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

About 

Multidisciplinary artist, living and working in the United Kingdom 

Education 

2021 
Royal College of Art 

Solo Shows 
 
2022 
Poum Gallery, Lyon, France  

2021 
Mnḗmē, Omer Tiroche Gallery, London 

2019  
Alliance House, Jerusalem, Israel  
 
Group Shows 
 
2023  
Tom of Finland Festival, The Standard, London 

Women in Art Prize, Roundhouse, London, United Kingdom  

The Self-Portrait Prize Online Exhibition, Artsy  

No Future, No Cry, Galeria Alfaia, Loule, Portugal  

No Future, No Cry, Centro Cultural De Lagos, Lagos, Portugal Fetish, Mama, London  
 
2022  
Marianne Brandt Award, Industrial Museum, Chemnitz, Germany  

Tom of Finland Festival, Second Home, London, United Kingdom  

Art on Postcard x Go with Yamo, Koppel X, London, United Kingdom Next at Christie's, London, United Kingdom  

Brixton Art Prize, The Department Store, London, United Kingdom  

Sleep, Museum of the Home, London, United Kingdom  

Awards 

2023 
Shortlisted, John Ruskin Prize   

Longlisted, Visual Art Open  

Finalist, Women in Art Prize  

Longlisted, Ruth Borchard-Self Portrait Prize  

2022 
Nominated, Marianne Brandt Award  

Shortlisted, Zealous Amplify  

Longlisted, BBA Artist Prize  

Outset Contemporary Art Fund  

2021 
Shortlisted, Robert Walters Group UK New Artist of the Year Award 

Statement about AOAP Submitted Artwork 

What do we understand by the breast? It is the eternal object of fascination but at the same time an empty signifier, claimed and reclaimed across time and space to capture the projections of the moment. The breast, and what it contains, is an ever-present feature of folklore; been set centre-stage by art and artefact; it has been adopted – or perhaps embraced by post Freudian theories of infant life. The Mastos vessel of ancient Greece possessed a ritual significance extending beyond its everyday function as a drinking vessel. Romulus and Remus, the mythical founders of Rome, were suckled by a feral she-wolf after Amulius, King of Alba Longa, ordered their death. According to one origin story claims, the champagne coupe was modelled on the embonpoint of Marie Antoinette, the Mistress of Excess. The story, though – like much that has been told about her – is almost certainly apocryphal. But like the best tales, it isn’t whether it is true that matters, but whether it can be believed. Psychoanalytical theory, firmly wedged in the speculative and the imaginary, has too found use for the breast and what it contains. Melenie Klein, one of the first psychoanalysts to concentrate on conceptualizing the internal world of the infant, embodied the newborn’s experience of primal rage and frustration in its relationship to its mother’s milk – the good breast which provides, and the bad breast which does not. A convincing and convenient dichotomy, not unlike society’s relationship with the breast. At first blush, Glass of Milk suggests the quotidian. But then closer scrutiny prompts a pause; the image offers itself as the metaphorical container of infinite projections. As with much of her oeuvre, Weisstub repositions everyday objects into commentary on collective perceptions. Glass of Milk could be anything that the viewer would wish it to be, a Rorschach test of the collective imagination. Or, perhaps, it may be nothing at all. Just a pink-tinged glass of milk with a convergence at its bottom. 

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