Lindsay Seers
Care(less) Worms 2
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| Year | 2020 |
|---|---|
| Medium | Hybrid pencil drawing with digital elements |
| Dimensions | 29.7 x 21 cm |
| Nominated by | Victoria Pomeroy |
About the work
The Worms drawings were made for an extended postal project alongside a VR work called Care(less). I sent out sunflower seeds to 100 people (mostly on Facebook). My father used to give me sunflowers, so after his death I planted over a hundred giant sunflowers in our small garden. I found the regeneration of nature helped with the grief, its entropy and beauty in decay and regrowth.
I often make drawings such as this one of Worms as fragments, that are used in differing ways in other works. I used the Worms on my seed envelopes for the postal project.
I consider the act of drawing to be related to being conscious of an object (either present in memory or physically in front of you), a presence which is intensely felt as one looks again and again to try to see the thing in question with clarity. I think of drawing ontologically (about being). I am slow to draw – this drawing took about 6 hours (a long meditation).
When I was making Care(less) my father was trapped in the debacle of the UK care system and died before I could get a hoist for him to sit up. I dedicate this work to him.
About the artist:
Born 1966 Mauritius, Lindsay Seers lives on the Isle of Sheppey and works in London. Graduated from BA Hons Fine Art (Sculpture and Lens Based Media departments), The Slade School of Art, UCL (1995); and MA Goldsmiths (2001).
“To experience Seers’ work is to experience snapshots, rumours, doubtful information and fascinating fragments that refuse to add up to a neat, narratively satisfying whole. To experience one’s memory of her work is something else entirely. Recall Extramission 6 on a Monday morning, and it’s a story of childhood and exile. Recall it on a Tuesday night, and it’s a meditation on Platonic optics and 19th-century methods of indexing and surveillance. Memory does its work, generating different readings, different histories, and different shapes for the viewer’s future self to adopt.” – Tom Morton (Frieze)
Selected solo exhibitions include Vanishing Twin (Tetragametic Chimerism), Fotogalleriet, Oslo (2019); Suffering, MONA, Tasmania (2017); Nowhere Less Now⁷, Glynn Vivian Gallery, Swansea (2016); Entangled², (Theatre II), Matt’s Gallery, London (2013); Nowhere Less Now, Tin Tabernacle, London (2012); Extramission 6, TPW Gallery, Toronto (2011); It has to be this way², BALTIC, Gateshead (2011); and It has to be this way², Mead Gallery, Warwick (2010). Selected group exhibitions include Every thought there ever was 2, John Hansard Gallery, Southampton (2020); Care(less), Ikon Gallery, Birmingham (2020); Care(less), Cobb Hall Lincoln Castle, Frequency Festival, Lincoln (2019); Every thought there ever was, (with Hospialfield House), Court House Arbroath (2019); Every thought there ever was, Focal Point Gallery, Southend (2018); Fleeting Exits, Sursock Museum, Beirut (2018); In my shoes (Arts Council Touring Exhibition), Attenborough Art Centre, Leicester (2018); A Woman’s Place, Knole, Seven Oaks (2018); Every thought there ever was, MAC, Belfast (2018); and Film London Jarman Award, A Journey Through the First Decade, Whitechapel Gallery, London (2018).
Awards and Residencies include a major award from Wellcome Trust for a new work in 2018 (2016); Le Jeu de Paume production award for the Toulouse Festival (2013); Sharjah Artist’s Production Award (2012); Paul Hamlyn Awards for Artists (2010); and Winner of Film London & Channel 4’s Jarman Award (2009).
