|Medium||silver paint, metal mesh, and thread|
|Dimensions||29.7 x 21 cm|
|Bidding Open||Wed 12 April, 2017 at 10:00am|
|Bidding Ended||Tue 26 March, 2019 at 9:30pm|
Sarah Staton (b. 1961, UK ). Studied at St. Martins School of Art (1984-1988). She is Senior Tutor in Sculpture at the Royal College of Art. Beginning with model making, employed as a 3D drawing method, Staton creates sculptures for a variety of contexts including the public realm. Through allusions to utilitarianism, and an exploratory use of synthetic and natural materials, she creates spaces and objects that are marked by their socio-economic reality, seeking a modest purpose - to enable revelry and reverie. She uses materials' affective dimension – their ability to trigger associations and psychological responses – to supplement the established modernist coupling of form and function with a third term, feeling – an important but elusive texture for public art and urban design. Through 'threshold sculptures' which are simultaneously formal and functional, aesthetic and utilitarian, her off modern practice questions how design and the specific haptic properties of materials can dynamise site and experience. Awards include the UK Landscape award (2012); D&AD Award for catalogue Sticks, Stacks, Shucks, Sucks (2010); NYC Type Directors Club award (2009); and the Award for Sculpture from the Arts Foundation, London (2008). Select projects include creating embedded artwork for the London Super Sewer to be completed in 2022; Edith and Hans for University of Bristol (2016); Puppies, Teesside Universtiy (2015); Esperanto of Currency, filet, London (2015); Steve, Folkestone Triennial (2014).