Gwenda Thompson Marchesi Sculpture BA (Hons) ECA

Gwenda Thompson Marchesi About Gwenda draws her inspiration from fairytales, folklore and fables; in particular, the moralistic aspects of these stories, their symbolism, and the animal characters. The animals are life sized in order to encourage the anthrozoological human-animal relationship that has existed universally for thousands of years. Although perhaps cuddly, comic and appealing in their tactility, when the viewer investigates further, one will find a more sinister theme evolves. The animals all share some form of negative emotional portrayal in their posture and expression. Feelings of fear, resentment, exhaustion, sadness, resignation and doubt have all appeared in Gwenda`s works. Interestingly, fairytales have been found to offer reassurance to children on an unconscious level by appealing to the id and the ego. As Bruno Bettelheim discusses in “The Uses of Enchantment; The Meaning and Importance of Fairytales” … They speak about his severe inner pressures in a way that the child unconsciously understands, and – offer examples of both temporary and permanent solutions to pressing difficulties. Along with fairytales, one of the peculiarities of fables that fascinates me is the anthropomorphisation of the animals. Animals are a popular subject matter across the arts, but I have found with my sculptures that the viewer engages even more with something that exudes a subtle human quality. This is a technique used often in fairytales, such as ‘Little Red Riding Hood’ where the wolf dresses up in granny’s clothing, or where the animals have the power of speech in fables. Rendering the principal characters as animals with human attributes allowed the authors to bring those characteristics, and hence the moral warning they wanted to issue, into greater relief. Mirrors and reflective surfaces have appeared in my work several times. They are commonly interpreted as symbols of self-discovery, self-knowledge, contemplation, and reflection. By showing the room reflected, and creating more space, it also suggests a passage to another world. The mirror is placed strategically so that when the viewer tries to get an impression of the work from the animal’s perspective, he finds himself reflected and therefore becomes a crucial part of the story and ultimately framed into the work itself.

Every Truth Has Two Sides, and it is Well to Look Exhibition History 2008 Save the Pigeons Kill Yourself Self promoted and curated show (November) Hakuna Matata Club, Florence Italy Best in Show Selected show by curators Pearce and Ramsey (September) The John Jones Project Space, London ECA Degree Show Final Year Sculpture Exhibition (June) Edinburgh College of Art Debut 4th year Drawing Exhibition (April) The Green Rooms, Edinburgh Student Exhibition 2008 Royal Scottish Academy, Edinburgh (February) 2007 The Good, The Bad and The Ugly 4th Year Sculpture Exhibition (November) Edinburgh College of Art Reasonably Sized Ideas 4th year Sculpture Exhibition (October) Edinburgh College of Art Simmer Down 2nd and 3rd year Sculpture Exhibition (February) Edinburgh College of Art 2006 Chaos at the Fringes of Spring 2nd and 3rd year Sculpture Exhibition (April) Edinburgh College of Art 2005 Farnham Library Gardens Project Site Specific Installation (July to October) Farnham Public Art Trust, Surrey 1st Year Exhibition Surrey Institute of Art & Design (July) 2004 Foundation Art Exhibition Telford College, Edinburgh (July)

