Art on a Postcard International Women’s Day Auction - Curated by Vanessa Murrell

About 

Grace Woodcock is a London-based artist whose work intersects biological and sci-fi influences to consider what it means to have an intelligent, sensing body. Her sculptures are formulated to give the viewer’s body something to map onto, to reflect back a feeling it knows, a memory of a sensation. Her work draws from 1960’s Space Age architecture and how the era’s energetic optimism and pursuit of the unknown is reflected in its design choices. By combining experimental upholstery techniques with CAD software, Grace makes installations, soft sculptures, wearables, and furniture. 

Education 

Grace Woodcock (born 1993, Luton) graduated from the Royal College of Art in 2019 and Edinburgh College of Art in 2016. 

Select Exhibitions/Awards 

Grace Woodcock's solo exhibition, 23.5°, closed last month at Castor and was her second solo with the gallery following her 2020 debut GUT-BRAIN. She was a recipient of Arts Council England’s Develop Your Creative Practice grant in 2021. Woodcock has recently exhibited at Like a Little Disaster, Polignano a Mare, Italy (2023); Alice Black Gallery, London (2023); Roksanda, London (2022-23); Tuesday-Friday, Valencia (2022); Newchild Gallery, Antwerp (2022); Thameside Studios Gallery, London (2022); Contemporary Sculpture Fulmer, Fulmer (2022); The Artist Room, London (2022); Rugby Art Gallery & Museum, Rugby (2022); Haze Projects x Thorp Stavri, London (2021); Leicester Contemporary, Leicester (2021); Fels World, London (2021); and Castor, London (2021 and 2020). 

Gallery Representation 

Castor 

Statement about AOAP Submitted Artwork  

The drawings are representations of the technical sketches I make in CAD software. The digital drawing is slow as I adjust each line and curve, feeling my way around a sculpture, dragging and modifying each control point, recalibrating each rotation. These ink drawings are a way of giving life to these original renders. Each piece is titled by the sculpture they refer back to. The control points trace a kind of constellation around the form. The dotted lines detail the bare bones of my sculptures before they are fleshed out with material, they feel so different in this skeletal form. Making these ink drawings is so meditative and quiet in comparison with both the physical hand-carving and upholstering of my CNC’d structures and the intense, digital process of rendering in CAD. 

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