Scarlett Hope-Gates

BA (Hons) Fine Art - Canterbury


I am a contemporary mixed media artist that predominantly works with sculpture, but I also create drawings, screen prints and paper cutouts using various materials and techniques. Materiality and concept are not the only focuses of my practice, installation is another important factor. Creating relationships and a narrative between my works within a space, or including space within that narrative is an exciting part of my practice.

The work could be seen as rejecting institutional norms by citing itself as unplaceable within any specific tradition and this is being done to enforce a feminist agenda. Using a large variety of materials that aren’t traditionally used for sculpture (tights, expanding foam and cotton wool etc.), as well as the use of the formless, has led to the work gaining an intentionally subversive positioning. However, the use of subversion is about having something within the work hidden, not as an evasion, rather as a feeling about what is hidden as holding significance. And what is to be subverted are preconceptions of order and value, which the work engages, through the adoption of an anti-traditional form of sculpture.

The sculptures are people, not physically, but they have emotions, relationships and feelings, and we’re witnessing their acts with one another. Their installation produces combinations that explore intimate moments which we experience throughout life. They’re seen to hang, drip or morph into one another as if they are alive, this is used as a physical representation of how the human body functions. Hand-made paper is used as a casing to protect the sculpture’s initial form, which can be interpreted as a representation of the skin. By incorporating this softer texture, the work is seen to be more natural and the muted colour palette has been adapted to make this connection stronger. No single piece has a title as they are interchangeable, no sculpture retains that personality forever, they can adapt or grow over time to become someone or something else, only fully completed installations gain a title as this is the only evidence of a traditionally ‘finished’ piece.

There is an aim for unpredictability within this practice. Once the work has been seen and/or interacted with you are familiar with them, their weight, their size, their form becomes consistent. When new work is being made this is taken into account and is the reason why scale, weight and form change frequently. Reusing past works has also helped to maintain this unpredictability. recycling old prints and cutouts to make hand-made paper, taking the sand out of old sculptures and creating new or simply repainting old works has continued to keep consistency with materials which is crucial within this practice.

Scroll for more icon-down-arrow

Scarlett Hope-Gates | Fine Art 6
Scarlett Hope-Gates | Fine Art 5
Untitled, 2020
Scarlett Hope-Gates | Fine Art 4
. (period piece), 2021
Scarlett Hope-Gates | Fine Art 3
Untitled, 2020
Scarlett Hope-Gates | Fine Art 2
Out and About, 2021
Scarlett Hope-Gates | Fine Art 1
Untitled, 2021
Scarlett Hope-Gates | Fine Art
Details of Georges and Louise, their six kids and the cat, 2021