Statement

How the myth of the ‘rural idyll’ is reflected by object, imprint and ephemera?
As an Artist, Printmaker, Teacher and Equestrian, the focus of my work is the interplay of positive and negative, or between one space and another, set within a rural context. The ideas come from my background growing up on a working dairy farm where I viewed the world through the experience of horses, which have since become the prime focus of my work. My auto ethnographic approach has led me to explore the flux that exists between rural idyll and reality; the notion of anti-idyll or rural horror. Rhizomatic thinking and playful bricolage reconstruction provides rich, imaginative and vernacular descriptions that explore and communicate the secret heart of things. I explore ideas around presence, absence, repetition or temporality in the landscape and the relationship between object, imprint and removal which aptly embodies the printmaking process.

Achievements & Experience

CV:
2017 – 2020 MA Multidisciplinary Printmaking (Distinction), UWE
• Research Practice (2018):
An exploration of the research methodologies that could support an investigation into how the myth of the ‘rural idyll’ is reflected by object, imprint and ephemera?
• Eaton Fund Award (2020)
• Artist in Residence at the Museum of Rural Life at Waterperry House and Gardens (2019)

1995 Certificate of Education (FE), City of Bath College
1985 - 89 BA (hons) Graphic Design, Bath College of Higher Education

Recent Exhibitions:
Pending: 2020 Sally Gaden: Hand Made, Waterperry House and Gardens, Waterperry, Oxfordshire
2020 Sally Gaden – Southmead Hospital, Bristol
2019 Sally Gaden – Design Space, University of Gloucestershire, Park Campus, Cheltenham
2019 Where the Heart is… Sally Gaden and Juliet Duckworth – Wraxall House, Wraxall, Somerset

Featured Projects:

Covid-19 Outcome

Myth of the Rural Idyll

Bees wax shell casts from a fabricated and deconstructed saddle mould. The bricolage reconstruction, suspended in space from a saddle rack structure (Arte Povera) communicates the ‘aesthetics of silence’. This is placed in an idyllic countryside setting set on a contrasting industrial stainless steel table, which represents the urban mindset.

Symbiotic I, II, III Triptych

Triptych of screenprints. Imagery taken from intimate and unusual viewpoints. ‘Aesthetics of silence’ shown through the strength of simple shapes layered. Resulting colour overlap and intriguing shapes add complexity and excitement. Informative negative space communicates movement and visual conversation between horse and viewer, further enhanced across the suite of images.

Rat Trap

Rural horror: a complex multi-part mould was fabricated to produce a wax rat trap. The beauty of the cast object offers both an ‘aesthetic shiver’ and a ‘hyper startling’ reaction which is contrast to the futility of the material for the object to function purposefully.

Gordon's Gin Trap

Rural horror: a complex multi-part mould was fabricated to produce a resin gin trap. The intrigue of the cast object offers both an ‘aesthetic shiver’ and a ‘hyper startling’ reaction. The material of the object opposes it’s ability to function even though it is set in the open primed position.

Farrier's Nippers

A complex multi-part mould was fabricated to produce casts of the object in a range of materials including: bees’ wax, sugar and turmeric. The beauty of the pincer casts offers an ‘aesthetic shiver’. The material of the set casts, in the open position, intriguingly oppose their ability to function.

Stirrups

A multi-part mould was fabricated to produce casts of a stirrup in a range of materials including: wax, resin and glass. The outcomes playfully explore the form, pertaining to fragility and pain, echoing conditions within my horse’s hooves. The material of the casts, intriguingly contrast the object's ability to function.