Recent work blends sculptural and painting techniques used in both mechanical and biological applications, such as auto-body repairs, customisation, surgery and cosmetics. Aesthetic decisions are chosen under the influence of standard setting organisations and makeup trends, which attempt to formalise measures aiming for something to appear enhanced, perfected, and ageless.
The installation of each work makes use of existing hanging guides and protocols found outside the exhibition space, but invents new standards too for the sake of formality within the display. An electrical socket becomes an abstraction reduced down to its most common contours, stripped from function and limited to the purely cosmetic.
Combining silicone, various soft metal alloys and high strength protective finishes; the works bind resilience and fragility. Less invasive superficial procedures provide possibilities comparable to a regenerative facelift. The works are dependent on the practicalities of things, but focused on the potential for adaptation, and the physical impact of how colour and contour can affect response.
Natalie Dray (b.1988 Portslade, UK) lives and works in London. She holds a BA in Fine Art and Art History from Goldsmiths, University of London and a Post Graduate Diploma from the Royal Academy, London. Forthcoming and previous exhibitions include Hester, New York (July 2016 - group); David Dale Gallery, Glasgow (June 2016 - group); Dray, Cell Project Space, London (2015 - solo); Cookie Gate, Ellis King, Dublin (2015 - group); RAS Show, Royal Academy of Arts, London (2014 - group); Premiums, Royal Academy of Arts, London (2013 - group); Palazzo Peckham, 55th Venice Biennale ,Venice (2013 -group); Young London, V22, London (2013 - group); Make Your Own Opoly, Project Number, London (2013 - solo).
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Installation is comprised of 28 individual works.
All works accompanied by a certificate of authenticity.
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