Does My Bum Look Big in This Artist Statement Primarily, I draw my inspiration from fairytales, folklore and fables as research for my work; in particular, the moralistic aspects of these stories, their symbolism, and the animal characters. In the work, I attempt to portray a variety of things. The size serves to make the viewer feel small in comparison, to perhaps conjure images of their own childhood and teddy bears they may have had. I have still chosen to keep them life sized and no larger in order to encourage the anthrozoological human-animal relationship that has existed universally for thousands of years. Although perhaps cuddly, comic and appealing in their tactility, when the viewer investigates further, he will find a more sinister theme evolves. The animals all share some form of negative emotional portrayal in their posture and expression. Initially it was a subconscious occurrence, but with more research I think there is a form of autobiography and self portraiture that is intrinsic in all of the sculptures I create. Feelings of fear, resentment, exhaustion, sadness, resignation and doubt have all cropped up simultaneously in my work as they have in me. Interestingly, fairytales have been found to offer reassurance to children on an unconscious level by appealing to the id and the ego. As Bruno Bettelheim discusses in “The Uses of Enchantment; The Meaning and Importance of Fairytales” … They speak about his severe inner pressures in a way that the child unconsciously understands, and – offer examples of both temporary and permanent solutions to pressing difficulties. Along with fairytales, one of the peculiarities of fables that fascinates me is the anthropomorphisation of the animals. Animals are a popular subject matter across the arts, but I have found with my sculptures that the viewer engages even more with something that exudes a subtle human quality. This is a technique used often in fairytales, such as ‘Little Red Riding Hood’ where the wolf dresses up in granny’s clothing, or where the animals have the power of speech in fables. Rendering the principal characters as animals with human attributes allowed the authors to bring those characteristics, and hence the moral warning they wanted to issue, into greater relief. Mirrors and reflective surfaces have appeared in my work several times. They are commonly interpreted as symbols of self-discovery, self-knowledge, contemplation, and reflection. By showing the room reflected, and creating more space, it also suggests a passage to another world. The mirror is placed strategically so that when the viewer tries to get an impression of the work from the animal’s perspective, he finds himself reflected and therefore becomes a crucial part of the story and ultimately framed into the work itself.

Awards and Prizes 2008 RSA John Kinross Drawing Travel Scholarship to Florence

Acquisitions / Collections The Royal Scottish Academy "Does My Bum Look Big in This"

Qualifications / Education 2005-2008 Edinburgh College of Art. BA (Hons) Sculpture 2:2 2004-2005 Surrey Institute of Art & Design BA hons. Fine Art (Year one, Full Credits) 2003-2004 Edinburgh’s Telford College Btech Dip. Foundation Studies in Art & Design (Passed with Merit) 2002-2003 The University of Edinburgh BA hons. Archaeology & Social Anthropology (No Qualifications Received) 1997-2002 The Cheltenham Ladies’ College A Level (A) Art, French, Spanish

Publications / Media / Bibliography 2008 The Press and Journal. Friday February 15th. Photo and caption. Art With Bite. The Glasgow Herald. Friday February 15th. Photo and caption. Paws for Thought. The Edinburgh Evening News. Friday February 22nd. Photo and caption. Mark Hopes ‘Wings’ chair for the obese will take off. The Edinburgh Evening News . Monday May 26th. Brief mention. Bray-ve New Direction for Art. Edinburgh Evening News. Friday June 13th. Photo and mention. A Precocious Degree of Talent. The Glasgow Herald. Monday June 16th. Brief mention. Pearls of Wisdom from Court Jesters. The Scotsman. Friday June 20th. Photo and mention Best in Show. AN magazine. December issue, 2008. Review

Influences / Inspiration Berlinde De Bruykere, Maurizio Cattelan, Idiots,

Price Range of Work Gwenda Thompson Marchesi's work has a price range from £584 to £4334.

Mediums utilised Gwenda Thompson Marchesi's work is found in the following materials: Fabric

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Listing of artist's works of art 'Every Truth has Two Sides' by sculptor: Gwenda Thompson Marchesi Size: 100 x 80 x 160 cm Animal Sculpture Medium: Fabric Edition: 1 Price: £4,334 Sculpture for Sale 'Lost - The Spring in My Step' by sculptor: Gwenda Thompson Marchesi Size: 22 x 12 x 16 cm Animal Sculpture Medium: Fabric Edition: 1 Price: £584 Sculpture for Sale 'Does My Bum Look Big in This' by sculptor: Gwenda Thompson Marchesi Size: 45 x 42 x 45 cm Animal Sculpture Medium: Fabric Edition: 1 Price: £1,334 Sold or out of Edition 'Look Left, Look Right, Look Left Again' by sculptor: Gwenda Thompson Marchesi Size: 85 x 45 x 50 cm Animal Sculpture Medium: Fabric Edition: 1 Price: £1,667 Sold or out of Edition