Gaynor Evelyn Sweeney

John Moores University, Liverpool: B.A. (Hons) Fine Art Degree (Graduation 2002).

The Open University, Milton Keynes, England: B.A. (Hons) Art History Degree (Graduation 2004).

Liverpool School of Architecture, Liverpool University : M.A. Visual Arts in the City (Pending Graduation 2004).

CADT (Centre for Arts Development and Training), Liverpool: Vocational Arts Management Programme NVQ4 (2003).


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Artist Statement:

It is my objective to question the relevance of aesthetics, not merely within an artistic context, but reflected in contemporary society's fascination with superficiality. This is not to recognise aesthetics as irrelevant or futile, as all art and human interaction depends on the visual. However, society has detached itself, self-consumed by the mortal shell or the mere surface in art.
This prevalence demonstrates an apathetic society and culture captivated by superficiality. To this extent, we endeavour to even reshape ourselves through the process of plastic surgery and other means to personify the perfection as acclaimed to works of art, such as the Mona Lisa. Hence, I impassively use my body with indifference to my spirituality and persona, those elements that truly constitute who I am. My body is but a shell, yet this exterior, which will grow decrepit with age and decay in death is only that, a carriage to convey who I am. We are formed by mind, body and soul, but separate our physicality from our spirituality and thought.
When considering art within the context of life and the declaration of ones existence can the essentialist of our being be reduced to the mechanistic processes, as rendered by technology?
Can what we understand as abstract thought be dissected, and condensed to a comprehensible level on such a principle? Or alternatively, can something not alive, such as the abstraction, desire to be alive. This analogy seems to answer itself.
Nonetheless, this type of philosophical predicament is intriguing to the artist, as it necessitates the underlying and intrinsic question of ontology, creativity, desire and myths, such as Mary Shelley's Frankenstein, the genesis of Adam and Eve and the origins of Prometheus.

 

Collaborations with Sumer Erek and Gaynor Sweeney:

 

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Projects/Commissions
• Louvre, Paris, France..
Ars Gratia Artis Perdu (Live Performance), 2003.
• Liverpool Culture Company, Culture Bid 2008, Liverpool, England..
Realisations, Palm House (Exhibition), 2003.
• Liverpool Culture Company, Culture Bid 2008, Liverpool, England..
Realisations, Walker Art Gallery (Exhibition), 2003.
• Liverpool Culture Company, Culture Bid 2008, Liverpool, England..
Realisations, Bronte Community Centre (Workshops), 2003.
• Liverpool Culture Company, Culture Bid 2008, Liverpool, England..
Realisations, Atrium, Liverpool Echo and Daily Post (Live Performance/Exhibition), 2003.
• Blue Coat Gallery, Liverpool, England.
Apocraphillia (Live Performance/Forum), 2003.
• Tate Modern, London, England.
Canonized Anthology (Live Performance), 2002.
• Liverpool Biennial 2002, LBK, Liverpool, England.
Transcension (Installation/Live Performance), collaboration with Alexei Kostroma, 2002.
• Liverpool Biennial 2002, Blue Coat Gallery, Liverpool, England.
Excentris (Live Performance) collaboration with Guillermo, etc., 2002.
• Liverpool Biennial, 2002, Egg Gallery, Liverpool, England.
Colours of a Female (Live Performance) 2002.
• Liverpool Biennial 2002, St. Johns. Liverpool, England.
The Bath (Installation and Performance) collaboration with Sumer Erek, 2002.
• Liverpool Biennial 2002, St. Johns, Liverpool, England.
Whores of Babylon (Sculpture/Installation/Performance), 2002.
• Little Mermaid, Copenhagen, Denmark.
Once upon a time…! (Performance), 2002.
• John Moores University, Liverpool School of Art, Liverpool, England.
End of Year Show (Live Performance at Graduation Exhibition), 2002.
• The Egg Gallery, Liverpool, England.
Cow Says Wor! (Art Exhibition), 2002.
• The Egg Gallery, Liverpool, England.
Bags (Art Exhibition), 2002.
• Museum of Modern Art, New York, USA.
The Death of Les Demoiselles d’Avignon (Performance), 2002.
• Jump Ship Rat Gallery, Liverpool, England.
Ten in the Bed (Art Exhibition), 2001.
• Louvre, Paris, France.
Ars Gratia Artis (Performance) 2001.
• John Moores University, Liverpool School of Art, Liverpool, England.
The Eclectic (Art Exhibition), 2001.
• Society Night Club, Liverpool, England.
Circque de Société (Promotional Event), 2001.
• Southport College, Southport, England.
End of Year Show (Art Exhibition), 2000.
• Mr Bill Foster (Liberal Democrat Councillor - Halton Borough Councillor).
Family Portraiture (Commission), 1999-2000.
• St. Bertelines CofE Primary School, Runcorn, England.
Educational Chart (Commission), 1999.
• St. Bertelines CofE Primary School, Runcorn, England.
School Prospectus (Commission), 1999.
• Apprentice and administrative in marketing and organisation of art exhibition for Mr Robert Allan Sweeney (Snr.), 68 Lockgate East, Runcorn, England.
The African Experience, 1997-1999.
• 53rd Edinburgh Film Festival
Film Production: Interview with a Zombie, 1998.
Additional promotion by invitation to screen at the N.B.X.
• West Runcorn Youth Club, Runcorn, England.
Promotional Poster (Commission), 1995.
• Halton Child Support Contact Centre, Runcorn, England.
Public Notice (Commission), 1995.
• Mr John Walsh (MA), (Writer).
11 Canal Reach, Runcorn, WA7 6LA.
Illustrations (Varied), 1995-1996.

 

Gaynor Evelyn Sweeney

John Moores University, Liverpool: B.A. (Hons) Fine Art Degree (Graduation 2002).

The Open University, Milton Keynes, England: B.A. (Hons) Art History Degree (Graduation 2004).

Liverpool School of Architecture, Liverpool University : M.A. Visual Arts in the City (Pending Graduation 2004).

CADT (Centre for Arts Development and Training), Liverpool: Vocational Arts Management Programme NVQ4 (2003).


For sales, commissions and to send comments to the artist.

 

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