Ceramic Work Centre Sundaymorning @ ekwc Artist Residency Grant 2015 - Pilar Juncosa and Sotheby’s Biennial Prize ------------------------------------------------------------------------------------------------------------------------------------------------------------------ PUBLISHED WRITING 2016 - “Vivarium: Majorcan Stitch Menagerie” (Exhibition Review) The Journal of Modern Craft, London, UK 2016 - “Ten Thousand Hours and Transferrable Skill” Material Driven Magazine, Dallas, TX 2015 - A Single Ecstasy Drawing upon Eastern philosophy and architectural phenomenology, the dissertation examines material culture and bodily creation in architectural spaces. Royal College of Art, London, UK 2014 - “Transformative Artscape – A Fabricated Environment for Showcasing Art” Project published in ReCreate University for the Creative Arts, Farnham, UK 2013 - Photographs & Essay: “Unsung Devotion” The Architectural Review, London, UK 2013 - Photographs & Essay: “The Violet Hour” AArchitecture #20, Architectural Association, London, UK 2013 - Drawings: Obra construída da Lina Bo Bardi - Lina Bo Bardi’s built work Bedford Press, Architectural Association, London, UK 2013 - “Deliciosa arquitectura de lo cotidiano - Delicious everyday architectures” An interview with FAT, on their collaboration with Grayson Perry in A House for Essex (Architectural Project) Cultura|s #555 (La Vanguardia Cultural Supplement) Barcelona, Spain 2013 - “Miquel Barceló’s Alchemic Fire / El Fuego Alquímico de Miquel Barceló” (Exhibition Review) Diario de Mallorca Palma de Mallorca, Spain 2012 - “Dar forma a una idea - Shaping Ideas” Exhibition Review of Shaping Ideas, Exhibition of Architectural Ceramics at the Architectural Association Cultura|s #539 (La Vanguardia Cultural Supplement) Barcelona, Spain 2012 - “Poetry? Nobody Understood We Actually Meant it” AArchitecture #17 Architectural Association Publications London, United Kingdom 2011 - “Linking The Architectural World’s Two Most Famous Townhouses” The Architectural Review, London, UK (Publication of AA Second Year Soane Project) ------------------------------------------------------------------------------------------------------------------------------------------------------------------ COLLECTIONS AND PORTFOLIOS Architectural Association Archive, London (UK) Architectural Association Library, London (UK) Watershed Centre for the Ceramic Arts, Newcastle, Maine (USA) Royal College of Art Library, London (UK) European Ceramic Workcentre Permanent Collection (NL) Joan Miró Museum, Palma de Mallorca (Spain)


My proposal is to create a series of organic growth, site-specific sculptures that will sweep across the entire space of the selected gallery. This will emphasise the folds in the architectural space, and the continuity of parasitic creatures. The sculptures will appear to form a continuous sweep, but will in fact be separate entities (this facilitates installation and production processes). My “organic growth” sculptures are able to grow in this manner thanks to the repetition of recursive modules. I would like to continue working collaboratively with audiences, so that my exhibition will engage with the space of the gallery, and will also, in some way, be “completed” by the public. Visually and compositionally, the sculptures will look similar to my “Horror Vacui” installation; but on this occasion will be prepared with a series of hooks where visitors can tie colourful strings. This will enable the organic growth sculptures to acquire a greater level of detail, one that cannot be predicted but ends up constituting an integral element of the artwork. At the same time, this gesture propitiates a bodily exploration of the space from the part of the visitor; who will be encouraged to touch and interact directly with the work. The end result can be purchased by collectors as a sculptural piece in its own right. I started this line of work with my installation Posidònia (kindly refer to my images). I have started to call these interventions of audiences “hypersculptures”, and would like to continue creating scenarios that propitiate the creation of audience hypersculptures. By exhibiting thanks to the TINA initiative, one of my main interests is to expose my immersive installations and sculptures to culturally broader audiences. I am interested in exposing the sensibilities I work with, which are related to the Mediterranean Basin and its centuries-old cultures, mythologies and materials; to different audiences in Beijing, Amsterdam and Torino, who might respond in ways that are unexpected, and therefore fruitful for both parties. I think this is an excellent opportunity to start conversations based around the ways we inhabit space, and how we relate to its materiality. ------------------------------------------------------------------------------------------------------------------------------------------------------------------ Patricia Mato-Mora's sculptural works depart from a subjective observation of a given space. Through them, the artist communicates a subjective, often synesthetic, reading of the space in question. Patricia colonizes spaces organically through a physical shaping of a chosen materiality. Her resulting sculptures are monumental in scale, challenging her physically and precipitating a bodily engagement between her body and the space she is working in. They are reminiscent of organic growth patterns. Patricia argues that this has to do with the inherent animality of her relationship to matter. Her personal narrative is thus left in the space for others to unravel in the form of a sculpture; and often carries a sense of surprise or wonder, particularly in the eyes of the onlooker. This body of work began with the use of raw clay, and has since evolved to incorporate terracotta; deeply inspired by the Mediterranean light and the colours it reveals.

Tina Prize - Roma Artists Tina Prize - Berlin Artists Tina Prize - Bercelona Artists