Victoria Rance The Night Horse and The Holy Baboon

VICTORIA RANCE: THE NIGHT HORSE AND THE HOLY BABOON Sculptures, drawings, photographs and animations 2007-2017

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front cover The Holy Baboon 2017 felt, wood, wool H 25cm back cover The Night Horse 2017 cardboard, felt, pistachio shells, cotton, wool H 18cm this page SOS (digital image) 2013 SOS (sculpture) 2013 copper, wool H 62cm

VICTORIA RANCE: THE NIGHT HORSE AND THE HOLY BABOON Sculptures, drawings, photographs and animations 2007-2017

23-30 October 2017 The Cello Factory, 34 Cornwall Road, Waterloo, London SE1 8TJ

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INTRODUCTION ANNA McNAY

OCTOBER 2017

A cast of black-and-white characters cavort

across the screen: Rat Man, Long-Eared Bat

Person and Loki, a mysterious shape-shifter and epitome of the Trickster. It is Fasnacht – a night

of wearing masks and releasing one’s innermost repressed psychological realities. In Carl Jung’s theory of archetypes, the Trickster is an anti-

intellect figure, entertaining and mischievous,

yet bearing a deeper wisdom about the world.

Fasnacht invites the Trickster to come out and

play, and, in Victoria Rance’s short film, come out and play he does.

Much of Rance’s work deals with archetypes

and the wearing of masks, exploring what Jung describes as the compromise between what

one likes to be and how one likes to appear – the persona as it stands in contrast to the

personality. Her cast of recurring characters,

besides Loki and his friends, includes Medusa,

Perseus, Nuit (the goddess of the sky), and, most recently, the Night Horse and the Holy Baboon.

Her Sculptures to Wear include caterpillars, a

worm, and wasp spiders – a striking variety of

arachnid that disguises itself as a more harmful species to evade a common predator.

This theme of (self-)protection and vulnerability

permeates Rance’s practice, and if one archetype can be said to lie at the heart of her work, it is

the Mother, whose attributes Jung describes as ‘maternal solicitude and sympathy; the magic

authority of the female; the wisdom and spiritual 2

still from Fasnacht 2013 stop frame animation 2 minutes 16 seconds

exaltation that transcend reason’. On the negative side, the Mother may connote: ‘anything secret, hidden, dark; the abyss, the world of the dead,

anything that devours, seduces, and poisons, that is terrifying and inescapable like fate’. Together he formulates the ambivalence of these attributes as ‘the loving and terrible mother’.1

For Rance, there is always this ambivalence

between good and bad, violence and serenity, with her characters often coming in opposing pairs. While her work frequently draws on

the darkness that lies beneath, she seeks not to shock, but to mend or to help. Space for a Girl

(2011), for example, was made as a safe space for her niece, while SOS (2013) was made as a form of psychological armour with her own daughter in mind.

Since 2013, Rance has been working on the

project I Wish, begun at Deptford X, but since carried out in schools, hospitals and refugee

centres. Participants tell her their wish, and she – or sometimes the participant him- or herself –

makes a talismanic object in response. No one but

the person for whom they are made gets to handle them or disrupt their energy. There is a space,

through its repeated use of the circle and mandala, in itself a form of the Mother archetype.

The Night Horse and the Holy Baboon respond

very much to current political climes, the former

growing out of a Nigerian amulet Rance discovered in the Pitt Rivers Museum, Oxford, two days after the election of Donald Trump. One of the beliefs of the Mba tsav secret society of the Tiv people of Nigeria was that they could mount this horse,

become invisible, and travel long distances at night to kill their enemy. The Holy Baboon – perhaps

unwittingly a little Trump-like in appearance – is the opposing counterpart, who, as temple guardian,

blocks this murder from taking place. The yellow of the baboon corresponds to the centre of the

visible light spectrum, the wavelength where Jung believed consciousness to sit, striking a balance and bringing unconscious urges into check,

much as Rance’s work as a whole both reveals and acknowledges the disturbing things that are going on around us before offering an

alternative or means of protection: uniting the

knowing and the not-knowing, the visible and the invisible, the supernatural and the rational, the loving and the terrible.

