Alida Kuzemczak-Sayer
Survey
Survey is an exhibition in digital space that brings together selected works by Alida Kuzemczak-Sayer from 2009 to the present. Paper, light, accumulations of cut or torn page-like layers and deconstructed glyphic marks reverberate throughout, as archive works are placed alongside others to explore their shared rhythms out of time.
A new piece made during the first lockdown in 2020, Signature with Recollected Marks, assimilates remembered drawings from a pre-pandemic journey through Sicily, markings in natural stone and the Italian tradition of illusory paint effects that emulate them, with the visual language of Kuzemczak-Sayer's much earlier letterform works. This piece sparked an interest for the artist in reflecting on the relationships between different works: a gesture of retrieval and connection during a period of distance and separation.
Signature with Recollected Marks (2020) 53 x 25 x 3 cm
13 AUGUST TO 14 OCTOBER
Signture III (2016) 60 x 20 x 4 cm public collection
Signature VI (2016) 53 x 22 x 2.5 cm
A Wet Map installation view on a salt-soaked wall in Venice (2016) h. 91 cm
Wet Map Extract III (2017) 62 x 12 x 5 cm
Untitled work from the Lucent series (2018) h. 28 cm
New Medusa I (2017) h. 150 cm
There is no beginning detail (2010)
A Torn Condition detail (2013)
All moments detail (2009)
In Course II (2019/2021) 7 x 41 x 28 cm
Spine VII (2015) 21.5 x 7 x 20 cm
There is no beginning from There is no why installation view at Marsden Woo Project Space (2010)
Wet Map Extract installation view (2017)
Lucent Property installation view (2019)
Alida Kuzemczak-Sayer’s practice explores a longstanding interest in systems of communication, the encoding of experience and ways of apprehending the intangible. Through a process-driven approach to making and in response to periods of immersive research, she considers the duality of reading and writing and how the residue of these actions may accumulate or shift through material forms. Her sculptural works often also address contemporary relationships to heritage, the linguistic qualities of rhythmic glyphic mark-making and the transformative, yet indexical, nature of the copy.
Kuzemczak-Sayer trained at The Royal College of Art (MA Sculpture 2014) and at Glasgow School of Art (BA Hons Visual Communication 2009). She has undertaken residencies in Seoul, Venice, Norfolk and at Firstsite Colchester and Scottish Sculpture Workshop, and commissions for Norwich Cathedral, The National Trust and University of East Anglia/Hungate Norwich. Examples of her work are held in The Anthony Shaw Collection at York Art Gallery, Letterform Archive San Francisco and private collections internationally.
Photography by Philip Sayer
For more information or details about any of the featured artworks please contact Tatjana Marsden or Siobhan Feeney: info@marsdenwoo.com
Signature with Recollected Marks (2020)
53 x 25 x 3 cm
Signture III (2016) 60 x 20 x 4 cm public collection
Signature VI (2016)
53 x 22 x 2.5 cm
A Wet Map installation view on a salt-soaked wall in Venice (2016) h. 91 cm
Wet Map Extract III (2017)
62 x 12 x 5 cm
Untitled work from the Lucent series (2018) h. 28 cm
New Medusa I (2017) h. 150 cm
There is no beginning detail (2010)
A Torn Condition detail (2013)
All moments detail (2009)
In Course II (2019/2021)
7 x 41 x 28 cm
Spine VII (2015)
21.5 x 7 x 20 cm
There is no beginning from There is no why installation view at Marsden Woo Project Space (2010)
Wet Map Extract installation view (2017)
Lucent Property installation view (2019)