r o s e leahy p o r t f o lio
A continual search for traces, details and hidden information, my practice looks to make tangible what is already there, but not immediately visible. I treat the world as a series of lines and drawings that are waiting to be excavated, trying to record small details that may be overlooked, or gestures that only last for a moment. Through magnifying the miniature and freezing the fleeting I question what we would usually consider important enough to be given our attention. Working like an archaeologist I tend to use my body as a site, looking to find meaning in the mapping of the intricacies of the skin, hair and everyday rituals that are performed on it. I am interested in the effect discourse can have on ones body, and how historical repercussions can still affect the everyday ceremonies it undergoes. I seek to record how these repeated acts, through cultural connotations, can lead to a physical sculpting and reimagining of the human body. I create and collect a museum of data on the body and my environment, sating a fixation with preservation of the present, and examining the past in a fixed point in time.
handheld, 2013 inkjet on paper, (dimensions variable) considering the wrinkles in skin as a drawing and using it as a site to uncover the intricate formations it makes.
ectopic entities, 2014 human hair and latex, dimensions variable the ectopic entities series investigates the theme of ‘taboo’ and how the natural body in certain states can be given that status. It explores visions of ‘self’ removed and separate from, but co-existing with the body. The Ectopic Entities demonstrate the performativity that has taken place in relation to an existing body elsewhere and how cultural connotations can lead to physical sculpting and reimagining of the human body.
skin drawing, 2013 film (1:01 min) letting the skin draw itself by the spreading of ink through it
untitled, 2013 projection onto the body a continuation of the film skin drawing, 2013, relocating it back on the body and creating layers of skin and body parts, and hereby constructing a new body from these fragments
25/02/2013 18:42, 2013, in collaboration with Claire Esnault and Emmie Hubbard performance of two hours and fifteen minutes using ‘the drawing machine’, typewriter, wire, charcoal, roll of paper, postcards, table, chair the transcript of a recording taken at a meeting about the selling off of part of Whittington Hospital was typed into ‘the drawing machine’, a typewriter with wire attaching charcoal to the end of the keys, turning the information into a drawing and immediately censored the information, in a similar way to how the public had not been told of the sale of part of the hospital until it had been done.
tracing, 2012 silver marker following peoples movements around a gallery during the two day set up an for the exhibition Annexe, turning their movement into a map and showing the gestures and routes made in the space
imprinting, 2013 a series of tests between the body and its environment, exploring the relationship between the two and how one can alter the meaning or the physical nature of the other
Rose Leahy • 1992 London UK email@example.com
education 2014 Sint Lucas University College of Art and Design Antwerp, Erasmus exchange semester 2012 – present, Central Saint Martin’s College of Art and Design, London, UK, BA (Hons) Fine Art 2011 Puppet Theatre Barge, London, UK, Internship (Learning manipulation and making of marionettes and devising, making and performing own puppet theatre show) 2010 – 2011, Camberwell College of Arts, London, UK, Foundation Diploma in Art and Design
group shows 2011
Camberwell Foundation Show, Camberwell College of Arts, London, UK (April 2011)
Annexe, Elthorne Road Studios, London, UK (November 2012)
MMXIII, Mile End Art Pavilion, London, UK (February 2013) In Between States, Mile End Art Pavilion, London, UK (March 2013) Here In Archway, outdoor performance in Archway, London, UK (April 2013)
In Site, Factor 44, Antwerp, Belgium (March 2014)