Florence Devereux (b.1989, UK)
2016/2017, Chelsea College of Art. Grad Dip Fine Art
2016, Schumacher College, ‘Becoming Indigenous’
2013 - ongoing. Apprenticeship with painter Carmen Galofré
2013, University of Edinburgh, Masters in Comparative Religions and Philosophy
2017, If You Want It Fresh Buy It Froze, Chelsea Studio. Photography
2017, Switch to Witch, The Side Room. Installation and performance
2017, Embodies Cartographies, The Chapel. Photography
2017, Big Fridge, The Safe House. Photography and sculpture
2017, Arcana, The Crypt Gallery. Performance and video
2017, Hot Dairy, The Cookhouse. Performance
2016, Dreaming The Land Dreaming Us, Riad Biba. Curation
2016, Chelsea College of Art, Studios. Installation and video
2016, Turn Around in the Nipple Dome, The Sitting Room, UK. Installation and performance.
2016, The Story, Schumacher College, UK. Performance
2016. Other Alters, Curious Duke Gallery, UK. Installation
2016, RAKMAD, Marrakech Biennale, Morocco. Installation
2016, Now For An Old Language of Connection. Marrakech Biennale. Morocco. Curation and performance
2015, Shona Projects, Eilean Shona, Scotland. Performance
2015, Feminin Pluriel, Dar Bellarj, Marrakech. Morocco. Painting
2014, Astrological Exchange, La Blassa, Marrakech, Morocco. Performance
2014, BAB//\\DAR, Marrakech Biennale with Mint Works, Morocco. Curation and performance
2014, Le 18 Happening, Le 18, Marrakech, Morocco. Curation
2014, Sound Matters, Le 18, Marrakech Morocco. Curation
2014, Sidi Ghanem, Marrakech, Morocco. Installation
2013, 3rd Residency, Le 18, Marrakech Morocco. Curation
2013, Alt Cine, Cinema Marrakech, Morocco. Performance
2013, BYOB, Riad Biba, Marrakech, Morocco. Curation
2013, Here and Now, Le 18, Marrakech, Morocco. Curation
2013, Edinburgh College of Art Summer Show, Edinburgh. UK. Painting
2012, Ladbroke Terrace Collective, London, UK. Curation and installation
My work combines sculpture, photography, performance and collective curation to explore how animism can blur modernity’s ontological boundaries. Playing with the boundary making/braking potential of this viewpoint, I aim to create an ambiguous relationship between humans and our internal and external environments.
The conditions of the anthropocene and the environmental crisis have lead me to analyse modernity's dualisms, between the interior and the exterior, the civilised and the savage and what is inert and what is animate. My suggestion is that these separations have lead to a colonial mindset, able to inflict violence against nature and other cultures. In our post-capitalist world, these separations have morphed into an extreme state of interiorization, where all issues have become private.The desire to find a response to this inspired me to explore how animism can create a more fluid perspective.
I have been playing with sculptural objects and their photographic representations to shift dichotomous readings between presence and absence. I manipulate the form of the body to challenge what is alive and what is dead. I use performance and photography to question if the membrane between the interior and the exterior is permeable, and how this affects my intimacy with the audience.
Through my work I aim to create my own contemporary animist language. I’m interested in how this approach can be used as a strategy, away from hyper individualism towards a more collective encounter of life.