Rance believes, for some much-needed hope

and positive thinking in contemporary society – where atheism and helplessness prevail.

Jung speaks of ‘the place of magic transformation and rebirth’ – a place that Rance’s art conjures

1 CG Jung, Four Archetypes, 1970

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SPACES FOR ...

“This ornate work is a cage, a screen trapping

its subject into a corner. The ambivalence is clear

in the way that this structure offers protection and

security but it leaves no room to manoeuvre.

It’s a ‘freedom’ in security which involves

considerable sacrifice.”

KATY DEEPWELL, ART CRITIC

This series of works, begun in 2007, explores

how physical and emotional spaces in society

are occupied according to gender. This led to a European Cultural Foundation Travel Award

Residency in Istanbul in 2011 in which Victoria

Rance visited and studied historical harems and the female-only areas of mosques.

Space for a Woman 2007 silicone, bronze, steel H 172cm 4

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SCULPTURE TO WEAR “A sheltering skin that protects or alters the sense of self, provoking ambivalent responses in the wearer and the viewer.�

VICTORIA RANCE

Victoria Rance has made more than thirty

Sculpture to Wear works over the past decade

in materials ranging from iron to ostrich feathers

inspired by ceremonial architecture and clothing,

both contemporary and historical.

Themes of mimicry, disguise, masquerade and armour run through these works, which act to

shield the inner life of the wearer.

Her Skin (photograph) 2008 hand printed black and white C-type H 40.5cm Her Skin (sculpture) 2008 iron, steel H 185cm 6

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Caterpillars (photograph) 2009 hand printed colour C-type H 25cm

Caterpillars (sculpture) 2009 dyed string, MDF variable dimensions 8

Long Eared Three Eyed Bat Person 2013 felt, scrim, shells, wool H 111cm 9

ANIMATION “Across her career Rance has animated her

sculptural works in photography and film. Medusa

and Perseus, screened in Istanbul alongside all the

sculptural elements contained in the film in 2012, is a black-and-white animated drama of Perseus

slaying Medusa. In Rance’s version, Medusa rises up underneath Perseus when he believes she is

vanquished: vast, invincible, ur-symbol of chthonic woman. This work refers to an underground tomb

– Yerebatan Sarnici – in Istanbul, the building above raised on vast stone columns. The base of one

of these columns is a vast Medusa head, “upside down, half-buried, rejected and repressed, yet

supporting the whole”. The piece hints at her anger

at the failings of “a world made by men”, with its rule

of power, violence, and continuing inequality.”

FIONA MACDONALD

THINKING IS MAKING, 10 YEARS OF THE MARK TANNER AWARD PUBLISHED BY BLACK DOG BOOKS 2013

still from Medusa 2011 animation 2 minutes performer Nina Villanueva Rance, composer Jethro Pemberton 10

OTHERWORLD “I wanted to turns inwards and make small handholdable pieces that have a presence. I always

think of the Giacometti’ sculptures he sent in a matchbox. Sculptures don’t have to be big to

matter. The spirit of them is the important thing.”

VICTORIA RANCE

In Otherworld, a series started in 2015, Rance

looks at the connections, real and mythological,

between humans, animals and nature. She creates

groups of tiny detailed pewter sculptures and

sets them in tableaux scenes. The mythological

character ‘Loki’ is a key figure; a mischievous shape-shifter, a psychopomp like Hermes/

Mercury who moves between gods and mortals,

the conscious and the unconscious. Previews of

Otherworld have been shown at Morley Gallery and Lubomirov-Angus-Hughes London, but this

is the first time that the series has been shown in its entirety.

Creek (Four Sisters) 2015 pewter H 13cm 12

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The Apology 2016 pewter H 13cm 14

Loki 2015 pewter H 12cm 15

I WISH “Objects that are loaded with a meaning that is outside our material value system.”

