Becky Beasley
Becky Beasley was born in Portsmouth, England (1975), and she lives and works in Hastings, England.
Becky Beasley graduated from Goldsmiths College, London, in 1999 and from The Royal College of Art in 2002.
Her “sculptures and photographs, as mute and minimal as they appear, unexpectedly open onto literary worlds.”(Christy Lange, Frieze Focus).
Beasley produces objects, photographs and texts which are typically informed by a deep engagement with literature — specifically in the past ten years certain writings of William Faulkner, Herman Melville, Bernard Malamud and Thomas Bernhard— and historical research.
She is interested in the ethics of dialogue and how to inhabit the spaces, works and lives of others in tandem with ones own through art.
Her practice is also concerned with spatial experience, in particularly the interior. She has developed a practice which explores the image and the limits of language. Through an abstracted grammar of the everyday, she sources personal experiences and literary references for moments of complexity and ambiguity.
Beasley’s work has been featured in solo exhibition internationally including, Tate Britain, Serpentine Gallery Pavilion (live work), Spike Island, Leeds City Art Gallery, Towner Art Gallery, 80WSE (Steinhardt, NYU) New York, South London Gallery (live work) and SKUC Gallery, Ljubljana. Group exhibition participation includes Bluecoat, Liverpool; Whitechapel Gallery, London; Kunstverein Munich and La Carte D’Après Nature, National Museums Monaco (Touring to Matthew Marks, New York), as well as three Arts Council Collection touring exhibitions, In a dream you saw a way to survive and you were full of joy, curated by Elizabeth Price; British Art Show 7: In The Days of the Comet and Structure and Material (with Claire Barclay and Karla Black).
Her work has been reviewed in the New York Times, Artforum, Art Monthly, Frieze, Art Review and Flash Art International. Beasley was on the ICA Artist’s Advisory Committee in 2012 and was nominated for the Max Mara Prize in 2009. She has had five Paul Hamlyn Nominations.
Becky Beasley was born in Portsmouth, England (1975), and she lives and works in Hastings, England.
Becky Beasley graduated from Goldsmiths College, London, in 1999 and from The Royal College of Art in 2002.
Her “sculptures and photographs, as mute and minimal as they appear, unexpectedly open onto literary worlds.”(Christy Lange, Frieze Focus).
Beasley produces objects, photographs and texts which are typically informed by a deep engagement with literature — specifically in the past ten years certain writings of William Faulkner, Herman Melville, Bernard Malamud and Thomas Bernhard— and historical research.
She is interested in the ethics of dialogue and how to inhabit the spaces, works and lives of others in tandem with ones own through art.
Her practice is also concerned with spatial experience, in particularly the interior. She has developed a practice which explores the image and the limits of language. Through an abstracted grammar of the everyday, she sources personal experiences and literary references for moments of complexity and ambiguity.
Beasley’s work has been featured in solo exhibition internationally including, Tate Britain, Serpentine Gallery Pavilion (live work), Spike Island, Leeds City Art Gallery, Towner Art Gallery, 80WSE (Steinhardt, NYU) New York, South London Gallery (live work) and SKUC Gallery, Ljubljana. Group exhibition participation includes Bluecoat, Liverpool; Whitechapel Gallery, London; Kunstverein Munich and La Carte D’Après Nature, National Museums Monaco (Touring to Matthew Marks, New York), as well as three Arts Council Collection touring exhibitions, In a dream you saw a way to survive and you were full of joy, curated by Elizabeth Price; British Art Show 7: In The Days of the Comet and Structure and Material (with Claire Barclay and Karla Black).
Her work has been reviewed in the New York Times, Artforum, Art Monthly, Frieze, Art Review and Flash Art International. Beasley was on the ICA Artist’s Advisory Committee in 2012 and was nominated for the Max Mara Prize in 2009. She has had five Paul Hamlyn Nominations.
- Sedum Joy (Double Grave), 2002-2017hand tinted gelatin silver print
127×102 cm
Edition of 3 - 365 Days, 2017Archival digital printar on Hahnemuhle Rag paper
59×34,5 cm
Edition of 7 + 1 AP - Kissing benches, 2017metal, iron varnice and cashmere sweater
75×120×38 cm - A man restored a broken work, 2015video HD
Edition of 3 + 1 AP - The seat cushion (A morning joke), 2017Armchair (wood,uphostery), unique toned cyanatype print and chalk paint on organic jersey fleece cover over down father cushion
94×72×62 cm - Winter Light (Tone, Rain), 2017Cyanotype photograph on vintage monogrammed French linen
307×205 cm
Edition unique - The ovals (Beads & Lashes), 2012Diasec mounted Lambda print
170×50×0,4 cm
Edition of 2 + 1 AP - The ovals (Lashes & Beads), 2012Diasec mounted Lambda print
170×50×0,4 cm
Edition of 2 + 1 AP - Mirror (Silvery), 2012Diasec mounted Lambda print
170×50×0,4 cm
Edition of 2 + 1 AP - Mirror (Goldish), 2012Diasec mounted Lambda print
170×50 ×0,4 cm
Edition of 2 + 1 AP - Night music, 2007, view 1steel, HDF, acrylic sheet, blackboard paint
125,5×147×58,5 cm - Night music, 2007, view 1steel, HDF, acrylic sheet, blackboard paint
125,5×147×58,5 cm - Bearings III, 2014Brass, 1,5 rpm motor
135×1,8×1,7 cm - Camera I-V, 2014walnut, black lacquer
dimensions variable - Fall III, 2014Gelatin silverprint
180×130 cm - Fall II, 2014Gelatin silverprint
180×130 cm - Fall I, 2014Gelatin silverprint
180×130 cm
Edition of 2 + 1 AP - Walnut Hand, 2014gelatin silverprint
53,5×48 cm
Edition 1 AP - Head Box, 2008B/W matt silver gelatin print
100,5×91 cm - BEA-021 2Elaborations (Extension No. 2), 2013Gelatin silverprint
59×54 cm - Elaborations (Extension No. 1), 2013Gelatin silverprint
59×54 cm - Eclipse (II) (Pearwoods No. 2 & 3), 2013Pearwood , black lacquer, matt black paint, steel, 2 battery-operated mirror ball motors.
Two black lacquered, pearwood objects invisibly fixed to motors revolving slowly (1.5rpm) - Legal (Black Miami), 2012US Legal paper is 216x356mm (8.5x14 inch)
A ream is 500 sheets
Paper stock by G. F. Smith, Est. 1885, UK - Ream, American Legal (Midnight Blue Miami), 2012US Legal paper is 216x356mm (8.5x14 inch)
A ream is 500 sheets
Paper stock by G. F. Smith, Est. 1885, UK - Trough Box, 2010Oak, black glass
130×18×18 cm - Nolens Volens (r), 2011Matt gelatin silver prints, cedar wood, orange acrylic glass
- Nolens Volens (Setting), 2011Matt gelatin silver prints, cedar wood, orange acrylic glass, litho offset prints
190 x 34+56+34 x 4 cm - Setting (O.L.), 2011Gelatin silver prints, cedar wood, acrylic glass
190×124×4 cm - Setting (O.M.), 2011Gelatin silver prints, cedar wood, yellow acrylic glass
190 ×124×4 cm