Website: www.lizziecannon.com
Bio:

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<p>Through the subtle modification and manipulation of materials, found objects and surfaces, Lizzie Cannon creates work that reflects upon the human desire to continually re-shape and re-define nature.</p><br>
<p>Cannon is influenced by her journeys within the margins of the city. Interested in the things that are discarded or overlooked and are in some way being reclaimed by organic processes, she collects corroded lengths of abandoned plumbing, rusted debris washed up by the river or fragments of tarmac that have been pushed up by tree roots.</p><br>
<p>Cannon responds to the fabric of these environments. Working with disparate combinations of materials, she plays with the relationship between soft and hard, organic and industrial, discarded and embellished. In Barriedale (2012), embroidery colonizes cracks within a reassembled section of pavement, creating a subtle transition between this mundane urban surface and delicate stitching. In the series ‘Mimesis’, drawing is used as a process of evolution, as cell like structures mutate form the found textures of the tarmac and occupy blank areas of the rubbing left by cracks and crevices within the pavement. The pavement is seen as an interface at which biological growth interacts with the human desire to keep nature at bay.</p><br>
<p>Cannon uses laborious techniques such as hand embroidery to reflect upon the gradual decay or degradation of found objects. In ‘Corrosion: study with beads’ (2013 and 2014), the gradual build up of rust and mud on objects washed up by the river is mimicked by laboriously stitching on tiny beads. Through a process akin to alchemy, holes eroded over time begin to be filled. In the series of mended leaves, holes are carefully darned with thread selected in an attempt to make the mends invisible. Paradoxically, the process of ‘mending’ the leaves accelerates their degradation through repeated piercing with the needle and once the leaf has been preserved, the colour fades making the darned areas blemishes on the leaf’s surface.</p><br>
<p>In Untitled 1 & 2 (2014), vascular structures appear to have morphed from or fused with sections of old rusty piping. A gradual evolution from the cold hard qualities of the iron pipes to the fleshy folds of porcelain, suggests a process of transmutation between the biological and man-made. Drawing on Kristeva’s notion of the abject as ‘what does not respect borders, positions, rules. The in-between, the ambiguous, the composite’ (Kristeva, 1982), these hybrid objects sit uncomfortably between the familiar and unknown, the organic and a carefully crafted object.</p>

Exhibitions:

<div><strong>2013</strong><div>
<div>Made in Bow, Nunnery Gallery, London<div>
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<div><strong>2012</strong><div>
<div>Graphite, GV Art, London<div>
<div>Dangerous Curves Ahead: Bow Arts Open Show, Bermondsey Project, London<div>
<div>Topographic Translation: Iteration 2, Utrophia, London<div>
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<div><strong>2011</strong></div>
<div>Q-Arts Annual Exhibition, APT, Deptford</div>
<div>Topographic Translation, The Diving School, Bristol</div>
<div>Into the Wild, Long White Cloud Gallery, London</div>
<div>Persona Art Festival, The Rag Factory, London</div>
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<strong>2010</strong></div>
<div>The Freaks Exhibition, Shoreditch Town Hall, London</div>
<div>Traverse Tourist, Tenderproduct, London</div>
<div>The Truth is Rarely Pure and Never Simple, Nolia's Gallery, London</div>
<div>Kinetica Art Fair, showing with Tenderpixel</div>
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<strong>2009</strong></div>
<div>Alchemy, Deptford X, London</div>
<div>Hogarth Brown & Lizzie Cannon, Tenderpixel, London</div>
<div>Behind the Scenes Event, Horniman Museum, London</div>
<div>The Tree House Gallery, Regents Park, London</div>
<div>Tales of the Electric Forest, Saint Pancras Crypt, London</div>
<div>999 Requiem to a bridge, Blackfriars Bridge, London</div>
<div>Art of the Stitch, touring to Alexandra Palace,</div>
<div>London; Harrogate International Centre, Harrogate; Museum of Applied Arts, Budapest</div>
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<strong>2008</strong></div>
<div>Autumn Salon, Islington Arts Factory, London</div>
<div>Effuse, Deptford Town Hall, London</div>
<div>Art of the Stitch, touring to The Deutsches Textilmuseum, Krefeld; Birmingham</div>
<div>Museum and Art Gallery, Birmingham</div>
<div>Down to Earth, Hay Gallery, Colchester</div>
<div>Jerwood Drawing 2007, touring to Royal West of England Academy, Bristol;</div>
<div>BayArt, Cardiff; Hatton Gallery, Newcastle</div>
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<strong>2007</strong></div>
<div>Down to Earth, Oxford House, London</div>
<div>Outskirts, Brighton Festival, Brighton</div>
<div>Life Cycles, The Crypt, Saint Pancras crypt, London</div>
<div>Mail Art (a collaboration between Wupadoopa and Engine Chatchat)</div>
<div>First of Four: Orbis Opifex, The Foundry, London</div>
<div>Jerwood Drawing 2007, touring to Jerwood Space, London; Pitville Gallery,</div>
<div>Cheltenham; Mackintosh Gallery, Glasgow</div>
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<strong>2006</strong></div>
<div>Textile Collective, Truman Brewery, London</div>
<div>Goldsmiths Textiles 2006, Goldsmiths College, London</div>
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<strong>2004</strong></div>
<div>The Garden of Earthly Delights, Brockwell Park, London

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<div><strong>Prizes and awards</strong><br></br></div><br><br>
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<div>Jerwood Makers 2014 - shortlist</div>
<div>Art of the Stitch 2009 - shortlist</div>
<div>Jerwood Drawing Prize 2007 - shortlist</div>
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