Dot Young creates sculptural responses in relief to narratives regarding environmental action and awareness. Most recently she celebrates the work of Kenyan environmentalist, Wangari Maathai, founder of the Green Belt Movement and Nobel Peace Prize winner.
Her work also celebrates the complexities of natural form, looking to 19th Century German Naturalist E Haeckel, exploring geometry, pattern and the complexities of biological structure.
The intricacies of her process, detail and archiving of sculptural fabrication are important to her and her approach to sculpting is referred to as 'slow sculpting', allowing whatever time is required to be taken, to become fully immersed and reflective. She believes that having this intense and intimate relationship with the work will be communicated in the outcomes.
Instagram: https://www.instagram.com/dotyoung_art/
Her work also celebrates the complexities of natural form, looking to 19th Century German Naturalist E Haeckel, exploring geometry, pattern and the complexities of biological structure.
The intricacies of her process, detail and archiving of sculptural fabrication are important to her and her approach to sculpting is referred to as 'slow sculpting', allowing whatever time is required to be taken, to become fully immersed and reflective. She believes that having this intense and intimate relationship with the work will be communicated in the outcomes.
Instagram: https://www.instagram.com/dotyoung_art/
Wangari Maathai (1940 - 2011)
'The Hummingbird'
Wangari Maathai
Wangari Maathai was an influential Kenyan environmentalist, political activist, academic and author, who founded the 'Green Belt Movement' in 1977, focussing on reforestation, conservation and women's rights.
She was the first African woman to win the Nobel Peace Prize in 2004 for her contribution to sustainable development, democracy and peace.
The relief artworks celebrate her life and work and depict a Kenyan Sunbird/Humming bird, sitting in a Kenyan Croton tree.
The Hummingbird refers to Wangari Maathai's short story about environmental action, and the Croton tree it sits within is an acknowledgement that the seeds that contain nuts, are becoming a new biofuel in Kenya.
Wangari Maathai was an influential Kenyan environmentalist, political activist, academic and author, who founded the 'Green Belt Movement' in 1977, focussing on reforestation, conservation and women's rights.
She was the first African woman to win the Nobel Peace Prize in 2004 for her contribution to sustainable development, democracy and peace.
The relief artworks celebrate her life and work and depict a Kenyan Sunbird/Humming bird, sitting in a Kenyan Croton tree.
The Hummingbird refers to Wangari Maathai's short story about environmental action, and the Croton tree it sits within is an acknowledgement that the seeds that contain nuts, are becoming a new biofuel in Kenya.
'Wangari Maathai'
The image above was designed as a symbolic representation of the environmental work being undertaken in Kenya and depicts a Croton seed, from a 19th Century print, flanked by a relief interpretation of an African Fabric design.
Posthumously, in 2012, in recognition of her life and work the Wangari Gardens in Washington DC were opened, a 2.7 acre area of community allotments.
Posthumously, in 2012, in recognition of her life and work the Wangari Gardens in Washington DC were opened, a 2.7 acre area of community allotments.
Natural Formations
Using traditional sculptural practices, Dot Young's work also considers the sculptural form and geometry found within nature and the environment, often referencing 19th Century naturalist illustrative work.
The outcomes focus on celebrating the intricacies and symmetry found in oceanic, botanical and cellular structures.
Hand sculpting, casting and finishing allows for imperfections in the natural interpretation of the referenced existing forms.
The work is immersive in its execution, taking as long as is required to execute with the intention of it being contemplative in its outcomes.
Using traditional sculptural practices, Dot Young's work also considers the sculptural form and geometry found within nature and the environment, often referencing 19th Century naturalist illustrative work.
The outcomes focus on celebrating the intricacies and symmetry found in oceanic, botanical and cellular structures.
Hand sculpting, casting and finishing allows for imperfections in the natural interpretation of the referenced existing forms.
The work is immersive in its execution, taking as long as is required to execute with the intention of it being contemplative in its outcomes.
'Gastroblasta'
Broccoli Romanesco
The 'Broccoli Romanesco' naturally reflects the definition of a fractal as 'an infinitely complex pattern that is self-similar across different scales, created by repeating a simple process over and over in an ongoing feedback loop'. (Fractal Foundation, 2018) The work is an homage to nature's natural geometric systems.
The 'Broccoli Romanesco' naturally reflects the definition of a fractal as 'an infinitely complex pattern that is self-similar across different scales, created by repeating a simple process over and over in an ongoing feedback loop'. (Fractal Foundation, 2018) The work is an homage to nature's natural geometric systems.
Sculptural Confections - Confection Reflection
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Dot Young's studio practice has previously explored the work of Urbain Dubois (1818-1901), French chef to Kaiser William of Prussia.
Dubois was passionate about architectural form, and often referenced it in his work, whilst proclaiming that culinary decoration was as valid as any other of the celebrated arts. Dot Young's sculptural interpretations of Dubois' illustrations are meticulously hand sculpted in clay, cast using a range of traditional moulding techniques and then hand painted and finished. The sculptural processes involved closely echo those of Dubois and the contemporary interpretations of his work continue to capture the architectural structure and aesthetics of the period. Link to the Sculptural Confections website: https://www.dotyoungsculpturalconfections.com/ |
Aurality of Objects
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'Aurality of Objects' is a research enquiry into the production of objects and materials, often in relation to the aural waste expended during their fabrication process and their visual journey of coming into being. It considers what value may lie in becoming sensitised to these echoes of fabrication, and if being sensitised to them would foster a responsibility for the objects fabrication on a more visceral level. |
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'Extension'
‘Extension’ applies the 'Aurality of Ojects' theory to human hair that is used in the hair and beauty industry internationally for hair extensions. 'Extension' tracks the visual and sonic history of a hair extension sourced from a hair and beauty salon in London, back to the Shri Venkateswara Hindu Temple in Chennai, India, where the hair was offered in an act of religious tonsure. The project focusses on the physical materiality of the hair and the shift in value as it travels from a religious to a commercial context. Extension is a collaborative project with Lex Kosanke, East German sound designer and composer based in London. The project was also produced with the help of Mahmoud Ardnekani, Department of Materials , Imperial College, London, who enabled us to produce micrographs of the hair at their laboratories. 'Extension' was originally presented at the Digital Gallery, LSBU, London in April 2015, as an immersive installation of film work and sound scape. It was later presented as a visual archive of project and live performance, as part of Deptford X, at the Art Hub Gallery, Deptford, London. I has also been presented as part of research programmes at Central School of Speech and Drama and Cardiff School of Art. In 2016, 'Extension' was reinterpreted as a 'Self-Assembly Artist's Book', online as a free download. The book takes the form of a leporello, with a visual narrative of the hair's journey and a Qr code, that links to the soundscape on Soundcloud of the micrographs and journey interpreted as a sonic score. 
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'CHAIR - A Life Backwards'
Click here to link to 'CHAIR-A life backwards' for more information about exhibition and events.
Chair- A life Backwards' at the Free Space Gallery, Kentish Town. Sound installation, sculptural artifact and photographic works.
A collaboration with Gregg Fisher, Senior Lecturer in Theatre Sound Design, RCSSD & freelance Composer and Pavel legonkov London based freelance Russian photographer. 'Chair', as work in progress, has been previously presented at conference in Athens, RCSSD research presentation forums, the London creativity and Wellbeing Forum 2013, South london Artmap and continues to develop.
The project is funded by D&B Audiotechnics, RCSSD Research department TQEF, The Small Grants Fund, The Maple Seed Foundation and would not have been possible without the co-operation of Stewart Linfords, Vastern Timber and Free Space Gallery
Chair- A life Backwards' at the Free Space Gallery, Kentish Town. Sound installation, sculptural artifact and photographic works.
A collaboration with Gregg Fisher, Senior Lecturer in Theatre Sound Design, RCSSD & freelance Composer and Pavel legonkov London based freelance Russian photographer. 'Chair', as work in progress, has been previously presented at conference in Athens, RCSSD research presentation forums, the London creativity and Wellbeing Forum 2013, South london Artmap and continues to develop.
The project is funded by D&B Audiotechnics, RCSSD Research department TQEF, The Small Grants Fund, The Maple Seed Foundation and would not have been possible without the co-operation of Stewart Linfords, Vastern Timber and Free Space Gallery
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'Corridor''Corridor' took the form of a series of installation works presented as part of 'Deptford X : Flux', in the lower basement of Lewisham Arthouse, in collaboration with London based artists Amanda Francis and Paul Jones.
Supported Funding, RCSSD, Research Department Technical Support, Ken Mizutani and Roberto Putzone RCSSD |
'Residual Matter'
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'Theatre Noise'
Theatre Noise Conference, Central School of Speech and Drama in London.
'Theatre Noise' was a diverse collection of events exploring the sound of theatre, from performance to the spaces inbetween.
The work for 'Installations 4, Residual Matter', was produced in collaboration with Justin Bennett, digital sound atist, The Hague, and with support from Ken Mizutani and Roberto Putzone RCSSD.
Theatre Noise Conference, Central School of Speech and Drama in London.
'Theatre Noise' was a diverse collection of events exploring the sound of theatre, from performance to the spaces inbetween.
The work for 'Installations 4, Residual Matter', was produced in collaboration with Justin Bennett, digital sound atist, The Hague, and with support from Ken Mizutani and Roberto Putzone RCSSD.
