Emerging artist Queenie Clarke has always put the interaction between viewer and sculpture at the heart of her practice. By taking a basic architectural build and renovating it and its movement in increasingly abstract ways, Clarke challenges the viewer’s perception of its existing space, and the space around it. What draws her most to structural installations and design is their capacity to have a physical effect on a person, without being in physical contact with them.
Longlisted for the Aesthetica Art Prize 2016, Clarke’s new work Escalator 3.0 epitomises her ideas on the relationship between person and machine. Clarke enlarged the form of an escalator to a free-standing sculpture with an exposed structure beneath. In much the same way she hopes her works will touch viewers without actually touching them, the sculpture is designed to evoke movement without actually moving. Altering and confusing how a viewer might imagine an escalator to move, it turns one of the most symbolic structures in modern architecture into something playful yet daunting, and in doing so challenges the role it plays in our lives.
The Aesthetica Art Prize is now open for entries, accepting submissions across a range of media including photography, sculpture, installation, painting and artists’ film. Prizes include up to £5,000 courtesy of Hiscox, a group exhibition, publication in the Future Now anthology, up to £250 art supplies vouchers courtesy of Winsor & Newton and a selection of Prestel art books. Shortlisted and longlisted artists are also promoted via Aesthetica’s online channels.
To enter, visit www.aestheticamagazine.com/artprize.
1. Queenie Clarke, Escalator 3.0