bio

Clare Churchouse is a New York-based artist originally from the UK. She received a B.A. visual arts, Lancaster University and an M.F.A. art, Reading University (UK). She has participated in the International Studio and Curatorial Program, NYC; Triangle Workshop, NYC; Vermont Studio Center; and Art Omi, NY; and was a Bronx Museum Artist in the Marketplace (AIM) 2017 participant. Her work has been exhibited widely, including The Richard E. Peeler Art Center, DePauw University; the ISE Foundation, NYC; Art in General, NYC; NYU’s Kimmel Windows, NYC; Pierogi Gallery, Brooklyn; Smack Mellon, Brooklyn; The Bronx Museum of the Arts; Clove 2, London; and Berlin’s Deutscher Kunstlerbund eV. She is the recipient of a London Arts Board Artists Award, Birmingham University’s Barber Institute of Fine Arts Revision Award, and a John Anson Kittredge Educational Award.

 

My work explores the relation of drawing, often regarded as a system of mark making, to data visualization systems. I am investigating the intersection of these projected systems with the tradition of drawing – and in particular here – investigating this intersection with drawing that uses materials that minimally describe or are minimally altered, that focus on the tension between not much and something, and which are sited directly on the wall. I’m interested in how both drawing and data visualization systems address space and project or map 3-dimensional objects and social spaces into 2-dimensions.

I transform this data into spatial narratives, which are presented as wall-based installations. Fragments are outlined in thread that is tied to brads and, underneath, parts of image information systems are drawn directly on the wall with chalk and tape. Cartographic symbols and mapping conventions are translated into physical materials and marks on the wall that refer to both original site, projection and transcribed material. I usually structure each wall installation with more than one projection in order to play with spatial illusion. Within this perspectival space, parts of architectural plans, archival maps, objects, drawings of plants, weather conditions, and bodies of water translated as smears of modeling clay are located. The materials used in a straightforward way to create a play between raw material and described object.

Connections are made between memory and specific locations. These pieces are sometimes based on coastal erosion sites. I want the installations to contain a sense of fragility, change and space. I attempt to incorporate a sense of place and time, not by fully defining objects but by creating an incompleteness and openness to give the viewer room to create narratives from image fragments.