VICTORIA RANCE

I Wish is an ongoing project started in 2013 where participants (who have included hospital patients, refugees and school children) are invited to

describe a wish to Victoria which she then makes into a talismanic type object. She photographs

each ‘wisher’ holding their object. Through these works, Victoria explores our relationship with

superstition and spirituality, and the power

of hope. I Wish has been commissioned by

Queen Elizabeth Hospital, Invicta and Montebelle Schools, and Deptford X in the South London

Boroughs of Greenwich and Lewisham. I Wish,

a film recording the project, was awarded a Deptford X prize in 2014.

still from I Wish 2014 film 8 minutes composer Lynn Yang opposite Nine Wishes 2013-2017 16

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THE NIGHT HORSE AND THE HOLY BABOON “They have nostalgic colours reminding me of

toys from my childhood, but blown up versions.

Funny but menacing.”

JOANNA KIRK – ARTIST

Two new works made for The Cello Factory retrospective are large scale mixed media

sculptures of two mythical creatures: The Nigerian

Night Horse and the Egyptian Holy Baboon.

The Night Horse can be ridden without anyone

seeing the rider. The conceit is that you can ride

the horse to kill your enemies in secret and return

unnoticed. The Holy Baboon is a temple guardian that watches over sacred places and morality.

The Holy Baboon believes that murder is wrong – so the two separate creatures face each other.

The themes of invisibility, morality, ‘inner’ and ‘outer’ selves run throughout Rance’s work.

The Night Horse and The Holy Baboon (installation) 2017 wood, steel, felt, wool, palm, plaster, polyester H 354cm 18

Long Eared Three Eyed Bat Person 2013 Felt, scrim, shells, wool 70 x 111 x 16cm VR as Loki 2013 animation still on Fujifilm crystal archive paper 20 x 30cm Creek (Four sisters) 2015 pewter 14 x 18 x 15 cm Loki 2015 pewter 10 x 5 x 3cm Loki 2016 ink on paper 14.5 x 21cm Wish 63 2017 pewter 6 x 6 x 0.5cm The Night Horse and the Holy Baboon 2017 wood, steel, felt, wool, palm, plaster, polyester installation 354cm x 400 x 120cm

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Golden Monkey 2017 ink on paper H 30cm 20

Loki 2016 ink on paper H 21cm 21

INTERVIEW WITH ARTIST

JOANNA KIRK AND VICTORIA RANCE SEPTEMBER 2017

JK There is a continuity in your work which can be traced right back with the protective spaces which seem secretive but with a humility and gentleness about them. Tell me about Space for a Girl, it feels vulnerable, a bit like a stretcher, carrying someone.

VR This piece started with emails to my niece dancer Nina Villanueva Rance. I wanted to make something especially for her, a sort of precursor to the I Wish project. I asked her to describe a safe place, and then I made something to give her those feelings. I had been reading Oliver Sacks and

his interview with Temple Grandin. In fact over a few years I made several versions of a film with this piece using Temple Grandin’s words about her Squeeze or Hug Machine but have not been able to finish it satisfactorily yet.

JK Throughout a lot of your work there are ideas around caring and nurturing – leading up to the I Wish series.

VR Yes my earlier architectural sculptures such as

Shelter, Ark, Spire and Mama came from this impulse, and you can step inside them. But there is the tension between looking after people and trapping them – I am ambivalent – it’s a difficult position. As a mother this is what you have to grapple with every day (and as a child deal with too).

Even politically there is a current tension between the welfare state (or the pejorative term “nanny state”) and neo liberalism.

JK Space for a Woman is a much more rigid structure referencing the confessional and armour. I remember when we went to the Wallace Collection and you spent a lot of time drawing the armour and helmets.

VR I have drawn a lot of armour yes, but Space for a Woman is about the entrapment of women both literally and by culture.

“Protection” taken to its limits entraps. I wanted it to look beautiful referencing both Islamic and Christian motifs. I think it’s hard for women to see the limits imposed on us by culture.

