VICTORIA RANCE: THE NIGHT HORSE AND THE HOLY BABOON Sculptures, drawings, photographs and animations 2007-2017
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front cover The Holy Baboon 2017 felt, wood, wool H 25cm back cover The Night Horse 2017 cardboard, felt, pistachio shells, cotton, wool H 18cm this page SOS (digital image) 2013 SOS (sculpture) 2013 copper, wool H 62cm
VICTORIA RANCE: THE NIGHT HORSE AND THE HOLY BABOON Sculptures, drawings, photographs and animations 2007-2017
23-30 October 2017 The Cello Factory, 34 Cornwall Road, Waterloo, London SE1 8TJ
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INTRODUCTION ANNA McNAY
OCTOBER 2017
A cast of black-and-white characters cavort
across the screen: Rat Man, Long-Eared Bat
Person and Loki, a mysterious shape-shifter and epitome of the Trickster. It is Fasnacht – a night
of wearing masks and releasing one’s innermost repressed psychological realities. In Carl Jung’s theory of archetypes, the Trickster is an anti-
intellect figure, entertaining and mischievous,
yet bearing a deeper wisdom about the world.
Fasnacht invites the Trickster to come out and
play, and, in Victoria Rance’s short film, come out and play he does.
Much of Rance’s work deals with archetypes
and the wearing of masks, exploring what Jung describes as the compromise between what
one likes to be and how one likes to appear – the persona as it stands in contrast to the
personality. Her cast of recurring characters,
besides Loki and his friends, includes Medusa,
Perseus, Nuit (the goddess of the sky), and, most recently, the Night Horse and the Holy Baboon. Her Sculptures to Wear include caterpillars, a
worm, and wasp spiders – a striking variety of
arachnid that disguises itself as a more harmful species to evade a common predator.
This theme of (self-)protection and vulnerability
permeates Rance’s practice, and if one archetype can be said to lie at the heart of her work, it is
the Mother, whose attributes Jung describes as ‘maternal solicitude and sympathy; the magic
authority of the female; the wisdom and spiritual 2
still from Fasnacht 2013 stop frame animation 2 minutes 16 seconds
exaltation that transcend reason’. On the negative side, the Mother may connote: ‘anything secret, hidden, dark; the abyss, the world of the dead,
anything that devours, seduces, and poisons, that is terrifying and inescapable like fate’. Together he formulates the ambivalence of these attributes as ‘the loving and terrible mother’.1
For Rance, there is always this ambivalence
between good and bad, violence and serenity, with her characters often coming in opposing pairs. While her work frequently draws on
the darkness that lies beneath, she seeks not to shock, but to mend or to help. Space for a Girl
(2011), for example, was made as a safe space for her niece, while SOS (2013) was made as a form of psychological armour with her own daughter in mind.
Since 2013, Rance has been working on the
project I Wish, begun at Deptford X, but since carried out in schools, hospitals and refugee
centres. Participants tell her their wish, and she – or sometimes the participant him- or herself –
makes a talismanic object in response. No one but
the person for whom they are made gets to handle them or disrupt their energy. There is a space,
through its repeated use of the circle and mandala, in itself a form of the Mother archetype.
The Night Horse and the Holy Baboon respond
very much to current political climes, the former
growing out of a Nigerian amulet Rance discovered in the Pitt Rivers Museum, Oxford, two days after the election of Donald Trump. One of the beliefs of the Mba tsav secret society of the Tiv people of Nigeria was that they could mount this horse,
become invisible, and travel long distances at night to kill their enemy. The Holy Baboon – perhaps
unwittingly a little Trump-like in appearance – is the opposing counterpart, who, as temple guardian,
blocks this murder from taking place. The yellow of the baboon corresponds to the centre of the
visible light spectrum, the wavelength where Jung believed consciousness to sit, striking a balance and bringing unconscious urges into check,
much as Rance’s work as a whole both reveals and acknowledges the disturbing things that are going on around us before offering an
alternative or means of protection: uniting the
knowing and the not-knowing, the visible and the invisible, the supernatural and the rational, the loving and the terrible.
