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Bethany Marett

MA work

As an experimental and interdisciplinary artist, I operate in a variety of mediums, primarily printmaking and sculpture. Manipulating scale and working with the print of the body is a way I imply the presence of the body albeit not always representing it overtly. Utilising materials possessing increasingly plastic and bodily ‘feel’ qualities to them, such as silicone and latex, I layer these against myself, fragmenting and re-imagining myself as a reaction to culturally imbued shame and objectification. I want to empower and to challenge the notion of the abject, of the feeling of disgust, in particular of why this is a term that historically overwhelmingly applies to women’s bodies.

My prints consider the notion of skin that becomes ‘poreless’ as a response to society’s pressure on women’s bodies and the quest for perfection. Our bodies are being ‘stopped up’ to the point that they become plastic, as the lines blur between human and cyborg. My own skin likewise represents the translucent and fragile boundary upon which the conflict between accepting my own mortality and a deep-rooted squeamishness plays out. I am re-constructing my body through print; creating new, plasticised skins for myself, working with life casting as an extension of the expanded field of printmaking.

Info

  • Bethany Marett
  • MA Degree

    School

    School of Arts & Humanities

    Programme

    MA Print, 2018

  • My practice concerns the corporeal – the body – and all the contrasting and conflicting aspects inherent; how bodies are sensual, beautiful, ugly, damaged, idealised, sexual, abject, gendered, delicate. Distorting and reconfiguring my own body, I work in the liminal state between abstract and figurative, in a mode that is simultaneously sensual and disturbingly uncanny. It is the visualisation of the transformation of the tactile sense. The sensation of skin.

  • Degrees

  • BA (Hons) History of Art, University of York, 2009
  • Experience

  • Visiting Tutor, Bath School of Art and Design, Bath, 2017; Mara/Laing Graduate Student Exchange Programme Residency, University of Calgary, AB, Canada, 2017; Proofreader of Flowers Gallery publication 'David Hepher: Grain of Concrete' by Ben Lewis, London, 2016; Artist Facilitator: Print Workshop Leader, Rowan Arts, Islington, London, 2014; Visitor Host, Tate Britain, London, 2015; Print Workshop Leader & Programmes Coordinator, Claremont Project, London, 2014; Associate, Five Years Gallery, London, 2014; Intern, Arts Council Collection, Yorkshire Sculpture Park, 2009
  • Exhibitions

  • Hold your horses, CGP Gallery, London, 2018; Bethany Marett: Featured Artist, Greenwich Printmakers, London, 2018; Disrupt, Subject Matter, 2018; Barbican Arts Group Trust Open 2017, London, 2017; Like, Literally, Literally Like, Hockney Gallery, Royal College of Art, London, 2017; Stewarts Law RCA Secret 2017, Dyson Gallery, Royal College of Art, London, 2017; A museum of modern nature, The Wellcome Collection, London, 2017; The Ruth Borchard Self-Portrait Prize, Piano Nobile Gallery, London, 2017; Lasting Impressions: a selection of works from the Printmakers Council Archive, Scarborough Art Gallery, Scarborough, 2017; Freshly Squeezed, CGP Gallery, Southwark Park, London, 2017; material corporeal, Little Gallery, Calgary, Canada, 2017; Woolwich Contemporary Print Fair, Royal Arsenal Riverside, London, 2016; Secret Rose, Flowers Gallery, London, 2016; Greenwich Printmakers, Jack House Gallery, Portsmouth, 2015; Summer Exhibition, The Royal Academy, London, 2015; Shortlisted for The National Original Print Exhibition, Bankside Gallery, London, 2014; New Lights Art Prize 2013, The Mercer Gallery, Harrogate, 2013; Petrol, Five Years, London, 2013; Source, Griffin Gallery, London, 2013; 39 HOURS, Shoreditch Town Hall, London, 2013; The Rootstein Hopkins Drawing Exhibition, Morley College, London, 2013; UMuMa, Lewisham Arthouse, London, 2012; Showcase, Griffin Gallery, London, 2012; Slade Summer School Exhibition 2011, The Slade School of Fine Art, UCL, London, 2011
  • Awards

  • Almacantar Studio Award - Royal Albert Wharf; Tiffany & Co. x Outset Studiomakers Prize, 2018 (Shortlisted); Stanley Picker Tutorship - Kingston University 2018 (Shortlisted); The Ruby and Will George Trust, 2018; The Eaton Fund, 2018; The Company of Merchant Taylors of York, 2017; Villers David Bursary Royal College of Art, 2017; Art Hub Print Open Prize, Art Hub Deptford, London, 2016