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| {{cquote|Zoë Mendelson’s practice operates in two distinctly separate but related ways. One is the peace and relative calm of her commitment to drawing in the studio, searching through source material that includes wildlife photos, porn magazines and pictures of domestic furniture. The second part sees her operating out of the safety and confines of the studio and in large temporary spaces, drawing directly onto the wall, and using the context of the space to spark some kind of intuition. This performative act plays out within the deadlines, noise and nature of the space but the former studio practice has a long-lingering influence. | {{cquote|Zoë Mendelson’s practice operates in two distinctly separate but related ways. One is the peace and relative calm of her commitment to drawing in the studio, searching through source material that includes wildlife photos, porn magazines and pictures of domestic furniture. The second part sees her operating out of the safety and confines of the studio and in large temporary spaces, drawing directly onto the wall, and using the context of the space to spark some kind of intuition. This performative act plays out within the deadlines, noise and nature of the space but the former studio practice has a long-lingering influence. | ||
| ''From ‘Fable’, catalogue, Chapter Centre for Contemporary Arts, Cardiff, May 2006''}} | ''From ‘Fable’, catalogue, Chapter Centre for Contemporary Arts, Cardiff, May 2006''}} | ||
| ==Solo exhibitions== | |||
| *Nov–Jan 2008/9: Lie Detector, Act 2, Delusion, Galerie Schleicher + Lange, Paris | |||
| *Nov–Jan 2008/09: Lie Detector, Act 1, Illusion, Galerie Edouard Manet, Gennevilliers, Paris | |||
| *Feb 2008: Headspace, solo show, Collections de Saint Cyprien, France | |||
| *Sept 2007: In-patient, ] Gallery, New York | |||
| *Sept 2006: Wunderkammer, Galerie Schleicher + Lange, Paris | |||
| *March 2006: Seven Histories of the Island, Galerie Kapinos, ] | |||
| *March 2006: Fiction Section, Mogadishni, ] | |||
| *Sept 2005: Pavilion, Millais Gallery, ] | |||
| *Nov 2004: Manners, Galerie Schleicher+Lange, Paris, France | |||
| ==External links== | ==External links== | ||
Revision as of 22:01, 29 April 2011
| Zoe Mendelson | |
|---|---|
| Born | April 17, 1976 |
| Nationality | British |
| Occupation | Artist |
Zoë Mendelson (born 17 April 1976) is a London-based British artist. Her father is television comedy writer Paul Mendelson.
Biography
Mendelson studied Fine Art at Chelsea College of Art and Design from 1995–1998 and at the Royal College of Art from 1998–2000. She currently practices in London and is a lecturer on the undergraduate Fine Art programmes at Central St Martins College of Art and Design and Wimbledon School of Art.
Mendelson has shown widely, predominantly in Europe, including at the Fondation Cartier pour l'Art Contemporain in Paris in 2005 and Chapter Centre for Contemporary Arts in Cardiff in 2006.
Work
Mendelson’s artistic practice is multi-disciplinary with drawing pivotal, and relationships sustained between temporal and permanent supports. She mostly makes drawing, collage, performance and site-specific installation. Her intricate drawings and collages occur on paper, walls, and often within communication devices (as allegorical to her process) and within objects such as defunct projectors, fax machines and furniture. Mendelson has described her work as possessing "conflicting roots in decoration, psychoanalysis and the functionality proposed by Modernist thought".
In 2010 four of Mendelson's works were selected by Artsadmin and Iwona Blazwick to be permanently installed at Town Hall Hotel, London.
In 2007 Mendelson made an online work commissioned by Cartier. Titled The Envelope Machine it references advances in postal technologies at the time of the 1851 Great Exhibition in London and operates as a hand drawn, and ultimately unrequited, version of Outlook Express.
Also in 2007, Mendelson received an Arts Council England Grant for the Arts to create a work called Scheherezade's Sideboard which has since been shown at Transition Gallery, London and Galerie Edouard Manet, Gennevilliers.
As part of a recent solo show, on November 26, 2008 Mendelson performed with a sugarcrafter at Galerie Edouard Manet, Gennevilliers. For four hours they constructed drawn and sugared sandcastles, which were then eaten and erased.
Curator, critic and artist, Gordon Dalton has described Mendelson’s installational practice, saying,
Zoë Mendelson’s practice operates in two distinctly separate but related ways. One is the peace and relative calm of her commitment to drawing in the studio, searching through source material that includes wildlife photos, porn magazines and pictures of domestic furniture. The second part sees her operating out of the safety and confines of the studio and in large temporary spaces, drawing directly onto the wall, and using the context of the space to spark some kind of intuition. This performative act plays out within the deadlines, noise and nature of the space but the former studio practice has a long-lingering influence. From ‘Fable’, catalogue, Chapter Centre for Contemporary Arts, Cardiff, May 2006
External links
- Artist's website
- Artist's blog
- Galerie Schleicher + Lange
- Chapter Centre for the Contemporary Arts
- Fondation Cartier de l’Art Contemporain
Bibliography
- Fable, Exhibition Catalogue, Angela Kingston and Gordon Dalton, Chapter Publications, ISBN 1 900029 227
- J'en rêve, Exhibition Catalogue, Fondation Cartier Pour l'Art Contemporain, ISBN 978-27427-5776
- The Artist's Yearbook, Ed. Ossian Ward, essay by Zoe Mendelson, pub. Thames & Hudson, editions 2007 and 2008/09, ISBN 978-0500286135; ISBN 978-0500286920