Rance believes, for some much-needed hope
and positive thinking in contemporary society – where atheism and helplessness prevail.
Jung speaks of ‘the place of magic transformation and rebirth’ – a place that Rance’s art conjures
1 CG Jung, Four Archetypes, 1970
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SPACES FOR ... “This ornate work is a cage, a screen trapping
its subject into a corner. The ambivalence is clear
in the way that this structure offers protection and
security but it leaves no room to manoeuvre. It’s a ‘freedom’ in security which involves
considerable sacrifice.”
KATY DEEPWELL, ART CRITIC
This series of works, begun in 2007, explores
how physical and emotional spaces in society
are occupied according to gender. This led to a European Cultural Foundation Travel Award
Residency in Istanbul in 2011 in which Victoria
Rance visited and studied historical harems and the female-only areas of mosques.
Space for a Woman 2007 silicone, bronze, steel H 172cm 4
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SCULPTURE TO WEAR “A sheltering skin that protects or alters the sense of self, provoking ambivalent responses in the wearer and the viewer.�
VICTORIA RANCE
Victoria Rance has made more than thirty
Sculpture to Wear works over the past decade
in materials ranging from iron to ostrich feathers
inspired by ceremonial architecture and clothing,
both contemporary and historical.
Themes of mimicry, disguise, masquerade and armour run through these works, which act to
shield the inner life of the wearer.
Her Skin (photograph) 2008 hand printed black and white C-type H 40.5cm Her Skin (sculpture) 2008 iron, steel H 185cm 6
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Caterpillars (photograph) 2009 hand printed colour C-type H 25cm
Caterpillars (sculpture) 2009 dyed string, MDF variable dimensions 8
Long Eared Three Eyed Bat Person 2013 felt, scrim, shells, wool H 111cm 9
ANIMATION “Across her career Rance has animated her
sculptural works in photography and film. Medusa
and Perseus, screened in Istanbul alongside all the
sculptural elements contained in the film in 2012, is a black-and-white animated drama of Perseus
slaying Medusa. In Rance’s version, Medusa rises up underneath Perseus when he believes she is
vanquished: vast, invincible, ur-symbol of chthonic woman. This work refers to an underground tomb
– Yerebatan Sarnici – in Istanbul, the building above raised on vast stone columns. The base of one
of these columns is a vast Medusa head, “upside down, half-buried, rejected and repressed, yet
supporting the whole”. The piece hints at her anger
at the failings of “a world made by men”, with its rule
of power, violence, and continuing inequality.” FIONA MACDONALD
THINKING IS MAKING, 10 YEARS OF THE MARK TANNER AWARD PUBLISHED BY BLACK DOG BOOKS 2013
still from Medusa 2011 animation 2 minutes performer Nina Villanueva Rance, composer Jethro Pemberton 10
OTHERWORLD “I wanted to turns inwards and make small handholdable pieces that have a presence. I always
think of the Giacometti’ sculptures he sent in a matchbox. Sculptures don’t have to be big to
matter. The spirit of them is the important thing.”
VICTORIA RANCE
In Otherworld, a series started in 2015, Rance
looks at the connections, real and mythological,
between humans, animals and nature. She creates
groups of tiny detailed pewter sculptures and
sets them in tableaux scenes. The mythological
character ‘Loki’ is a key figure; a mischievous shape-shifter, a psychopomp like Hermes/
Mercury who moves between gods and mortals,
the conscious and the unconscious. Previews of
Otherworld have been shown at Morley Gallery and Lubomirov-Angus-Hughes London, but this
is the first time that the series has been shown in its entirety.
