1lb Poise, Laura Ellen Bacon, willow, dicky meadows, 19” x 37” x 22”, 2016, $5,500
2lb Open Form , Laura Ellen Bacon, stripped willow, 17.75" x 25.5" x 17.75" , 2016, $5,000
photo by Matthew Ling
Selected collections and exhibition venues:
Holburn Museum, Bath, UK (Murmuration solo installation); Ruthin Craft Centre, Wales, UK; The Gallery, Winchester Discovery Center, UK (In the Thick of It: A Woven Space; solo exhibition); Blackwell, The Arts and Crafts House, Cumbria (Exposed - A Sculptural Installation; solo exhibition); Derby Museum and Art Gallery (Into the Weave); FUMI Gallery, Sardinia, Greece; Sainsbury Centre, Norwich, UK (Basketry: Making Human Nature); Solomon Gallery, Dublin, Ireland (The Secret Garden); Hall Place, Kent, UK (Course, commissioned for Watershed); Crafts Council, London , UK (Out There); Chatsworth Garden, Derbyshire, UK (Forms of Growth); Victoria & Albert Museum, London, UK (Friday Late, oneday event); Morris Museum, Morristown, New Jersey (Green from the Get Go: International Contemporary Basketmakers). Recipient: Contemporary Maker, Jerwood Foundation; Contemporary Basketry Competition, Spain; Development Award, Crafts Council.
photo by Matthew Ling
I am a sculptor.
My work has been described as ‘monumental’, ‘compelling’ and ‘uncanny’. The ambition in my work is to generate a kind of intrigue and an appeal that touches a powerful nerve (perhaps ancient in its origin) that we cannot precisely locate. My work has been driven by a personal (and solitary) desire to build and shape form with my hands. The thrill of making an internal space by turning and tying the material into position provokes a strong desire in me to make. My work responds primarily to the structural features of a particular site, in much same way as the questing foot of a Weaver bird might regard the flex of a bough or a colony of wasps might collaborate within the rafters. I also respond to the feeling of the site and the opportunity to give the work (and in some way, the host structure) a sense of movement, of slow growth, as if the work will continue to grow when the viewer’s back is turned. Sometimes the curvaceous outline of the work will stand out in deep contrast with its surroundings and sometimes it is mistaken within a viewer’s peripheral vision as an assumed part of the natural world and is only fully registered during a quizzical second glance. I am still powerfully driven to create spaces of some kind and over a decade into my work, my passions have returned not only to merging with the simplicity of dry stone walls (where I began), but also towards connections with architecture.
Laura Ellen Bacon