Martin Westwood was born in Sheffield in 1969 and obtained an MA in Fine Art from the Royal College of Art, London, after his BA in the same subject at Chelsea College of Art and Design.
Westwood investigates social and psychological spaces through sculptural installation, making reference to commercial culture and the role economics has on our lives. He is known for using corporate props and materials such as newspapers, carpet tiles and paperclips as components of his large-scale installations.
Recent solo exhibitions include Blind Eyes Turning, The Approach, London, 1999; fatfinger (HAITCH, KAY, EKS), Project Arts Centre, Dublin, 2003; Angelus Novus, Collective Gallery, Edinburgh, 2004; Art Now Project Space, Tate Britain, 2005 and Silt Inter Lace, The Approach, London, 2008. Recent group exhibitions Heart and Soul, Sandroni Rey Gallery, Los Angeles, 2000; The Galleries Show, Royal Academy, London, 2002; Metropolis Rise, Shanghai and 798 Space, Beijing, 2006 and Prospects and Interiors: Recent Acquisitions of Sculptors’ Drawings, The Henry Moore Institute, Leeds, UK, 2008.
The artist lives and works in London.
June 27, 2012Bold Tendencies
30th June – 30th September 2012
Bold Tendancies, Level 7-10, Peckham Multistory Car Park, 95A Rye Lane, Peckham, SE15 4ST
Bold Tendencies, the celebrated sculpture show dedicated to showcasing new work by international artists, held on the top floor of a disused multi-storey car park in Peckham. Bold Tendencies has commissioned six major large-scale new works for 2012 by: Laura Buckley, Sarah Cain, Carter Mull, Peles Empire (a collaborative work by Katharina Stoever and Barbara Wolff), Mary Redmond & Martin Westwood.
April 4, 2012Supermen Made You But Only Superfluity Will Release You
Galerie Fons Welters presents the first solo exhibition of British artist Martin Westwood. Scattered through the main space of the gallery, self-contained sculptures and wall based works form a constellation that generates a veil of playful alchemy, connecting the natural and architectonic elements. In Westwood’s work the recognizable embraces the abstract and solidifies the familiar strangeness of the quotidian.
The Approach presents an exhibition of a new sculptural works by Martin Westwood. Westwood has populated the gallery space with a grouping of sculptures that take as their source material types of superfluous, peripheral objects that are readily found in everyday day life. Plucked from the realms of office industry, commerce and travel, he chooses forms that have evolved to perform highly specified functions. Shown as press casts and exaggerated reproductions of the originals, the surrogates of an inflatable travel pillow, the parcel shelf of a car, boxes of A4 office paper, thick sheets of partition glass used in banks or post offices, a charity collection box and puff pastry. One step removed from the original, the replicas, when elevated to the status of art object, are tinged with a precious, surreal quality. The viewer is not encouraged to believe that these are stand-ins in terms of function. Westwood renders them devoid of any purpose other than sculptural, highlighting their tentative place within a new system of objects. He simultaneously draws attention to the both the original objects’ loss of function and their newly attained value as artwork.
For a number of years Martin Westwood’s work has focused upon reinterpretations of the histories and technologies of print in relation to his practice as a sculptor. Westwood’s interest in renegotiating or toying with the mechanisations inherent in print have gone hand in hand with a fascination with the politics of finance and early money, and the realization of it as an initiating form of print and mass-produced object, through the first stamping of coins.
Artforum, December 2003
Martin Westwood comes in at number 3 in Artforum's round up of the best of 2003. Read his entry here.
Art Review, May 2007
Luke Heighton reviews Martin Westwood's solo show at The Approach, London, 4th March - 15th April 2007. To read the article, download it here.