Creek (Four Sisters) 2015 pewter H 13cm 12
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The Apology 2016 pewter H 13cm 14
Loki 2015 pewter H 12cm 15
I WISH “Objects that are loaded with a meaning that is outside our material value system.” VICTORIA RANCE
I Wish is an ongoing project started in 2013 where participants (who have included hospital patients, refugees and school children) are invited to
describe a wish to Victoria which she then makes into a talismanic type object. She photographs
each ‘wisher’ holding their object. Through these works, Victoria explores our relationship with
superstition and spirituality, and the power
of hope. I Wish has been commissioned by
Queen Elizabeth Hospital, Invicta and Montebelle Schools, and Deptford X in the South London
Boroughs of Greenwich and Lewisham. I Wish,
a film recording the project, was awarded a Deptford X prize in 2014.
still from I Wish 2014 film 8 minutes composer Lynn Yang opposite Nine Wishes 2013-2017 16
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THE NIGHT HORSE AND THE HOLY BABOON “They have nostalgic colours reminding me of
toys from my childhood, but blown up versions. Funny but menacing.”
JOANNA KIRK – ARTIST
Two new works made for The Cello Factory retrospective are large scale mixed media
sculptures of two mythical creatures: The Nigerian
Night Horse and the Egyptian Holy Baboon.
The Night Horse can be ridden without anyone
seeing the rider. The conceit is that you can ride
the horse to kill your enemies in secret and return
unnoticed. The Holy Baboon is a temple guardian that watches over sacred places and morality.
The Holy Baboon believes that murder is wrong – so the two separate creatures face each other.
The themes of invisibility, morality, ‘inner’ and ‘outer’ selves run throughout Rance’s work.
The Night Horse and The Holy Baboon (installation) 2017 wood, steel, felt, wool, palm, plaster, polyester H 354cm 18
Long Eared Three Eyed Bat Person 2013 Felt, scrim, shells, wool 70 x 111 x 16cm VR as Loki 2013 animation still on Fujifilm crystal archive paper 20 x 30cm Creek (Four sisters) 2015 pewter 14 x 18 x 15 cm Loki 2015 pewter 10 x 5 x 3cm Loki 2016 ink on paper 14.5 x 21cm Wish 63 2017 pewter 6 x 6 x 0.5cm The Night Horse and the Holy Baboon 2017 wood, steel, felt, wool, palm, plaster, polyester installation 354cm x 400 x 120cm
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Golden Monkey 2017 ink on paper H 30cm 20
Loki 2016 ink on paper H 21cm 21
INTERVIEW WITH ARTIST
JOANNA KIRK AND VICTORIA RANCE SEPTEMBER 2017
JK There is a continuity in your work which can be traced right back with the protective spaces which seem secretive but with a humility and gentleness about them. Tell me about Space for a Girl, it feels vulnerable, a bit like a stretcher, carrying someone. VR This piece started with emails to my niece dancer Nina Villanueva Rance. I wanted to make something especially for her, a sort of precursor to the I Wish project. I asked her to describe a safe place, and then I made something to give her those feelings. I had been reading Oliver Sacks and
his interview with Temple Grandin. In fact over a few years I made several versions of a film with this piece using Temple Grandin’s words about her Squeeze or Hug Machine but have not been able to finish it satisfactorily yet. JK Throughout a lot of your work there are ideas around caring and nurturing – leading up to the I Wish series. VR Yes my earlier architectural sculptures such as
Shelter, Ark, Spire and Mama came from this impulse, and you can step inside them. But there is the tension between looking after people and trapping them – I am ambivalent – it’s a difficult position. As a mother this is what you have to grapple with every day (and as a child deal with too). Even politically there is a current tension between the welfare state (or the pejorative term “nanny state”) and neo liberalism. JK Space for a Woman is a much more rigid structure referencing the confessional and armour. I remember when we went to the Wallace Collection and you spent a lot of time drawing the armour and helmets. VR I have drawn a lot of armour yes, but Space for a Woman is about the entrapment of women both literally and by culture. “Protection” taken to its limits entraps. I wanted it to look beautiful referencing both Islamic and Christian motifs. I think it’s hard for women to see the limits imposed on us by culture. Being protected can feel good, but there is a loss of control 22
