Internationally acclaimed artist Helen Sear presents a large collection of new and recent work at Hestercombe Gallery this summer. Consisting of works made since 2015, this will be her most ambitious exhibition in the UK to date. Sear’s technique is characterised by exploring the crossover between photography and fine art, and focusing on the co-existence of the human, animal and natural worlds.
The exhibition runs from 14 July until 28 October 2018.
Helen Sear has exhibited around the world and was the first female artist selected to represent Cymru yn Fenis/Wales in Venice with a solo exhibition at the 56th Venice Biennale in 2015. Producing high-quality, conceptually rigorous work, her current work incorporates photography, sound and video within a sculptural context, exploring the potential for her artwork to activate and elicit feeling.
“The photographic/moving image in art practice,” Sear says, “has never been so diverse or contested and, with the acceleration of new digital technologies, the function and presence of the image as both material and permeable is an ongoing challenge in the meaning, making and reception of my work.”
Her practice has evolved from a fine art education in performance, film and installation work in the 1980s and is rooted in an interest in Magic Realism, Surrealism and Conceptual Art. With photography a central subject in her work, she often challenges the dominance of the eye and the fixed-point perspective associated with the camera lens, placing the viewer in intriguing new relationships with the image.
The title of the exhibition comes from the 1975 book by Jay Appleton The Experience of Landscape where he developed the prospect-refuge theory of human aesthetics.
Helen Sear studied Fine Art at Reading University and University College London, Slade School, with her work rising to prominence in the late 1980s, when she worked primarily through installation, performance and film. Her photographic works became widely known in the 1991 British Council exhibition, De-Composition: Constructed Photography in Britain, which toured Latin America and Eastern Europe. Since then she has exhibited widely including About Face at the Hayward Gallery, London, 2004; La Mirada Reflexiva at the Espai D’Art Contemporani in Castellon Spain, 2005; Inside The View, shown at Gallery Harmonia in Finland in 2006; Klompching Gallery New York and Bildkultur, Stuttgart, 2010-12. This year she produced a new video and sound work commissioned during a year-long residency at The Forestry Commission England, Dalby Forest, in partnership with Crescent Arts and as part of Forest Art Works.
She is represented by: Klompching in New York, Martin Asbaek In Copenhagen and Galerie Pennings in Eindhoven.
Top: Forest Operations, 2018.