James Fuller (b.1988, UK) works primarily in Athens, GREECE.
He graduated from the Royal College of Art in 2018 and was awarded the Kenneth Armitage Post-graduate Sculpture Prize and the Tiffany's x Outset Studiomakers award 2018.
Recent exhibitions include Under the Volcano, Brooke Benington Gallery in Mexico City, An Arrangement in Two Halves, a Bench in Two Parts, with artist Marco Miehling at William Benington Gallery, co-curated with Lily Brooke. Further Images, White Crypt - Curated by Anais Lerendu & Adam Thomas, RCA SHOW (2018), ebc013 at East Bristol Contemporary and The Hum at Caustic Coastal curated by Tzuzjj, Salford.
Also featured in Perpetual Inventory Vol.3 by Offline Press, an independent publication focused on process in sculptural practice, support Offline Press here → offlinepress.org
↓ Awards ↓
Recipient of the Kenneth Armitage Post-graduate Sculpture Prize 2018 → kennetharmitagefoundation.org.uk
Recipient of Tiffany's x Outset studiomakers award 2018
↓ Grants ↓
Leathersellers educational grant 2018
Gilbert Bayes Scholarship for sculpture 2017
The Stapely Trust educational grant 2017
Studio visits always welcome.
James Fuller works with low-value, high-grade waste product. Provocative objects where the monetary and aesthetic value have slipped into a performed nothingness - and into this pours labour and capital and production.
The action taken towards some kind of ending, a cut, a crush, a drop, a dismantle, a snap, becomes the starting point for much more work to be done. Amputated parts skimmed for surface and volume, an uncurling procedure that passes back through highly specialised craft and industrial economies, leaving the original mass behind.
Tiptoeing on the edge of functionality as they alternate between a position of shame, censure, and celebration.
WHOLESALE MYTHOLOGIES //
Wholesale Mythologies (2018) was a durational series of work consisting of multiple layers and objects concerned with reconfiguring the material palette of the wholesale market, where organic and non-organic matter, arrange and rearrange themselves on the surface as a byproduct of the commercial activity. Interfering with the emerging configurations of often pristine waste—discarded during early morning exchanges, before the reset, the restart. Within this cycle is an absent space, inhabited by invisible figures with alternative motives. To collect, to feed, to re-use, to re-imagine. The site to some extent, becomes an anthropological space for the re-emergence of new more critical objects from the same component parts or fleeting moments.
The tyre becomes the road as the floor becomes the wall and the public becomes private.