Aesthetica Art Prize: Three Dimensional Design & Sculpture

As a celebration of excellence in art from across the world, the Aesthetica Art Prize welcomes entries from artists working in all mediums. Artists may submit their work into any one of the four categories; Photographic & Digital Art, Three Dimensional Design & Sculpture, Painting & Drawing and Video, Installation & Performance.

The prize offers a great opportunity for artists to showcase their work and further their involvement in the international art world. With a prize package including £1000 cash, a group exhibition in York hosted by Aesthetica, editorial coverage in the magazine and publication in the Creative Works Annual, why not submit your work into the competition and see where it takes you?

Previous finalists include Bernat Millet, also shortlisted for the National Portrait Gallery’s Taylor Wessing Photographic Portrait Prize and Julia Vogl, who won the Catlin Art Prize, was shortlisted for New Sensations: Saatchi Gallery and Channel 4’s Prize and has exhibited at Zabludowicz Collection.

We are always overwhelmed with entries of exceptional quality, making reading the Creative Works Anthology an inspiring and visually stimulating experience. Over the past few months, we have put together a diverse selection of 2011 finalist’s work from the Photographic & Digital Art, Painting & Drawing and Video and Installation & Performance categories. With just over a month to go, here is our final selection of Three Dimensional Design & Sculpture. We look forward to receiving your entry!

Sarah Greaves: Toaster

Sarah Greaves’ Embroidered Graffiti has featured in many group exhibitions culminating in a solo show in 2011, which gained her an interview on Woman’s Hour. Sarah has exhibited work across the UK and internationally, winning the Whitbread Young Arts Achiever Award in 2005 for her work in Kenya. Toaster uses the traditional craft of embroidery to vandalise and graffiti everyday objects with emotive, political and thoughtful text. Exploring stereotyped identities and gender roles, our internal monologues and the public and private self, Greaves’ work is delicate and “feminine” with a process that demands “masculine” tools such as drills and clamps.

Zachary Eastwood-Bloom: Information Ate My Table

Zachary Eastwood-Bloom is a London-based artist and founder member of Manifold, a studio co-operative in East London. He graduated with a Masters from the Royal College of Art in 2010 previously having graduated with a BA Hons from Edinburgh College of Art. Information Ate My Table is a piece that questions what happens when the digital world enters the material world. It examines notions of the over-saturation of information in contemporary society: a balance between the tangible and the intangible, information versus matter.

Anne Haworth: 190 Coil-built Pierced Ceramic Form Based on Seed Pod

Haworth’s ceramic work is a personal response to the natural world which she find endlessly fascinating. She is particularly drawn to objects which she can pick up on a walk in the countryside and hold her my hand. The form and detail of the seed pods, leaves and thistles Haworth brings home are both complex and beautiful and she feels inspired by all the complementary elements of colour, form and detail. All of her work is hand built using soft slabs and rolls of clay, enhanced with a limited colour palette of slips and oxides, and fired to stoneware.

Phil Vickery: Transparent Helix

Phil Vickery’s work involves representational concepts around the natural power behind thought, human nature, and how the subconscious is woven into this equation and relationship. These sculptures are tools of representational awareness. Human energy, thoughts, and the subconscious are a powerful focus within the individual, serving also to connect us as a species. Within his work, colour and form represent various emotional states of the mind and the subconscious. From the minute to the monumental these sculptures reflect the inner workings of the conscious, subconscious, and the flowing energy that can be considered thought. Information is power so this reasons that thought is energy.

Ivan Venkov: Applied typography – Bust II

Applied typography – Bust II is the result of several experiments – both in sculpture and design– to implement typography as a coherent element of the creation. During the work on these ‘Applied Typography’ projects, it soon came obvious that the only successful way how to include typography as a purely aesthetical element is to suppress it in favour of the whole piece. The intention of this project is to present letters as a part of an ever forming corpus. Letters are not to be seen directly, but to be rather emotionally perceived as an aesthetical background.”

The Aesthetica Art Prize is open for entries until the 31st August this year. For more information and to submit: