Hebden bridge, England, UK
Above: Bride, Cornered, Domestic Front, from Transcendental Housework, 2016.
'My practice is predominantly three-dimensional and as such can be considered sculpture. However the works themselves do not sit easily as sculptural objects, they do not conform to established notions of form and space; but rather jostle in at the edges of art practice like objects found at a car boot sale or charity shop. My academic interests are grounded in feminism, and most recently I have been exploring ideas around disrupted domesticity, home as an internal exile, and the potential for domestic objects; furniture with memories, to subvert, upset, and deconstruct traditional understandings of women’s relationship to home.
An interest in poltergeist phenomena has led me to further investigate the agency of objects, both as inherent in materiality itself, and as an index of the maker/performer. As sculpture, domestic objects perform an uncanny dialogue that can be seen to position the disruption of domesticity as aligned to the ‘feminine’ supernatural. Feminism too is haunted by its uncanny relationship to house and home; the unresolved past returning as artwork appropriating the language of domestic dissent.'
Above: Happiness not included, Haunt I & II & Tilt, Daddy's Little Princess, from Domestic Pirate, 2014.
Paula Chambers has exhibited widely both nationally and internationally; with a growing back catalogue of solo shows, including most recently “Transcendental Housework” at Stockport Art Gallery and “Domestic Pirate” at Show Space, London. Paula studied under Griselda Pollock at the University of Leeds for the MA Feminist History, Theory, Criticism and Practice in the Visual Arts; this course had a profound and long lasting impact on the focus and direction of Paula’s art practice and academic interests. She is currently Principal Lecturer on BA(Hons) Fine Art, Sculpture Strand Leader, at Leeds College of Art. She is also studying for a practice-led PhD at Middlesex University.
Paula has presented at national and international conferences on subjects around feminism, contemporary art and the domestic, most recently at Theorising Motherhood in The Academy, Manhattan College, NY, and at Motherhood and Creative Practice, London Southbank University. She has been published in JourMS, The Journal of Mother Studies, and peer reviews for MaMSIE: Studies in the Maternal, and re-bus: A Journal of Art History and Theory.