Being protected can feel good, but there is a loss of control 22

and agency. I want this piece to feel claustrophobic and attractive at the same time.

JK You seem very comfortable using a wide variety of materials. There’s a playfulness, a handmade feel and obvious enjoyment of the process. You’re not afraid of using anything together like wool and steel. I love that about your work. How do you decide what to use?

VR Each piece has its own demands and I select intuitively.

I want to find the boundary between sculpture and functionality, but more importantly for the materials to fulfil the psychological atmosphere of the piece.

JK I remember when you made Caterpillars with Cole and Anders. When I look at your work I feel a deep sense of playfulness, you covered up the two children in wool, playing yourself.

VR Yes I had such a freedom as a child from being the middle one of seven. We were always making things: camps, weapons, costumes and playing out in the woods or up the hill. Although it was chaotic and we were probably left too much to ourselves – it has given me a sense of total independence and freedom in what I do.

JK When I come to visit you in your studio by Deptford Creek I’m very aware of the river and going into the womb-like studio which feels immersed in nature even though it’s urban. I see your tweets about the Creek and birds, and your concern with protecting them. I love your animal drawings. Would it be fair to say that you imbue your animals with some kind of spirit?

VR Yes I do have a sense of communion with the wildlife around me, and it totally feeds into my work. I do identify with the heron on the creek and other wildlife. I am a primate!

JK I’ve noticed you’ve been making these animal figures for a few years now. They’re very small but substantial pieces.

What’s struck me about them is that you’ve been making

communities out of them like a child with a dolls house. Why do you feel drawn to these tiny figures?

VR One of the things I was trying to do was counter the tendency to monumental sculpture. Public sculptures were getting bigger and bigger. I have also made big pieces and public sculptures. But what was going on in the art world was beginning to feel a bit macho. I wanted to turns inwards and make small hand-holdable pieces that have a presence.

I always think of the Giacometti sculptures he sent in a matchbox. Sculptures don’t have to be big to matter.

The spirit of them is the important thing. And once I started making a few they seemed to connect to each other and I enjoyed placing them together. The Apology I made as a group which I hadn’t done before. I had a dolls house as a child which I played with so much. In 2011 or so I found some dolls house furniture in a second hand shop in Deptford and it brought back to me the power of the small object when combined with imagination. I had already started the I Wish project before I started the Otherworld series.

In fact I learnt how to cast in order to make some of the talismanic objects, because pewter feels so lovely to hold and warms up in the hand.

JK I’ve been following your I Wish project for the last four years. As well as a compassionate piece of work it’s beneficial to the recipients.

VR I wanted to make work – mini commissions for people who couldn’t afford to do that. I wanted to make it more democratic. Also I was getting interested in the origins of art, how did it start? Thinking about it and looking at which objects have survived up to 30,000 years or more, it’s those magic objects. I saw the British Museum Ice Age Art exhibition, those things were treasured by people and they survived. I also had an exhibition in Osnabrück in collaboration with Sylvia Lüdtke which we called The Sleep of Reason after Goya’s etching.

In Osnabrück witches had been massacred in large numbers during the Reformation, we were thinking about them and the power of the rational versus the irrational – again ambivalently.

But as William Blake saw there’s huge power in what gets locked in the irrational. Humans carry a space for magic.

JK So last time I came to your studio I was completely bowled over by the new pieces. Large, bold, very witty and strident, confident pieces. I was wondering if this is another direction your work is going in. You can sit on the horse, again there’s that interactive quality. They have nostalgic colours reminding me of toys from my childhood, but blown up versions. Funny but menacing.

VR I think perhaps after working small for so long on the I Wish and Otherworld series something exploded.

