It is astonishing to observe the way our minds create memories that we can’t ignore. We keep traces of each story, each item, sometimes even obsessively. We live in a society that sanctifies memories. Many artists explore the concept of passing time. They try to stop time by freezing or resuscitating it in their work.
Philippa Beveridge is among those who express their vision of life through their favourite material, glass. This material changes continually in a perpetual trial of strength with light and transparency, as if it were living in a haven of memories and traces evoking unimagined reaches of infinity. Throughout her artistic career, Philippa Beveridge has questioned the notion of temporality.
She uses lost belongings that are charged with personal memories and, using printing and photographs, she builds on the theme of traces and memory. Each one of the pieces she makes in glass offer a definitive account of the moment when a memory emerges. The memory is trapped in glass. What was lost is found, and is reborn in the form of a work of art.
Lancelot’s Link, Southwark Cathedral, London Lovely to be exhibiting in such unique surroundings at such [...]
Recently selected as a new member, 20 glass feathers together with a feathered back piece are on show at the beautiful Contemporary Applied Arts gallery on […]
The artist’s work is the fruit of much reflection and observation of her environment. Philippa Beveridge establishes a close relationship with everything that surrounds her: the history of the place, people and objects. Ephemeral memory is the essential source of inspiration for her: she respects it and uses it to her advantage; she freezes this memory in glass in order to reveal a different reality.
Glass defies forms and vehicles thoughts. It can carry a great variety of messages. The fragility of a material that is so breakable but which can keep the traces of an irrevocable instant is akin to the vulnerability of a moment in time.
Philippa Beveridge has created a series of highly personal pieces involving as much technical as spiritual research. She devoted much time to experimentation, questioning her own ways of thinking. She met the people of a village that she is still getting to know, in search of sensations and feelings relating to passing time. The artist borrowed personal belongings (purses and wallets) that had sentimental value and cast them in glass.
She photographed papers or photo-mementos and incorporated them in her work, again revealing her preoccupation with seeking something that has been lost. By transforming what has been lost into little glass sculptures, she is in a
way restoring them symbolically. She gives the work a “current value”, that contains something of the past. The artist evokes Time by reporting something lost and dear to its owner. Transfixed in the material and revealed to the visitor’s eye, the purses express notions of time, memories and sentiments so as to favour metaphorical interpretations in relation to one’s own past. Lost and then found.