31. Fiona Grady
Pylon Peak, 2020
Perspex cube, transparent and mirrored Perspex
20x20x20cm
Copyright The Artist
Sold
Further images
b. 1984, Leeds, UK; lives and works in London 2010-2011 Wimbledon College of Art, University of the Arts London, MA 2004-2007 Cardiff School of Art and Design, University of Wales...
b. 1984, Leeds, UK; lives and works in London
2010-2011 Wimbledon College of Art, University of the Arts London, MA
2004-2007 Cardiff School of Art and Design, University of Wales Institute, Cardiff, BA
Fiona Grady’s installations are usually two-dimensional and site-responsive. Her practice recognises the relationship between architecture and site-specific art, often referencing traditional techniques such as stained glass and fresco painting.
For Cure3, the architecture may be scaled down but Pylon Peak is just as responsive to the locale. She uses transparent coloured lighting gel shapes for windows, which transform the surrounding architecture by casting colourful shadows into the space, creating a three-dimensional interpretation of her usual practice. The converging transparent Perspex triangles sit on the cube’s mirrored base, in turn reflecting the case’s own material. “The geometric forms activate what would otherwise be an overlooked space” says the artist. The illusion of a diamond-shaped sculpture extends the cube’s space to create a playful response to the work’s own confinement and on the limitations of perception.
www.fionagrady.co.uk
Portrait Silviu Nastaciuc courtesy of Fiona Grady Studio, 2020
Made by artist Fiona Grady
2010-2011 Wimbledon College of Art, University of the Arts London, MA
2004-2007 Cardiff School of Art and Design, University of Wales Institute, Cardiff, BA
Fiona Grady’s installations are usually two-dimensional and site-responsive. Her practice recognises the relationship between architecture and site-specific art, often referencing traditional techniques such as stained glass and fresco painting.
For Cure3, the architecture may be scaled down but Pylon Peak is just as responsive to the locale. She uses transparent coloured lighting gel shapes for windows, which transform the surrounding architecture by casting colourful shadows into the space, creating a three-dimensional interpretation of her usual practice. The converging transparent Perspex triangles sit on the cube’s mirrored base, in turn reflecting the case’s own material. “The geometric forms activate what would otherwise be an overlooked space” says the artist. The illusion of a diamond-shaped sculpture extends the cube’s space to create a playful response to the work’s own confinement and on the limitations of perception.
www.fionagrady.co.uk
Portrait Silviu Nastaciuc courtesy of Fiona Grady Studio, 2020
Made by artist Fiona Grady