Phyllida Barlow
Phyllida Barlow is a British artist who was born in Newcastle-Upon-Tyne in 1944. Despite being born in Newcastle-Upon-Tyne, she was brought up in London.
She studied at Chelsea College of Art from 1960 to 1963, and then at Slade School of Art from 1963 to 1966. While studying in Chelsea, Barlow was under the tutelage of George Fullard, who influenced her perception of sculpture. She also met her husband, fellow artist Fabian Peake.
In the late 1960's, she joined the staff of Slade School of Art, and taught there for over 40 years until 2009 when she retired and became an Emerita professor of Fine Art. Some of her students included Turner Prize winner, Rachel Whiteread, and Angela de la Cruz.
In 2011, she was made a Royal academician, and made a CBE in 2015.
She will represent Britain at the 2017 Venice Biennale.
She studied at Chelsea College of Art from 1960 to 1963, and then at Slade School of Art from 1963 to 1966. While studying in Chelsea, Barlow was under the tutelage of George Fullard, who influenced her perception of sculpture. She also met her husband, fellow artist Fabian Peake.
In the late 1960's, she joined the staff of Slade School of Art, and taught there for over 40 years until 2009 when she retired and became an Emerita professor of Fine Art. Some of her students included Turner Prize winner, Rachel Whiteread, and Angela de la Cruz.
In 2011, she was made a Royal academician, and made a CBE in 2015.
She will represent Britain at the 2017 Venice Biennale.
Barlow is best known for her colossal sculptural projects and use of 'throw-away' materials such as plywood, cardboard, plaster, cement, fabric and paint amongst other things. Her practice is grounded in an anti-monumental tradition characterized by her physical experience of handling materials which she transforms through the process of layering, accumulation and juxtaposition. Her sculptural objects are often arranged in complex installations that seem very unbalanced. She locates them in such a way that they block, interrupt and intervene, both dictating and challenging the experience of viewing.
Her constructions are often crudely painted in industrial or synthetic colours, resulting in abstract seemingly unstable forms. In the past she would leave her works in the street to see what happened to them, or break into a disused factory and install something nobody could see.
Barlow is fascinated with the physicality of creating things, from breaking, sawing, cutting, coiling, folding or covering. She even prefers the process more than the finished product, and compares the construction process of her work to that of a performance that something slowly emerges from.
Since 2010, she had been represented by Hauser & Wirth.
Barlow is fascinated with the physicality of creating things, from breaking, sawing, cutting, coiling, folding or covering. She even prefers the process more than the finished product, and compares the construction process of her work to that of a performance that something slowly emerges from.
Since 2010, she had been represented by Hauser & Wirth.
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http://ci13.cmoa.org/artists/phyllida-barlow
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