There is a lightness of structural gesture in this curved aluminium work that belies the repetitive hand-beating process that creates the exterior patterning. Light ripples across a delicate blossom-like patina, where reflections remain indistinct. The form is open, revealing a darker interior and steel support.

Halliwell Sutton’s work takes the form of sculpture, photography, writing and curating, making use of the transformative properties of materials. Grounded in a feminist critique of land ownership, bodies and desires, a constant thread in the work is an intergenerational connection through time, bodies and place.

The work is sited low on the ground, allowing its shaded interior to be seen from above and encouraging the viewer to move around the work to elicit light play across the surface.

Rebecca K. Halliwell-Sutton (b.1991, Bolton) graduated from Manchester School of Art, Fine Art (2016), and was the 2016 recipient of the Woon Fellowship, with BALTIC Centre for Contemporary Art & Northumbria University, Newcastle. Rebecca was a member of School of The Damned, an alternative self-organised MA (2018) and received an arts council grant to curate the Beacons programme (2018) at Caustic Coastal, Salford. Solo exhibitions include: Recent Activity, Birmingham (2023); Floating on the surface of knowledge, duo show with Mollie Milton, Islington Mill, Salford (2018); Field Studies of Touch, Gallery North, Newcastle (2017); Relics of what could be, what could have been, Slugtown, Newcastle (2017); Texts from the universe, STCFTHOTS, Leeds (2017). Recent group shows include: Blyth Gallery, Imperial College London (2023); Alone Time, Union Pacific, London (2023); Babele curated by Caspar Giorgio Williams, Spazio Musa, Turin (2023); Ancient Vessels, A.P.T Gallery, London (2022) and Photocopier II, Recent Activity, Birmingham (2022).