Bryony Gillard awarded artist commission
27 February 2019
Southwest-based contemporary artist, Bryony Gillard, will create a new artwork inspired by RAMM’s collections. Gillard plans to explore Amelia Warren Griffiths’ seaweed collection and its connection with contemporary ideas and conversations. She will also use inspiration from feminist philosophers and scientists to influence her critically-engaged artwork. Amelia Warren Griffiths (1768-1858) was a gifted scholar who raised awareness of the diversity of marine plant life in Devon.
On hearing that she was selected she said: ‘I am absolutely delighted to have been selected for the commission and I look forward to working with RAMM and its fascinating collection.’
97 high quality submissions
Announced in November 2018, 97 expressions of interest were received before the 21 January deadline. With so many quality submissions, the choice was difficult. The selectors said: ‘We were delighted with the response from artists in the South West region. The range of practice and approach to working with RAMM’s collection was both thoughtful and exciting. It was very difficult to select just one artist. However, we feel that Bryony Gillard’s proposal to develop her work with groups living in Exeter together with plans to work closely with scientists to explore the impact of climate change on seaweeds via Amelia Warren Griffiths’ collection was the strongest. We look forward to seeing the final artwork.’
- Anne Barlow, Director of Tate St Ives
- Robert Leckie, Director of Spike Island
- Lara Goodband, Curator of Contemporary Art at RAMM
- Julien Parsons, Senior Collections Officer at RAMM
Bryony Gillard describes her work
‘Situated between writing, performance, video and exhibition making, my practice draws on the notion of ‘constant revision’ — states of being in which structures or ideas can be subverted, dissolved or questioned.
‘Often focusing on investigating marginalized Herstories and practices, my work reflects upon events, approaches and ideas that refuse to be pinned down or categorized. Through a process of both uncovering and layering influences, histories and conversations, my work attempts to create a space for genealogies of Feminist practice that are allusive, messy and entangled in contemporary concerns.’