The characters come from the Otherworld series and the materials from the I Wish project. It was also a reaction to what was happening in the world which had become so dark. At the beginning of the year I went back to the Pitt Rivers Museum which I’d lived near and visited as a child. In a drawer I found a talismanic object, a Nigerian leather doll of a horse, which the label said made its rider invisible so you could kill your enemies at night unseen. While doing the I Wish project lately, and in other conversations so many women said they would like to kill Trump and I thought an imaginary way of doing it or expressing this would be helpful!

But what about murder? How can we condone that?

The Holy Baboon as a character came to my mind. The Holy Baboon wants to prevent The Night Horse, life is sacred.

So it’s an imaginary scenario, and the world of the imagination is really important to me.

JK I’ve always thought you had a very singular vision with your work, I love the playfulness and the sensuality and the wit in your pieces. All the work links up: the protective qualities, the nurturing. As human beings we need to be more nurturing and it’s a cold world out there. Your work brings in humanity – you’re not afraid to be vulnerable and that’s a strength.

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VICTORIA RANCE BIOGRAPHY

EDUCATION

AWARDS

2008-9 MA Fine Art with PGCert in HE, Kingston University 1979-83 BA Hons Fine Art, University of Newcastle Upon Tyne 1978-9 Art Foundation, Banbury School of Art

2014 Deptford X, for I Wish (Film) 2011 European Cultural Foundation – Residency at 5533 Istanbul 2003-4 The Mark Tanner Award for Sculpture 2001 Japan 2001 for Dead Happy 2001 London Arts for Dead Happy

2017 Touchstone, APT Gallery, Deptford, London

Shoreham Sculpture Trail, West Sussex

The Mesh, Watermans Art Centre, London

Personal Relations, Pulchri, Den Haag, Netherlands Personal Relations, Mirror Gallery, Vicenza, Italy 2016 Personal Relations, The Cello Factory, Waterloo, London

A Threshold, APT Gallery, Deptford, London

Metallic, Burghley House, Lincolnshire

Works on Paper, The Lovely Gallery, London

Fe216, Morley Gallery, London 2015 One Plus One, Lubomirov Angus Hughes, London

Crossing Thresholds, Gallery Tettix, Thessalonika, Greece

Need and Error, Zsenne Art Lab, Brussels, Belgium

Hundreds and Thousands, Lubimirov Angus Hughes, London

Twentieth, APT Gallery, Deptford, London

Venice Pavilion in London, HartsLane, New Cross, London

Side Effect, Galeri Ark, Istanbul, Turkey

Magic Lantern, Fringe Arts Bath Festival, Somerset

I Wish, at Water Week, Herstmonceux Castle, East Sussex

SOLO AND TWO PERSON EXHIBITIONS

2016 Fasnacht, Deptford X, APT Live and Art Licks, London 2015 I Wish, Lewisham Refugee & Migrant Network, Deptford X, London 2014 I Wish (Film) Deptford X Fringe, London 2013 I Wish, Deptford X Fringe, London

The Sleep of Reason, (with Sylvia Lüdtke) BBK Osnabrück, Germany 2012 Medusa Stories, (with Ruken Aslan) Chalabi Gallery, Istanbul, Turkey 2010 Invisible, (with Clare Whistler) The Lucy Bell Gallery, Hastings 2004 The Mark Tanner Award Exhibition, Standpoint Gallery, Hoxton, London 2002 The Office, Atrium Gallery, PricewaterhouseCoopers, Charing Cross, London 2001 The Holy Fool, St Mary Woolnoth, London 2000 Spire, The Economist Plaza, St James, London 1998 Victoria Rance: Sculpture, SmithKline Beecham, Harlow, Essex 1997 Annunciation Sculptures and Drawings, St John’s, Waterloo, London 1988 Victoria Rance, The Lancaster Arts Centre, Wycombe Abbey, Buckinghamshire 1987 Victoria Rance Forged Steel Sculptures, The Orangery, Holland Park, London 1986 Drawings of a Cellist, Wigmore Hall, London 1986 Victoria Rance Sculpture, London Zoo, Regent’s Park, London

