We are thrilled to announce CLARISSE D’ARCIMOLES as the winner of this year’s HEART OF GLASS open submission exhibition with ‘’The Rise and Fall of Jimmy Watts”, an installation that faithfully and meticulously re-creates within the gallery the kitchen belonging to Jimmy Watts, the oldest resident of the Market Estate in Holloway that was demolished in March 2010. The installation was created by Clarisse in collaboration with Campbell Drake.
The installation contains all of the original features and contents of Jimmy’s kitchen from his demolished flat including home movies with voiceover running on his TV and a video stream of the view from Jimmy’s kitchen window onto the Estate. Clarisse’s installation turns Jimmy’s flat into a timeless bubble, one that preserves Jimmy’s memories against the gloom of today’s reality. Despite the bleak nostalgia of the work, it also projects a profound and poignant sense of humanity and hope.
Clarisse D’Arcimoles is a 24 year old photographer and artist based in London.
She graduated from Central Saint Martins in 2009 with a postgraduate degree in Photography.
Clairsse said: ‘I’m delighted to have taken part in Heart of Glass, and very happy that the judges have chosen my work. Working with Jimmy Watts was both insightful and rewarding. I am very much looking forward to exhibiting at next year’s Concrete and Glass.’
Heart of Glass was the focal art exhibition for this year’s Concrete and Glass festival and played host to a vibrant and fascinating mix of exhibits from some of the most outstanding new and emerging artists London has to offer. The exhibition was curated by Flora Fairbairn and Paul Hitchman in collaboration with Adam Waymouth, and was hosted by 20 Hoxton Square Projects.
The show provided a platform for new work by 16 artists selected via open submission that has been judged by a panel of art luminaries that included Paul Hobson, Director of The Contemporary Art Society, John Kieffer, Creative Director Sound & Music, Sabine Unamun, of the Arts Council, and the three curators of the exhibition, each of whom picked their three favourite works with the winner being awarded a solo show at the next Concrete and Glass.
Paul Hitchman, co-curator of Heart of Glass, commented: “We are delighted to be able to offer Clarisse the opportunity to show her art to an even wider audience at next year’s Concrete and Glass. We have been hugely impressed with the quality of all the work in Heart of Glass, and a feature of the show has been how many of the participating artists have received positive feedback both from judging panel and public alike.”
As well as Clarisse’s work, the Heart of Glass show contained many other works of a very high quality and in a wide range of media including:
ALICE ANDERSON’s untitled piece made of ginger doll’s hair, with a plinth at one end and a circular hoop at the other, evokes and distorts memories of childhood. She sites Time as her key material.
SUKI CHAN’s video installation Sleep Talk, Sleep Walk is an impressionist and poetic depiction of London life that mediates between public and private thought and the modern struggle to find a conscious or sub-conscious place of solace. Investigating the social, cultural and political structures that form modern existence, using time-lapse photography, she brings together the solid urban mass, in juxtaposition with the fleeting human expression.
ALEXANDER BAYNES’ painting Food of the Youth gives a voice to an often-disenfranchised group. In an unflinching depiction, these objects of butchery make a stark comment about knife crime and problems young people face today.
LILAH FOWLER’s, By a grace of sense questions certainty, opening up alternative perspectives, as changes in environment change the perception of her near invisible sculpture.
Three freestanding sculptures replete with varying architectural references dominated the central gallery space of the exhibition: BEN LONG’S Ice Cream Cove, an eight-foot ice cream made of ceiling coving challenges preconceived conceptions; TAMSIN SNOW’S Margo, Foundation No. 12 a futuristic looming black sculpture, incorporating a real water fountain; and TIM PHILLIP’S Wormwood complete with ritualistic scribing and patternation all engaged the viewer independently and in juxtaposition.
CLAIRE MORGAN’s sculpture Formal uses thousands of dead fruit flies suspended within a geometrically defined space, whilst her Garden is made of leaves obscuring glimpses of birds. Using these natural materials, with mathematical precision, unsettles the viewer with their uncomfortable messages about life, death and the narrowness that separates the two.
BRASS ART’s Moments of Death and Revival is both playful and harrowing in equal measure, light is thrown onto sculptures of humans and hybrid animal models. Shadows of various creatures including skeletons, animals, spiders and humans merge and dance on the walls around them.
TYSON HOWARD’S A Light That Never Goes Out work creates a palpable tension, the fragility of the candle in the piece is clear. OLIVER BEER’s Eardrum engages the viewer using interactive sounds to create an immediate reaction.
THOMAS LINDVIG’s two sculptures Vacuum II and Expression II are tactile and intriguing, distinguishing themselves as minimalist objects, provoking the viewer to investigate their exigent meanings.
MATT CLARK’s sculpture Nigredo is a philosophical piece, a ball of seemingly unedifying blackness that reveals itself to the viewer, in a moment of alchemy, to have a more hopeful centre.
Finally, two of the pieces made use of the gallery infrastructure itself: CHARLOTTE WARNE THOMAS’ The Money Shot II was a subtle gilding of a roof beam in the gallery with gold leaf, whilst PAUL WESTCOMBE’s The Boredom of the Place Made Him Flee was a series of amusing, provocative and colourful cartoon-like vignettes that wound around the walls and ceiling of the staircase leading from the ground to first floor in the gallery.