and agency. I want this piece to feel claustrophobic and attractive at the same time. JK You seem very comfortable using a wide variety of materials. There’s a playfulness, a handmade feel and obvious enjoyment of the process. You’re not afraid of using anything together like wool and steel. I love that about your work. How do you decide what to use? VR Each piece has its own demands and I select intuitively. I want to find the boundary between sculpture and functionality, but more importantly for the materials to fulfil the psychological atmosphere of the piece. JK I remember when you made Caterpillars with Cole and Anders. When I look at your work I feel a deep sense of playfulness, you covered up the two children in wool, playing yourself. VR Yes I had such a freedom as a child from being the middle one of seven. We were always making things: camps, weapons, costumes and playing out in the woods or up the hill. Although it was chaotic and we were probably left too much to ourselves – it has given me a sense of total independence and freedom in what I do. JK When I come to visit you in your studio by Deptford Creek I’m very aware of the river and going into the womb-like studio which feels immersed in nature even though it’s urban. I see your tweets about the Creek and birds, and your concern with protecting them. I love your animal drawings. Would it be fair to say that you imbue your animals with some kind of spirit? VR Yes I do have a sense of communion with the wildlife around me, and it totally feeds into my work. I do identify with the heron on the creek and other wildlife. I am a primate! JK I’ve noticed you’ve been making these animal figures for a few years now. They’re very small but substantial pieces. What’s struck me about them is that you’ve been making
communities out of them like a child with a dolls house. Why do you feel drawn to these tiny figures? VR One of the things I was trying to do was counter the tendency to monumental sculpture. Public sculptures were getting bigger and bigger. I have also made big pieces and public sculptures. But what was going on in the art world was beginning to feel a bit macho. I wanted to turns inwards and make small hand-holdable pieces that have a presence. I always think of the Giacometti sculptures he sent in a matchbox. Sculptures don’t have to be big to matter. The spirit of them is the important thing. And once I started making a few they seemed to connect to each other and I enjoyed placing them together. The Apology I made as a group which I hadn’t done before. I had a dolls house as a child which I played with so much. In 2011 or so I found some dolls house furniture in a second hand shop in Deptford and it brought back to me the power of the small object when combined with imagination. I had already started the I Wish project before I started the Otherworld series.
In fact I learnt how to cast in order to make some of the talismanic objects, because pewter feels so lovely to hold and warms up in the hand. JK I’ve been following your I Wish project for the last four years. As well as a compassionate piece of work it’s beneficial to the recipients. VR I wanted to make work – mini commissions for people who couldn’t afford to do that. I wanted to make it more democratic. Also I was getting interested in the origins of art, how did it start? Thinking about it and looking at which objects have survived up to 30,000 years or more, it’s those magic objects. I saw the British Museum Ice Age Art exhibition, those things were treasured by people and they survived. I also had an exhibition in Osnabrück in collaboration with Sylvia Lüdtke which we called The Sleep of Reason after Goya’s etching.
In Osnabrück witches had been massacred in large numbers during the Reformation, we were thinking about them and the power of the rational versus the irrational – again ambivalently. But as William Blake saw there’s huge power in what gets locked in the irrational. Humans carry a space for magic. JK So last time I came to your studio I was completely bowled over by the new pieces. Large, bold, very witty and strident, confident pieces. I was wondering if this is another direction your work is going in. You can sit on the horse, again there’s that interactive quality. They have nostalgic colours reminding me of toys from my childhood, but blown up versions. Funny but menacing.
