Lot 153 - Amanda Denny - Untitled from the 'Meanwhile Series' 2020
Lot 153 - Amanda Denny - Untitled from the 'Meanwhile Series' 2020

Lot 153 - Amanda Denny - Untitled from the 'Meanwhile Series' 2020

Photographic Print on Paper
2021
A6 (10x15cm) original artwork
Signed on verso
ARTIST INFO

Amanda Denny is a London based visual storyteller and photographic artist working with both analogue and digital image making processes. All of her practice now deals with the interplay of image, literature and archival documentary material in order to create new narratives. That ‘fickle friend’ memory, the imbrication of time and connections co-joined by chance circumstances tend to be at the start of her projects. Her practice explores issues of our mental spaces, including urban living, solitude versus loneliness, social stigmas and conflicted choice. She is also concerned with the pressures of achievement - ‘happiness’ too seems to have entered the fray and something to judge by, it misses the point. She believes that stories can help you exist in the world and by producing narrative spaces you can respond to everyday life and the social environment. There is the story and then there is the meaning to be got from it through the gaps, juxtapositions and conversations. The photo book and the development of photo-text are core to her practice as is creating tangible, tactile artwork that is designed to be viewed in person not on screen, and are not quick reads. Amanda’s work is held in private collections and she has been exhibited in group shows worldwide.

Education

Amanda holds a BA (Hons) in Literature and History and graduated from the University of Westminster in 2019 with a BA (Hons) in Photography. 'The Book as Frame' workshop at the ICP in New York, 2020. 

Exhibitions/Awards

She is currently part of the Modern Art Oxford “Activating our Archives: Community Dialogues” group project responding to the COVID-19 lockdown Exhibitor at the Royal Academy Summer Exhibition 2020 (6 October 2020 - 3 January 2021) Featured in the 'Yearbook 2020' online exhibition, organised by Shutter Hub in partnership with BenQ, Exposure Photography Festival, Fujifilm Original Photo Paper and Newspaper Club. Exhibitor in the 'Everyday Delight (Windows) Edition' exhibtion running nationwide (from 1 August 2020). Joint recepient of the Dentons Art Prize 2020 and Winner of the Dentons Arts Committee Prize 2020. Exhibition at Dentons Law Firm, London, (December 2019 – December 2020). 'No Place Like Home' 2018 photo book displayed at La Biblioteca Nacional de España during the PHotoESPAÑA Festival 2019 Exhibitor in the 'Time to Think' Shutter Hub exhibition at Festival Pil’Ours, France 4th Edition. 1st July – 30 November 2019 and 2020 Cold Cases, Brighton Fringe, The Old Police Cells, Brighton 29 September 2018 City to Sea Coney Island* 2018 Wall Ortiz Gallery, NY 13th September 2018 to 15th November 2018 Peckham 24 Photography Festival 2018 - featured in the slideshow projection of works at the Overhaul exhibition. Friday 18th May - Sunday 20th May, Safehouse 1, 139 Copeland Road, London, SE15 3SN. 'Intrusion' 2017 group show at Paddington Central, London Crossrail's Street Hoardings Photography Display Dean Street W1 since 2011 Her book 'No Place Like Home' (2018) was shortlisted for the La Fabrica and Photo London Book Dummy Award 2019 and was nominated for the First Book Award 2018. 

About the postcard artworks

The images selected are all part of an ongoing work in progress entitled ‘Meanwhile’ particularly the ‘Down, down, down and still the weeds prevail’ series. As Rhiannon Lucy Cosslett says, "so much femininity is unspoken. Moving through the world as a woman - the way you are viewed and treated, your emotions, your approach to your body - involves subtleties and complexities that are often unarticulated, sometimes even between women themselves." All suffering is unique to ourselves and not having the mental resilience, coping mechanisms or support structures to enable a safe space for self validation is detrimental to our wellbeing and sense of place in the world. Often society is too quick and too keen to label and judge. Habitually erroneous assumptions, based on the slightest details and often fleeting physical and environmental associations, lead to abhorrent stigmatisations and instantly deny the recipient any positive audience. Amanda’s work continues to deal with the real estate of mental spaces and questions inherited prejudices and biases and memory associations. More than ever this is a time for reflection and reassessment. Her work offers a space for this personal revaluation and a space to create new narratives in.