At first glance, Vic Wright's sculptures look like miniature lunar landscapes. Elegant in form with elements evoking the natural world, only amplified, distorted and moulded to give them new context. Creating dialogue between materials is both Wright’s strength and focus while her interest in gold leaf gilding renders industrial materials tender and delicate. Wright gives Wilma the download on her practice ahead of her forthcoming Manchester show.
Why I became a sculptor:
Working with material in my hand, I feel physically part of the process and can guide the direction that the piece might be taking. When drying, the piece takes on a life of its own and creating unique outcomes. I was intrigued by this alchemy and still am.
On the attraction to gold leaf gilding:
I was first introduced to the art of water gilding in my first job out of university, working for a traditional picture framer. Gilding instantly appealed. It’s such an intriguing and intricate process and almost immediately it started to appear in my own work. It has been a feature ever since.
How the natural world inspires my work:
I research natural forming minerals and am influenced by how they display beauty in difference. Working with contrasting elements also inspires me: Industrial materials when offset with the gold leaf can create delicate results.
A little on who inspires me:
My mum studied painting and gained her degree as a mature student. As she developed her own forms of expression, she also opened my world to new ways of thinking. Making no longer needed to mean sticking to the rules of tradition. I could use any number of materials to convey an idea and leave a mark. So I began experimenting with bitumen, latex and plaster and anything else I could get my hand’s on in my dad’s garage! My love of materials grew from there.
What drew me to Manchester:
I lived in London for 18 years but recently up sticks for the Manchester suburbs. In the short time I’ve lived here I feel such a strong sense of creative encouragement. The move has also allowed me more time and space to dedicate to my practice.
A typical day in the studio:
After dropping my daughter off at school, I head straight for the studio, pop on a podcast (Adam Buxton, for example) and I’m ready to start. Typically, one of the first jobs is to check on the casts from the day before to see how they’ve turned out. Then I’ll grind faceted surfaces into fully dried casts, before gilding and wax sealing the pieces ready for display. Then it’s back to do the school run.
Why I do what I do:
Experimenting with materials is a constant source of inspiration for me. The chance that I might discover new surfaces, textures and colour in my work drives me on.
View Vic's work at:
Form Lifestyle Store
Private View: 27.09.19
On display: 28.09.18-30.09.18