Milly Peck’s work explores the push-pull between the flat and three-dimensional. She makes sculptures that often have the appearance of a pictorial image, and wall based work that is three-dimensional.
Images gleaned from daily life morph into outlines or chunky cut-outs. Bricks, cigarette stubs, wheelie bins, a lawnmower, a bath, a car-wash, windows, water pipes, bucket and mop, and an oversized pair of spectacles are transformed through a cartoonish filter. Often a lone hand makes an appearance, squeezing a sponge, delicately picking up a stray hair, wielding a hammer.
Her show at Matt’s Gallery in 2017 mischievously interrogated mock Tudor beams and suburban home fenestration. Her recent exhibition at Assembly Point was a theatrical set – a bathroom and its plumbing farcically mimicing the step-by-step logic of a home improvement manual.
Continuing her ongoing exploration of ideas surrounding imitation, flatness and the stage prop, Peck’s Tintype window installation plays on the way that empty shops often become temporarily whited out to signify their closed status – for Peck this is a surface to draw onto, leaving a section for a work to hang and be framed by the white glass.