VR I think perhaps after working small for so long on the I Wish and Otherworld series something exploded. The characters come from the Otherworld series and the materials from the I Wish project. It was also a reaction to what was happening in the world which had become so dark. At the beginning of the year I went back to the Pitt Rivers Museum which I’d lived near and visited as a child. In a drawer I found a talismanic object, a Nigerian leather doll of a horse, which the label said made its rider invisible so you could kill your enemies at night unseen. While doing the I Wish project lately, and in other conversations so many women said they would like to kill Trump and I thought an imaginary way of doing it or expressing this would be helpful! But what about murder? How can we condone that? The Holy Baboon as a character came to my mind. The Holy Baboon wants to prevent The Night Horse, life is sacred. So it’s an imaginary scenario, and the world of the imagination is really important to me. JK I’ve always thought you had a very singular vision with your work, I love the playfulness and the sensuality and the wit in your pieces. All the work links up: the protective qualities, the nurturing. As human beings we need to be more nurturing and it’s a cold world out there. Your work brings in humanity – you’re not afraid to be vulnerable and that’s a strength. 23
VICTORIA RANCE BIOGRAPHY
EDUCATION
AWARDS
2008-9 MA Fine Art with PGCert in HE, Kingston University 1979-83 BA Hons Fine Art, University of Newcastle Upon Tyne 1978-9 Art Foundation, Banbury School of Art
2014 Deptford X, for I Wish (Film) 2011 European Cultural Foundation – Residency at 5533 Istanbul 2003-4 The Mark Tanner Award for Sculpture 2001 Japan 2001 for Dead Happy 2001 London Arts for Dead Happy
2017 Touchstone, APT Gallery, Deptford, London Shoreham Sculpture Trail, West Sussex The Mesh, Watermans Art Centre, London Personal Relations, Pulchri, Den Haag, Netherlands Personal Relations, Mirror Gallery, Vicenza, Italy 2016 Personal Relations, The Cello Factory, Waterloo, London A Threshold, APT Gallery, Deptford, London Metallic, Burghley House, Lincolnshire Works on Paper, The Lovely Gallery, London Fe216, Morley Gallery, London 2015 One Plus One, Lubomirov Angus Hughes, London Crossing Thresholds, Gallery Tettix, Thessalonika, Greece Need and Error, Zsenne Art Lab, Brussels, Belgium Hundreds and Thousands, Lubimirov Angus Hughes, London Twentieth, APT Gallery, Deptford, London Venice Pavilion in London, HartsLane, New Cross, London Side Effect, Galeri Ark, Istanbul, Turkey Magic Lantern, Fringe Arts Bath Festival, Somerset I Wish, at Water Week, Herstmonceux Castle, East Sussex
SOLO AND TWO PERSON EXHIBITIONS
2016 Fasnacht, Deptford X, APT Live and Art Licks, London 2015 I Wish, Lewisham Refugee & Migrant Network, Deptford X, London 2014 I Wish (Film) Deptford X Fringe, London 2013 I Wish, Deptford X Fringe, London The Sleep of Reason, (with Sylvia Lüdtke) BBK Osnabrück, Germany 2012 Medusa Stories, (with Ruken Aslan) Chalabi Gallery, Istanbul, Turkey 2010 Invisible, (with Clare Whistler) The Lucy Bell Gallery, Hastings 2004 The Mark Tanner Award Exhibition, Standpoint Gallery, Hoxton, London 2002 The Office, Atrium Gallery, PricewaterhouseCoopers, Charing Cross, London 2001 The Holy Fool, St Mary Woolnoth, London 2000 Spire, The Economist Plaza, St James, London 1998 Victoria Rance: Sculpture, SmithKline Beecham, Harlow, Essex 1997 Annunciation Sculptures and Drawings, St John’s, Waterloo, London 1988 Victoria Rance, The Lancaster Arts Centre, Wycombe Abbey, Buckinghamshire 1987 Victoria Rance Forged Steel Sculptures, The Orangery, Holland Park, London 1986 Drawings of a Cellist, Wigmore Hall, London 1986 Victoria Rance Sculpture, London Zoo, Regent’s Park, London
COMMISSIONS
2017 2015
I Wish, Queen Elizabeth Hospital, Greenwich, London Memorial, St Laurence Church, Catford, London I Wish, with Lewisham Refugee and Migrant Centre for Deptford X 2008 Bridge, Warneford Hospital, Oxford 2008 Comforter, St Laurence Church, Catford, London 2006 Font, St Andrew’s, Waterloo, London 2005-6 Boat and five stained glass windows, St Andrews, Waterloo, London 2004 Wheat Spire, CYZ Mumford Mill, Deptford, London 2003 Seed, Andersson Hall private office Pimlico, London 2002-8 Designer for Ancestor in the Chalk, Elemental and Wild Dreams with Glyndebourne Youth Opera 2002 Deptford Star and Egg, Housing 21 / Creative Lewisham Agency, 2000 Spire, with The Contemporary Art Society at The Economist, London 1998 Faircross Arches, Faircross Community Complex, Barking, London 1997 Incarnation, Church of the Holy Family, RAF Halton, Buckinghamshire 1987 Hawk, Dancer Diana Payne Myers
With many thanks to Susan Haire, Sophia Pemberton, Liz Harrison, Cole Pemberton, Anders Bach.