COMMISSIONS

2017

2015

I Wish, Queen Elizabeth Hospital, Greenwich, London Memorial, St Laurence Church, Catford, London I Wish, with Lewisham Refugee and Migrant Centre for Deptford X 2008 Bridge, Warneford Hospital, Oxford 2008 Comforter, St Laurence Church, Catford, London 2006 Font, St Andrew’s, Waterloo, London 2005-6 Boat and five stained glass windows, St Andrews, Waterloo, London 2004 Wheat Spire, CYZ Mumford Mill, Deptford, London 2003 Seed, Andersson Hall private office Pimlico, London 2002-8 Designer for Ancestor in the Chalk, Elemental and Wild Dreams with Glyndebourne Youth Opera 2002 Deptford Star and Egg, Housing 21 / Creative Lewisham Agency, 2000 Spire, with The Contemporary Art Society at The Economist, London 1998 Faircross Arches, Faircross Community Complex, Barking, London 1997 Incarnation, Church of the Holy Family, RAF Halton, Buckinghamshire 1987 Hawk, Dancer Diana Payne Myers

With many thanks to Susan Haire, Sophia Pemberton, Liz Harrison, Cole Pemberton, Anders Bach.

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SELECTED GROUP EXHIBITIONS

2014 From Bomberg to Rego, Southampton City Art Gallery (artist, co-curator)

I Wish, (Studio Screening), Sound and Silence, APT Gallery, Deptford, London

Between the Lines, Mine Sanat Gallery, Istanbul, Turkey

Tipping the Line, Occupy My Time Gallery, Deptford, London

The London Group on London, The Cello Factory, Waterloo, London

Switch, Pulchri, Den Haag, Netherlands 2013 Photography and Video, Ozo Coffee House, Istanbul, Turkey

+ 100 The London Group Today, The Cello Factory, Waterloo

A Decade of The Mark Tanner Sculpture Award, Standpoint Gallery, London The London Group at 100, Mottisfont, Romsey, Hampshire

The London Group Centenary Exhibition, Pitzhangar Manor Gallery, London 2012 Berlin Tee Party, The Wye, Berlin, Germany

Free Zone/Çanakkale, Erkan Yavuz Experimental 2012 Art Studio, Çanakkale, Turkey

On My Behalf, The Cumberland, Mayfair, London

Delineation, APT Gallery, Deptford, London

BOOKS

Territory and Boundaries, Kensington and Chelsea College, London 2011 Fast Forward>> NCL, Globe Gallery, Newcastle

Design and Print Now, Bearspace Gallery, Deptford, London

London Group Open, The Cello Factory, Waterloo, London

Contrary Voices / Changeable Realities, Kare Sanat Gallery, Istanbul

Invaluable, APT Gallery, Deptford, London (artist, co-curator)

Bosphorus Art Fair 4, Istanbul, Turkey

Crafty Animators, Thelma Hulbert Gallery, Honiton, Devon 2010 Meeting Point, 20th Istanbul Art Fair, Turkey

Mix, APT Gallery Deptford, London

Commission, Wallspace, London Wall, London

Fictional Realities, Transformation 2. Çanakkale Biennial, Turkey

Bounty, The Morley Gallery, London

Exteriority, St John’s Wood with Summaria Lunn Gallery, London

Print Now, Bear Space Gallery Deptford and London Art Fair 2009 South East, APT Gallery, Deptford X, London

London Group Open, Menier Gallery, London

Art and Dis-grace, The Bargehouse, London

Drawing Act and Artefact, Morley Gallery, London

Eastern Approaches, Hatfield House, Hertfordshire

Stand Alone, The Cello Factory, Waterloo, London 2008 Concrete Dreams, APT Gallery, Deptford, London

London Group, Menier Gallery, London 2007 London Group Open, Menier Gallery, London

