Join artist Florence Peake as she discusses her exhibition, RITE: On this pliant body we slip our wow!
Members and Patrons priority booking until Saturday 31 March
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11am: Artist talk starts
12noon: Gallery opens to public
£7, £5 Members, FREE for Patrons
Limited capacity, booking essential.
Florence Peake is a London-based artist who has been making work since 1995.
A selection of recent exhibitions includes Andromedan Sad Girl, a collaborative exhibition with Tai Shani at Wysing Arts Centre (2017), RITE at Studio Leigh, London (2017), Walled Gardens in an Insane Eden, Sara Zanin Gallery, Rome (2017); The Keeners, SPACE, London; Voicings, Serpentine Gallery Offsite Project, London (2016); Lay me down, NoTT Dance Festival, Nottingham, UK; Modern Art Oxford, Oxford, UK (2015); Swell the Thickening Surface of, Hayward Gallery, London (2014); MAKE, BALTIC, Gateshead, UK; Swell the Thickening Surface of, Tintype, London (2013); Yorkshire Sculpture Park, Yorkshire, UK; REMAKE, Baltic 39, Gateshead, UK; Lanchester Gallery, Coventry, UK (2012); Chorus; Paper Portraits, National Portrait Gallery, London (2010).
As a trained dancer Florence Peake’s background in choreography and painting stimulates a studio practice that is both diverse and immersive. Often working performatively to incorporate drawing, painting and sculptural materials, Peake’s work explores the relationship of materials to the moving body.
Through public performances and carefully choreographed works Florence Peake challenges notions of physicality, loss and political concerns such as the commodification of art by the corporate world. By encouraging chaotic relationships between the body and material, Peake creates radical and outlandish performances, which create temporary alliances and micro-communities within the audience. In believing that objects and materials have their own autonomy and subjectivity, Peake draws on the expansive vocabulary of materials to enhance and contextualise her work. The sculptural works operate as documentation of the performance, but never in a reductive way, as Peake attempts to incorporate the effect of site, audience and much more than the pure physicality of the performance.
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