Interview
Stella Whalley
Stella Whalley is a multidisciplinary Fine Artist interested in site-specific installation and drawing processes using a variety of mediums, applications, and materials locally sourced. She produces work in response to space and place, to the architecture and environment, to the objects and materials, archaeological references and archives, and to the local histories and narratives.
What is your background and how did you start your journey in the art world?
“I am a Fine Artist and I live and work in London. I studied printmaking at Central St Martins and also studied at Westminster University. My journey in the art world started with a fantastic foundation course in Preston at the University of Lancashire; it was then called Preston Polytechnic. This course gave me experience in all methods of Art & Design. I later went on to become a professional printer, working in studios with artists as a plate-maker and proofer for intaglio printing under Anthony Benjamin at Clarendon Graphics and Hope Sufferance studios. My practice covers a variety of mediums, applications and materials with particular interest in drawing, printmaking and painting processes and site-specific installation.”
What inspires you most?
“I find inspiration from seeing exhibitions, films, reading and theatre. Research has been the main driving force with experiments in a range of materials. I have also been inspired by experiencing different cultures on a range of residencies in Japan ,Italy and Portugal.”
What themes do you pursue? Is there an underlying message in your work?
“I pursue ideas from my own personal experience from a feminist point of view.”
How would you describe your work?
“My practice focuses on notions of drawing as a key part to the development of ideas which may lead to painting, print, performance and installation. I use a variety of medium, applications and materials relating to the content or locally sourced. I produce work in response to space and place, to the architecture and environment, to the objects and materials, archaeological references and archives, and to the local histories and narratives. I am interested in the textures of materials, the soft and hardness of the surfaces, their weathering and aging, colour changes, the sounds they create, and the way the materials react with one another create an atmosphere which can affect the audience’s senses.
“The 'Palace Curve' is an installation of finely threaded palace gates with black yarn. I explore how the role of contemporary art is negotiated in a non art site by creating a spatial curve based on the structure of the gates and architecture of the space.”
See more yarn works here
I explore other people’s narratives in relation to the land and architecture and how these have changed over generations, their traces of activity and historical and social narratives. I like to evoke memories and create archives and look at how artists create/interfere /expand the understanding of archival practice and material. I am interested in the role the senses play in how we perceive and experience space through touch, smell as well as sight, by making installations with different materials through drawing processes in response to a site or space.”
“I draw through a process of
actions, responding from one material to another. One mark to another. One image to another.
Finally, one page to another, using the language of the actions and bodily functions embedded
within the work.”
Which artists influence you most?
“Over the years I have been influenced by many artists from Goya’s drawings and etchings, to Cindy Sherman’s film stills, and I have just seen two fantastic figurative shows by Paula Rego and Jennifer Packer.”
What is your creative process like?
“I like to experiment with materials and processes. I always start with drawing and I believe that the ideas dictate the process and materials. So the concept is the key element. For example 'I’m tired of…' is a series of multi-media installations, videos and photographs. The 'I’m tired of ...' installation, exhibited at the Foundation Obras Portugal, consists of seven paper hangings ranging in height from 2 to 5 meters, worked in mixed media on both sides, using painting, printing, and stenciling processes totaling 14 images. I used my body to print creatures that seem like falling angels and added other print layers with grids, textiles, and texts.
This work was in response to previous pieces made for the 'Crash show' about my deep feelings on the Grenfell tragedy and my frustrations by the authorities showing little compassion with the victims. The disaster by itself and the broader concept of a world in which this can happen brought me to the installation 'I’m tired of…'. I want the audience to look up to these tall pieces, seeing figures falling. The prints of curtains and clothes and graphite paint refer to the victims. The printed texts express my anger, the handwritten texts are the words of the victims. With a final layer of printed building materials, I suggest a space where they were trapped between looking out on to the world and looking into a vanishing private world.
My contemplation on Grenfell brought me to more general feelings on injustice both in the wider world and in my personal life. I have collaborated with a composer Miguel Noya from Venezuela who added a sound composition to the installation. Inspired by the 'I´m tired of …' rantings, suggesting both blaming, frustration and disillusion, he created a mix of sounds with a pitch gradually building. For this composition he used local sounds from a marble cutter, a church choir and sheep bells (https://godwinoya.com). I am currently revisiting a series of performance works in 'Bodysnatchers Series 2', which can be viewed on Instagram and 'Bodysnatcher series 1' on my website.”
What is an artist’s role in society and how do you see that evolving?
“The Untitled No 2 1998 drawing pastel on paper by Paula Rego greatly affected me - this is one of the very powerful series of images about abortion when it was illegal in Portugal and the referendum to legalize failed. Rego portrays these women and girls and their emotional and physical pain of going through illegal abortions. The compositions and poses of the figures are very powerful - bending over a bed gripping the knees, pained expressions, bloody water bowels, bloody sheets, upturned chairs in darkened rooms. Rego’s images were used in the Portuguese press for the 2nd referendum in 2007 which led to the legalization. Rego’s work is an example of making changes in society.
I believe artists contribute to making people think and feel about issues also to be inspired and acknowledge cultural differences. Art in all forms can change our environments and bring pleasure to our daily lives.”
Have you had any noteworthy exhibitions you'd like to share?
“I have National and International exposure of artistic practice and engagement with the public and professionals, delivering many talks in public galleries and museums, including exhibitions, a video sound piece, 'Bad Witches' at the EMPIRE 11 exhibition at the 57th Venice Biennale 2017, a collaboration with the composer Toby Bricheno at the Empire 11 exhibition, a site-specific installation ‘The CRASH’ Q Park London Frieze art week 2017 in association with Geoffrey Leong Foundation, ‘Cinematic series’ of prints at the 3rd Global Print 2017 and Douro Biennial 2018 Portugal, a site-specific installation, at the Nakanojo Biennale Japan 2015 and the Wilson Gallery Cheltenham 2014. 'Digital Responses' the Victoria & Albert Museum London and a book launch of ‘Tokyo Tales’ at the Whitechapel Gallery. I have successfully received funding for International residencies and exhibitions in Japan and Italy.”
Website: www.stellawhalley.com
Instagram: @stellawhalley
