Franziska Windolf

Excerpt patchwork 2021/2022, media item 2

1 Draft for patchworked coats. Collage based on site-visit at Watts Chapel, Compton, UK, 2021.

2 Space Wandering with artwork in public space, revisiting Little Albert. Hyde Park, London, 2022. Size: 176x117x5cm. Materials: Print on textile, cardboard, foam clay, thread, metal. Image: Leonid Hrytsak.

3 Intervention with Sofia Sanchez on Physical Strength sculpture by J.F. Watts. Hyde Park, London, 2021. In dialogue with Leonora Carrington. Materials: C-print on paper. Size: 800x20cm.

4 Creation of a genderless centaur-like unity between the 3 elements horse-rider-plinth. This is to question notions of verticality and stability, as well as depictions of the human-animal power (subdue and rule) relationship. Materials: Digital collage. Size: variable. Together with Leonid Hrytsak.

5 Massively Multiplayer Role Playing Game. 2021. Materials: C-print on paper, pen. Size:59,4x42cm.

6 Hero crumb. 2021. Materials: Aluminium, marker. Size: 22x17x13cm.

7 There are many called XXX. Hand-modelled wax figures by Amelia Cullen and Franziska Windolf.

8 Star Tourist. 2021. Materials: C-print on paper, pen. Size: 56x51cm.

9 Tenable Them. 2021. Intervention on Physical Strength sculpture in Hyde Park, London. Digital Image.

10 Untitled. 2021. Digital collage. Draft for public artwork. Image credit: www.africaranking.com

11 Albert flounder. 2021. Material: Print on textile, leather jacket, selfie stick. Size: 176x117cm.

12 Handkerchief. 2022. Together with Alexa Chow.

13 Leonoracle. 2022. Material: Gold plated bronze. Size: 13x8x5,5cm

14 Leaflet. 2022. Material: Print, fabric. Size: 1,60x60cm.

15 Shawl 2. 2021. Digital collage. Image credit: www.wattschapel.org.uk

There are many called XXX. Together with Amelia Cullen. 2021/22. – The golden glow made their backs supple, slowly caving in. The sound of the letters jumping on the keyboard anticipated a sudden spin of the rolling pin. The red floor was no red carpet. Forestalling the collapse of their pose, They happily gave in to Little Albert’s siren call. They found themselves thrown against a window with direct view on Little Albert, never reaching their desired fusion. Only the whopping punch of their bodies suggested Little Albert was [a] hit indeed. Material: Digital image.

Albert flounder. Golden heads turning green. Alberts, hard to digest. 2021. – Image based on intervention together with Amelia Cullen. Material: Print on textile, leather jacket, selfie stick. Size: 176x117 cm.

Shawl 2. 2021. – Material: Digital collage. Image credit: https://www.wattsgallery.org.uk

Shawl 1. 2021. – Material: Digital collage. Image credit: https://www.wattsgallery.org.uk

Hero crumb. 2022. – Material: Aluminium, marker pen. Size: 22x17x13 cm

Untitled. 2021. – Together with Sofia Sanchez and in dialogue with Leonora Carrington. Material: Photograph, C-print on paper. Size: variable.

Fairytale. 2021. – Based on site-visit of Watts Chapel in Compton UK. Material: Paper collage, fabric. Size: 62x45 cm

Star tourist. 2022. – Material: C-pint on paper, pen. Size: 56x51 cm.

Sculpture garment together with Alexa Chow. 2022. – A group of performers will animate For Monument's Sake, bridging public and intimate space through encounter and conversation. Performers: Alexa Chow, Amelia Cullen, Leonid, Hrytsak, Sofia Sanchez, Franziska Windolf. Skirt by Alexa Chow. Material: Print, fabric, buttons. Size: variable.

Leaflet. – Material: Print, fabric. Size: 1,60x60cm.

For Monument's Sake (detail)

Preview Graduation Show (details)

BA HFBK Hamburg, GER. 2018

MA Sculpture RCA London, GB. 2022

Franziska has a multi-fragmented sensation towards reality. This sensation sparks works that are playful and propositional in their reshaping of relationships between people and objects. Franziska's practice explores how fragmented actions can break up hierarchies and the inertia of space and matter. This endevaour to her feels like fixing things, or gambling with aesthetics. By cross-connecting disparate textures from specific sites, associated research and contexts, poetic figurations emerge. These are currently composed of text, often reappropriated imagery or photographs, and a textile body.

Franziska’s graduation work For Monument’s Sake disassembles the monumental into a patchwork. Once the word patchwork is broken down into patch and work, a flat pierced textile, historically associated with the domestic economy, can be understood as fragment and action. For Monument’s Sake therefore has a performative character, fragments in action, patches at work. The Watts Chapel in Compton and the public sculptures Little Albert and Physical Strength in Hyde Park, embodiments of patriarchal oppression and colonial imperialism, still affecting our present, are reshaped into textile creations. Together with the group of artists, the monuments become fused into a matter which can be approached, remodified and commemorated as something vague, fragile, arrogant and at the same time humble.

For Monument’s Sake consists of a sculpture momentarily composed for the show, sculpture garments and a durational performance which animates the core of For Monument’s Sake.

For Monument’s Sake was created together in parts with Alexa Chow (garments), Amelia Cullen (intervention), Sofia Sanchez (intervention) and Leonid Hrytsak (intervention, images), who will also be performing and interacting with the audience.

This page shows a dissected, digital version of For Monument’s Sake. To experience its physical presence, please visit the show in Battersea or see the documentation of its full assembled physical state on my website later: https://assembliesofimaginatives.com/For-Monument-s-Sake

Franziska Windolf

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About

Royal College of Art

Franziska Windolf

Gilbert Bayes RCA Award and DAAD (German Academic Exchange Service)

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About

Royal College of Art