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SELECTED GROUP EXHIBITIONS
2014 From Bomberg to Rego, Southampton City Art Gallery (artist, co-curator) I Wish, (Studio Screening), Sound and Silence, APT Gallery, Deptford, London Between the Lines, Mine Sanat Gallery, Istanbul, Turkey Tipping the Line, Occupy My Time Gallery, Deptford, London The London Group on London, The Cello Factory, Waterloo, London Switch, Pulchri, Den Haag, Netherlands 2013 Photography and Video, Ozo Coffee House, Istanbul, Turkey + 100 The London Group Today, The Cello Factory, Waterloo A Decade of The Mark Tanner Sculpture Award, Standpoint Gallery, London The London Group at 100, Mottisfont, Romsey, Hampshire The London Group Centenary Exhibition, Pitzhangar Manor Gallery, London 2012 Berlin Tee Party, The Wye, Berlin, Germany Free Zone/Çanakkale, Erkan Yavuz Experimental 2012 Art Studio, Çanakkale, Turkey On My Behalf, The Cumberland, Mayfair, London Delineation, APT Gallery, Deptford, London
BOOKS
Territory and Boundaries, Kensington and Chelsea College, London 2011 Fast Forward>> NCL, Globe Gallery, Newcastle Design and Print Now, Bearspace Gallery, Deptford, London London Group Open, The Cello Factory, Waterloo, London Contrary Voices / Changeable Realities, Kare Sanat Gallery, Istanbul Invaluable, APT Gallery, Deptford, London (artist, co-curator) Bosphorus Art Fair 4, Istanbul, Turkey Crafty Animators, Thelma Hulbert Gallery, Honiton, Devon 2010 Meeting Point, 20th Istanbul Art Fair, Turkey Mix, APT Gallery Deptford, London Commission, Wallspace, London Wall, London Fictional Realities, Transformation 2. Çanakkale Biennial, Turkey Bounty, The Morley Gallery, London Exteriority, St John’s Wood with Summaria Lunn Gallery, London Print Now, Bear Space Gallery Deptford and London Art Fair 2009 South East, APT Gallery, Deptford X, London London Group Open, Menier Gallery, London Art and Dis-grace, The Bargehouse, London Drawing Act and Artefact, Morley Gallery, London Eastern Approaches, Hatfield House, Hertfordshire Stand Alone, The Cello Factory, Waterloo, London 2008 Concrete Dreams, APT Gallery, Deptford, London London Group, Menier Gallery, London 2007 London Group Open, Menier Gallery, London Bounty, APT Gallery, Deptford, London Deep Inspiration, Jerwood Space, London ArtSway Open, Sway, Lymington, Hampshire 2006 Steel, Canary Wharf, London Heavenly Bodies, Burghley House, Lincolnshire Fe2O5, APT Gallery, Deptford, London 1993-05 Sculpture Garden, New Art Centre, Roche Court, Salisbury, Wiltshire 2005 Creek, Henley River and Rowing Museum, Oxfordshire FeO5, Darlington Arts Centre, Devon 2005 Me You Our Art, Bishops Square, Spitalfields, London 2004 Outdoor Habitats, Museum of Domestic Architecture, Middlesex University London Fantastic Plastics, 20-21 Visual Arts Centre, Scunthorpe, Lincolnshire
