Sand's arrival into art as a full-time venture was later in life than usual and so she has had many different roles and paths since leaving school at 16. Work and family took up much of her time but later when the pull of making art became undeniable, she finally made a life changing decision to develop the art she had been making now and then, gain an education in art and find the opportunity to make it a priority.
Six years later and soon after completing her BA in Fine Art, Sand was accepted as a scholarship student, one of only 18 students taken yearly worldwide for a 3 year's Masters in Fine Art at the Royal Academy Schools London.
All of Sand's education was financed by bursaries and grants and her working continually at various paid work alongside her studies mainly as an art technician, installing art shows at London galleries etc., running workshops, teaching and as a fabricator, that is, making work for other, better known artists.
Her path may have taken the long way around but Sand understands that the life experiences she had before and after her studies continues to be imperative in informing everything that she makes. Therefore, though not purposefully autobiographical her work will always contain a seed from her ideas, fascinations, obsessions and the many events that have marked her life.
Since leaving the RA in 2004 Sand has also followed another much-desired path to run alongside her making, that of travelling whenever possible, passing through and living in foreign places. Throughout her travels over the last 15 years or so she has continually made work, paintings, sculpture, drawings etc. Most of this work, out of necessity and circumstance was discarded along the way but much of her available work, most of it unseen until now, is informed by the people, places and events that she encountered.
A perfect example of Sand combining making art and travelling was in 2015 when, after the usual pre walkabout act of disposing of all her possessions and flat etc., she was staying overnight with a friend to catch a flight and return to India for six months. That evening, Sand received a call from SELFRIDGES in London informing her that she had been selected as one of 12 Artists and makers who were invited to design a window installation for 3 months to be shown in one of the huge 5-meter windows on Oxford Street.
The chance to have her work seen by 1 Million people a day was very tempting....but for Sand, so too was India. Typically, Sand did both, she traveled to India the next day and set up a makeshift studio where she could work. She then returned to London for interviews and publicity events and to make a number of prototypes to illustrate the idea for her window. This was to be over 120 drilled Goose Eggshells to be painted and spiked through with various nails and screws that would be fixed by acrylic rods to a huge oval mirror hung from above.
Sand then returned to India and in 45 degrees and for over 2 months Sand drilled and prepared the eggshells and then packed them up and brought them back to London for finishing off in a borrowed studio....without one breakage! The day after the show opened, Sand returned to her travels.
In Sand's words:
The prospect of further education was not available to me when I left school and home at 16. Like most, earning a wage was a full time occupation for the next 20 or so years. Over those years I made a number of attempts to attend college part time that were always interrupted by some life event or another. Eventually, life changed circumstances for me in such an extreme way that I was finally able to contemplate full time study. Better late than never, I set out on a very different path.
In 1999 after at last completing a Foundation course in Epping, Essex, I finally achieved a BA (hons) in Fine Art from Middlesex University in London and 2 years later was accepted on scholarship at the Royal Academy Schools in London for a 3 years postgraduate MA with sculpture as my main focus. I graduated The Royal Academy Schools in 2004.
Although there is an obvious link between my works, I never settle on a ‘style’ and the possible limitations on creativity that I feel this may induce. I work in whatever medium expresses my ideas most succinctly. Sometimes this is with canvas, material or paper, sometimes through sound or film or, more often, using and making objects.
There is an adamant, relentless, intense and heavily worked aspect to most of my work, with many ideas working through and underneath, often shown through repetitive mark making that may or may not be deliberate or random. This profuse mark making translates into my sculpture so that the marks become the intensity of materials used or from the labor-intensive process involved.
I am passionate about recycling things...sometime using previous works and often choosing objects that carry the human touch, a memory held, that 'human stain'. Again and again I find myself returning to transforming and perhaps therefore redeeming the disregarded, the everyday object. Clothing, household items, building materials, found things, the mundane, the overlooked, the domestic, the mechanical.
I often incorporate drilling, knotting, layering, embellishing, using such processes to evoke a response, to capture....capture through enthrallment, seduction, amusement, curiosity, intrigue. I hope, in this way that my work entices the viewer to look and then to stay looking in an attempt to delve deeper, to want to understand, to unravel and find the story behind the work, the purpose, the intent within the thing presented.
I take inspiration from my own stories and memories intertwined with myths, physics, cosmology, philosophies and more and employ them as a way of trying to negotiate a path through the darkness of my/our inevitably limited understanding.... the horror and fear of our fragility, the awe and wonder of living. While the universe spins and throbs over our heads we go about our business, trying to untangle the everyday aspects of our lives...our dreams and nightmares, the winning, the losing and the trying, lives that turn off and lives that turn on.
Through stories, symbols, archetypes and metaphors we are constantly struggling to find new ways to extract a meaning that can be used as some kind of glue to hold all our parts together. I continue to remain fascinated and inspired in the human condition and our day to day attempts to come to terms with being a minuscule, but perhaps intrinsic part of a mostly unknown, unknowable, immeasurable, silent multi verse and the complex feelings of awe, wonder, fascination, frustration, fear, indifference, resignation and hope that this inspires.
My work is evidence of my personal journey and of what I have seen along the way.
Shows and Awards
My many many walkabouts have obviously hindered my ability to show my work over the last 15 years or so but below is an abridged list of shows since leaving the RA Schools.
2017 Kings Hill Gallery London Feb – May 2017
2016 Hinterland Gallery Group show ALIENNATION 2016
2016 Wall mounted works at The Stables Gallery and Studios, Tontine Street, Folkestone.
About: During Mach's yearly open studio, he generously offered his Technicians a great space to show our work. www.davidmach.com facebook/thebigone/havelockwalk/London/2012
2005 Sculpture in the Close
Dates: June 1, 2005 - Aug. 1, 2005
Venue: Jesus College Cambridge, Cambridge
About: A wonderful opportunity to show work in this stunning location. The show was curated and organised by the fantastic Rod Mengham and Lord Colin Renfrew, both collectors of my work. ;) It was a group show, held in the grounds and interior of Jesus College which has collected a number of my works. www.jesus.cam.ac.uk › ... › Sculpture in the Close › 2005 › Artists
2005 Training Pigeons to Fly (with their heads held high)
Dates: May 16, 2005 - May 20, 2005
Venue: The Prenelle Gallery, West India Dock, London
About: Showing on a beautiful barge moored on West India Dock