Aylwin Greenwood-Lambert Nottinghamshire, United Kingdom
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Born 1981. Middlesbrough MA Fine Art (Distinction), Sheffield Hallam University, 2016 Recent exhibitions include Is This Real Lyf??, IOUAE, Newcastle (2017); Nature Here and Now, Wirksworth Festival, Wirksworth; The Kippenberger Challenge, De Appel, Amsterdam (Both 2016); Showdown, Bloc Projects, Sheffield; Prism 17, Millenium Galleries, Sheffield; Lorem Ipsum, The Tetley, Leeds (All 2015)

At some point I ceased to believe that using objects as symbols to pass ideas to an audience was a valid endeavour, as I found them far too slippery to be trusted to act as dumb middle men and saw any attempt to foist such a task upon them as futile. At the same time I realised that I found the objects I used to be far more compelling when left to their own devices than anything that I had to say with them.

I do not consider the objects I now make to be different from any others in the world in so much as they are made for one purpose or another, although the reasons for their existence are only ever intended to act as Macguffins to drive forward the production of the object. From this start various decisions are made and actions performed until something is brought into being. These decisions and actions vary from being as dumb and obvious as a bad joke to as opaque and obscure as an archaic and esoteric text carved upon a tablet in cuneiform. The finished objects act as a record of these decisions and actions - this is not to say these are explicit within them but none the less they are what gives the objects the qualities that will be read by an audience. It is an interest in how this manifestation takes place that lies at the heart of my practice to the extent that “it aint what you do but the way that you do it” can be seen as a kind of moto for it. However it is of no of particular consequence whether or not an audience necessarily ‘gets’ the processes that have led to an object although it is hoped that there is a coherency in these that manifests aesthetically within a finished piece. It is hoped this will draw an audience into attempting to make sense of what is presented and it is their interactions and the thoughts that arise during this process that are of significance. In fact ideally the act of viewing a work would be like experiencing a magic trick so that the possibility of the work being understood draws the viewer in endlessly without them ever having to face the dissatisfaction of fully comprehending it.

The only desire I have for how an audience engages with my work is that they approach it as an archaeologist would, treating the objects on display as artefacts from the practice that bore them and attempting to simultaneously piece together an understanding of both using what they know to be incomplete information (the objects I present are only a glimpse into the totality of something - as representative of my practice as a whole as the fossil record is of life on earth). I appreciate that such a perfect world is impossible as certain systems and situations more or less oblige me to give away additional information about my work, however it would be a mistake to take anything I do give away at face value, rather it should be treated as a magicians patter that can be used to misdirect as well as to inform or as a historical document who’s author may be as likely to be furthering their own agenda as providing an accurate record.

Artwork

Plane i - Delaware Crossing (after Stella), Frank Stella Catalogues, Hair GRips, Shelf, Paper, Mountboard, Frame, 2011

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Genuine Artefacts, Frames, Postcards, Transfers from Cigarette Cards, 2012

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Hung, Pencil, Spirit Level, Hammer Nails, 2012

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Prototype for Transport and Display, Mild Steel, Wheels, 2012

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Dig (i) - East Country Yard Show, Digital C Print, 2012

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Ornament i, B & Q Form Ornament Bracket, Brace Brackets, Nuts, Bolts, Spray Paint, 2012

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Glyphs iv (RheaDinS can nerFur BeakOm DiscOnNeckTed FrOM anY inDIvyDUelS nowLedJ aw EggsPearEyeAnts), JPEG, 2014

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Logo, EPS File Designed by Aidan Barrett, 2015

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Remora, March 2015 Art Monthly (Edition of 3500 approx), 2015

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Characters for Cheerful Conceptulists (Pangram 4), Fusible Beads, 2015

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Portal (for imagination & insight, creativity and intuition) , Hardboard, clear plastic tubing, towel rail brackets, gemstones (labradorite, amazonite, haematite), white emulsion, screws, mirror plates, 2015

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Studio Sign, Laser Cut Acrylic, 2015

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Filler, Foam Filler, Polyfiller, PVA Glue, Silicon SPray Residue, 2015

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Troglodyte, Digital Transfer to DVD, 2016

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Cave, Wallpaper, 2016

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Tour Jacket, Denim Jacket, Custom Embroidered Badges, 2015 - ongoing

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AbstractExperimentalSite-specific