2003 Yokohama International Art Exhibition, Japan (Residency) Creek, APT and Frameworks Galleries, Deptford, London 2002 Art in the Garden, The Chelsea Physic Garden, London Deptford X, APT Gallery, Deptford, London 2001 Contemporary Sculpture, New Ashgate Gallery, Farnham, Surrey Dead Happy, (artist and curator) St John’s, Waterloo, London 2000 Labour of Love, Noordbrabandt Museum, Hertogenbosch, Holland 1999 Labour of Love, Kunsthalle. Mannheim, Germany Vessel, Hampshire Sculpture Trust, Portsmouth Cathedral, Hampshire 1998 Twentieth Century Sculpture, Millfield Arts Project, Somerset 1998 Art Futures, Contemporary Art Society, Royal Festival Hall, London Labour of Love: Drawings from Sculpture at Goodwood, Pallant House 1998-00 Sculpture at Goodwood, Chichester, West Sussex 1997 Art at 100, Park Lane, London Semi permanent display, London School of Economics, London 1996 Sculpture Garden, Mount Ephraim, Kent Fabulous Beasts, Hampshire Sculpture Trust The Spirit in Art, Beatrice Royal Art Gallery, Eastleigh, Hampshire 1995 Visual Arts Year Sculpture Commission Exhibition, Newcastle Cathedral 1993 The London Group’s 80th Open Exhibition, Barbican Centre, London Open Door, Barnard’s Inn, Holborn, London 1990 Steel by Design, Scunthorpe Museum and Art Gallery, Lincolnshire 1990-1 Gallery Shurini, Piccadilly, London 1998 Identity, Chisenhale Gallery, London 1983-4 Tyne Tees Northern Open, Laing Gallery, Newcastle and North East tour 1982 Drawings, The Laing Gallery, Newcastle 1981 Exhibition of Drawings, Laing Gallery, Newcastle
Gifts, Clare Whistler, Elephant Press (2016) Thinking is Making Presence and Absence in Contemporary Sculpture, Martin Herbert, Miranda Strang, Fiona MacDonald Black Dog Books (2013) Sculpture at Canary Wharf, A Decade of Exhibitions, Ann Elliott (2012) Contemporary Art in British Churches, Laura Moffatt, ACE (2010) A Vision for Twenty-First Century British Sculpture, Goodwood (2002) Knitware in Fashion, Sandy Black, Thames and Hudson (2002) Chichester Spire, Paul Foster Otter Memorial Papers (2001) British Contemporary Sculpture, Sculpture at Goodwood (98/99 and 99/00) Sci-Art Partnerships in Science and Art, The Wellcome Trust (1998) The International Women’s Art Diary, The Women’s Press (1993) The Women Artists Diary Open Letters (1991) PERMANENT COLLECTIONS INCLUDE
London School of Economics Banque AIG, Curzon Street, London Institute of Child Health, Great Ormond Street, London John E. Young, New York, USA Hammerson PLC, St George’s Hospital, Tooting, London
Designed by Raphael Whittle Printed by Elephant Print Ltd ISBN 978-0-9931685-8-1 Published by Art in Perpetuity Trust 6 Creekside, Deptford, London SE8 4SA 020 8694 8344 aptstudios.org Registered Charity No 1045363 victoriarance.com instagram.com/victoria_rance twitter.com/@victoriarance facebook.com/Victoria.Rance victoriarance@btinternet.com
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