Constructed from reclaimed, old scaffolding pipes and fixings, You won't see that bit anyway has been made in direct response to the former church of St John the Evangelist. Complimenting her current research and 18-month project, Drawing Steel, this is Ellis' first investigation into using metal and welding fabrication techniques and highlight's the artist's ambition and ability to respond to alternative spaces.
The title, You won't see that bit anyway, refers to the quality of Ellis' craftsmanship, as she circumnavigates many of the welding and fabrication skills that she has learnt over the last six-months to embrace bumps, grooves and imperfections in the work that are visually intriguing and joyous.
"The welds that join the shaped pieces of tubing are large and would be considered unsightly by industry standards. During my welding courses I found that I was encouraged to make very smooth, even, beautiful welds for use in standard industry practices. As I am appropriating the welding process for sculpture I fully appreciate these typically beautiful welds and their applications but I find the bulbous and globular forms that come from a welder in training to be more interesting to me at this time." Nicola Ellis
Identifying a quality inherent in a material and utilising it in some way to make sculpture is the bottom line of Ellis' practice. Much of her works are created through an exploration of ordered and chaotic materials, often directly reflecting the spaces they occupy. Through acts of sculptural 'play', in previous works she has transformed industrial materials such as polyurethane foam, silicone sealant, stone and glass into spellbinding large-scale organic forms, often appearing like stalagmites or fossilised beasts.
Nicola Ellis is supported by Mark Devereux Projects.