About Rebecca Stevenson

"The sculpture is fascinating - a kind of uncanny rococo, beautiful - with a hint of the sinister perhaps. Like memento mori in still life painting...'  Martin Kemp, Art Historian and Emeritus Professor of the History of Art, Trinity College, Oxford,

 

Rebecca Stevenson sculpts animal and human bodies that appear to be in a state of transition, unravelling, transformation and decay, somewhere between life and death. Wilfully pretty and decorative, coated in sugary surfaces and stuffed with dewy roses, the works are coquettish, attracting the viewer in like the fleshy voluptuousness of a carnivorous flower. But the spectacle is neither as innocent or as sweet as it seems – on closer inspection it becomes unsettling, ugly or absurd. Referencing art historical conventions such as still life painting and the portrait bust, her work is driven by a perverse desire to destabilise and feminise the sculptural object. 

Stevenson graduated from Chelsea College of Art & Design in 1998 and the Royal College of Art in 2000. Her solo shows include ‘Fantasia’ at Van der Grinten in Cologne, ‘Innocents’ and ‘Carniflora’ at Mogadishni in Copenhagen, and ‘Exquisite Corpse’ at DomoBaal in London.

Recent group exhibitions include: 'So Beautiful It Hurts' at James Freeman Gallery, London, with Carolein Smit and Andrew McIntosh;  'B.A.R.O.C.K' at Schloss Caputh, Potsdam and ME Collectors Room, Berlin, curated by Mark Gisbourne and Margret Eicher, with artists Margret Eicher, Luzia Simons and Myriam Thyes; 'A Sight to Behold" at Van Der Grinten, Cologne with Simon Schubert, Jan C. Schlegel, Ruth Marten and others

Stevenson’s works are held in the Olbricht Collection, the Maramotti Collection (Collezione Maramotti), and the collection of Paul and Alison Myners, as well as in numerous private collections internationally.

Rebecca Stevenson lives and works in London

photo: Marianne Wie