Bounty, APT Gallery, Deptford, London

Deep Inspiration, Jerwood Space, London

ArtSway Open, Sway, Lymington, Hampshire 2006 Steel, Canary Wharf, London

Heavenly Bodies, Burghley House, Lincolnshire

Fe2O5, APT Gallery, Deptford, London 1993-05 Sculpture Garden, New Art Centre, Roche Court, Salisbury, Wiltshire 2005 Creek, Henley River and Rowing Museum, Oxfordshire FeO5, Darlington Arts Centre, Devon 2005 Me You Our Art, Bishops Square, Spitalfields, London 2004 Outdoor Habitats, Museum of Domestic Architecture, Middlesex University London

Fantastic Plastics, 20-21 Visual Arts Centre, Scunthorpe, Lincolnshire

2003 Yokohama International Art Exhibition, Japan (Residency)

Creek, APT and Frameworks Galleries, Deptford, London 2002 Art in the Garden, The Chelsea Physic Garden, London

Deptford X, APT Gallery, Deptford, London 2001 Contemporary Sculpture, New Ashgate Gallery, Farnham, Surrey

Dead Happy, (artist and curator) St John’s, Waterloo, London 2000 Labour of Love, Noordbrabandt Museum, Hertogenbosch, Holland 1999 Labour of Love, Kunsthalle. Mannheim, Germany

Vessel, Hampshire Sculpture Trust, Portsmouth Cathedral, Hampshire 1998 Twentieth Century Sculpture, Millfield Arts Project, Somerset 1998 Art Futures, Contemporary Art Society, Royal Festival Hall, London

Labour of Love: Drawings from Sculpture at Goodwood, Pallant House 1998-00 Sculpture at Goodwood, Chichester, West Sussex 1997 Art at 100, Park Lane, London Semi permanent display, London School of Economics, London 1996 Sculpture Garden, Mount Ephraim, Kent

Fabulous Beasts, Hampshire Sculpture Trust

The Spirit in Art, Beatrice Royal Art Gallery, Eastleigh, Hampshire 1995 Visual Arts Year Sculpture Commission Exhibition, Newcastle Cathedral 1993 The London Group’s 80th Open Exhibition, Barbican Centre, London

Open Door, Barnard’s Inn, Holborn, London 1990 Steel by Design, Scunthorpe Museum and Art Gallery, Lincolnshire 1990-1 Gallery Shurini, Piccadilly, London 1998 Identity, Chisenhale Gallery, London 1983-4 Tyne Tees Northern Open, Laing Gallery, Newcastle and North East tour 1982 Drawings, The Laing Gallery, Newcastle 1981 Exhibition of Drawings, Laing Gallery, Newcastle

Gifts, Clare Whistler, Elephant Press (2016) Thinking is Making Presence and Absence in Contemporary Sculpture, Martin Herbert, Miranda Strang, Fiona MacDonald Black Dog Books (2013) Sculpture at Canary Wharf, A Decade of Exhibitions, Ann Elliott (2012) Contemporary Art in British Churches, Laura Moffatt, ACE (2010) A Vision for Twenty-First Century British Sculpture, Goodwood (2002) Knitware in Fashion, Sandy Black, Thames and Hudson (2002) Chichester Spire, Paul Foster Otter Memorial Papers (2001) British Contemporary Sculpture, Sculpture at Goodwood (98/99 and 99/00) Sci-Art Partnerships in Science and Art, The Wellcome Trust (1998) The International Women’s Art Diary, The Women’s Press (1993) The Women Artists Diary Open Letters (1991) PERMANENT COLLECTIONS INCLUDE

London School of Economics Banque AIG, Curzon Street, London Institute of Child Health, Great Ormond Street, London John E. Young, New York, USA Hammerson PLC, St George’s Hospital, Tooting, London

Designed by Raphael Whittle Printed by Elephant Print Ltd ISBN 978-0-9931685-8-1 Published by Art in Perpetuity Trust 6 Creekside, Deptford, London SE8 4SA 020 8694 8344 aptstudios.org Registered Charity No 1045363 victoriarance.com instagram.com/victoria_rance twitter.com/@victoriarance facebook.com/Victoria.Rance victoriarance@btinternet.com

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