
Game for the Living
Lesley Hilling
Sculpture - 80 x 85 x 20 cm Sculpture - 31.5 x 33.5 x 7.9 inch
$5,148
Sculpture : wood, found object
150 x 150 x 15 cm 59.1 x 59.1 x 5.9 inch
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Type
Unique work
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Medium
Dimensions cm • inch
150 x 150 x 15 cm 59.1 x 59.1 x 5.9 inch Height x Width x Depth
Display
The sculpture cannot be displayed outdoors
Artwork sold in perfect condition
Artwork location: United Kingdom
This piece gradually transitions in tone from white through grey into black, creating a delicate and intricate structure that houses small artifacts of memory. The found objects and photographs within are often placed behind magnifying glasses, which distort them, much like time distorts our memories. As viewers move around the piece, this distortion disorients and reorients, inviting them to reflect on the fluidity of recollection.
The structure is composed of a grid-like mesh of interconnected wooden networks, which, when viewed from a distance, resemble maps or aerial views of a city. It evokes the skeletal framework of urban spaces, reminiscent of ruins like Dresden or Hiroshima. However, the piece is not only a reflection of the past; it also suggests contemporary networks and systems — from patterns of settlement and migration to the infrastructure that provides food, water, and heat. It prompts the viewer to consider the often-overlooked details of everyday life: doors, windows, walls, and corners, and how they are constructed.
In crafting the piece, traditional carpentry methods were used, including halving joints, the most common assembly technique in joinery. This approach grounds the work in the physicality of construction, linking it to both past and present frameworks.
This piece, titled , has been showcased at the Mall Galleries' 'Winners' Show and was also selected as an invited work for the Royal Academy Summer Exhibition.
Lesley Hilling is based in Brixton, London, where she has spent a lifetime experimenting with recycled wood, often salvaged from discarded furniture and pianos. Found photographs, camera lenses and books are all objects that have been integrated into her striking constructions. The narrative of nostalgia and loss complements the beauty and fragility of the craftsmanship.
Hilling's interest in antiquated objects originates from a desire to transform the world's most abundant resource - waste - into something sacred and poetic. She is perhaps Brixton's most celebrated contemporary artist. Her intricate sculptures may take up to a year to complete, and her work is instantly recognisable with it's elaborate joinery and organic architecture.
The artist's home is testimony to her work, where one can easily lose sight of what is fact and what is fiction. The doors are perhaps the most interesting features in the house, made of an assemblage of compelling pieces both fixed and pendular. The search for interesting materials to incorporate into her work is very much part of her creative process.
'I make something new out of objects that had a different life before. My aim is to create a unified whole that is at once sculptural in it's three dimensional form and painterly as each piece of wood I use is selected for it's colour, texture and tonal quality… I feel compelled to build things, it is what I need to do. I like seeing the work grow organically, ultimately my work is intuitive. There is a sadness in my work, a sense of loss for a time past; certain objects resonate with me, like old photographs, cigarette cards and old clock workings - they are the things I played with as a child.'
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