David MacDiarmid

David MacDiarmid trained in Architectural Design (MA Hons.) at the University of Edinburgh, and in Fine Art (MA) at City and Guilds of London Art School. In 2011 he was a recipient of the Fenton Arts Trust, and in 2012 was a selected MA Graduate by arts organisation Axis. His artist residencies include Chisenhale Studios, London (2014) and Extractor Space, London, (2015). Recently he has participated in the Liverpool Independents Biennial, co-organised an artist run show What I Tell You in The Dark at the crypt of St John’s Church, London, and has collaborated with research company Spinach exploring practice methodologies, culminating in a solo show.

This August, he will be doing a residency as part of the Edinburgh Art Festival, showing with the collective group, GARAGE.

David MacDiarmid’s practice explores the intermediary zones which lie between the boundaries of subject areas. He draws from sources such as geometric theory, domestic design history, and representations of science in the media to create his abstract works. His sculptural realisation of this research interrogates the idea of forms which can appear to be in semi or partial states of existence, never fully being part of one definition or another.

Cutting, creasing, tearing, assembling. Crafting spurs the notion that these objects may have been made for a purpose, but their forms suggest they could be some type of scientific model, or an unidentified industrial remnant.

The process of making is laid bare. Touch forms a connection, as a record of making and as memory of these everyday materials which we have experienced.

His work explores juxtaposition within narrative in both form and material. He references stylistic movements in both design and fine art, through the hand-crafted processes which he employs combined with a postmodernist sensibility in his reference to past fashions and trends. His palette is drawn from the everyday; the stuff which surrounds us in our homes: glass, mirror, wood and plastics. He uses their inherent familiarity as an invitation to engage with the work. We are invited to discover the materials in these pseudo-scientific forms which begin to establish their individual identities, and create for themselves their own uncanny nomadic personalities.

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