BBC Royal Academy Summer Exhibition
(From the BBC website)
The annual Summer Exhibition at the Royal Academy of Arts in London is the largest open-submission art exhibition in the world. It attracts over 12,000 entries. Only 1,200 paintings and sculptures will make it onto its walls and floors, including works from Gilbert and George, Yinka Shonibare and Tracey Emin.
The exhibition which takes place every June and July, attracts a quarter of a million visitors. It is an collection of works by Royal Academicians, invited professional artists and selected works from professional and amateur artists from all over the world. The open submissions form nearly 70% of the show.
An artist co-ordinator is chosen to oversee the show; this year it’s the job of Eileen Cooper RA, the Keeper of the Royal Academy. She works with a small committee of Academicians to select an exhibition which is then hung in the RA galleries, with the committee members each taking responsibility for a room.
We go behind the scenes at the Royal Academy as the Academicians decide on what is worthy of their imprimatur.
Producer: Divya Mittal and Roger James Elsgood.
The video was only available in the UK, so it is shared here for us Westerners. My interview was cut, I do make a few appearances, but it's still a pretty good watch. :)
Artist Statement: Gorgeous Filth #01
Gorgeous Filth #01 is an exploration of urban forms and our experience with the material of cities. Each interaction, point of surface contact or scuff, whether by design or by circumstance, is at once something removed, something revealed, and something left behind.
Her use of maps speaks to a sense of place, but it is at the same time indistinct, a kind of universal geography, the design of space within pre-existing space, and how our interactions – organic and emotional and spontaneous – collapse and become aggregate, integrated into pre-established patterns of traffic, structure, and flow.
Zandra Stratford is a West Coast abstract painter whose work is continually evolving. Her pieces lay a foundation of earthy neutrals, laying strata after strata of floral colours as a counterpoint to industrial textures, and this overlaid with confident horizontal structures.
Employing a kind of subconscious semiotic, she works in muted tones punctuated by semi-symbols, almost recognizable repeating characters as though conveying a disrupted signal, or dream-remembered language.
Preferring large canvases and panoramic birch panels, she uses gradual iterations of monochrome, encircling strong statements of negative space, like a treeline emerging from fog.
Stratford studied printmaking at the Victoria College of Art, after more than a decade’s experience as an advertising Art Director. This informs her work’s cadence, graphic sensibility and declarative confidence.