About Maggie Bonsey

Education:

2013
MA Textiles (Part time)
UCA (University for the Creative Arts) Farnham

2004
BA (Hons) Fine Art (Part time)
Surrey Institute of Art & Design University College

Short Courses:

Feb 2011: Sensing Art: Tate Modern
Jan 2006: Creative Mentoring: CIP, Hounslow Council
Feb 2005: Museum as Muse: Tate Modern
Sept 2002: Thinking Photography: Tate Modern

Exhibitions:

Group shows:
August-September 2013: Evolve: MAde 2013, UCA Farnham
June-September 2011: ShopArt!, Norwich, Norfolk
July 2008: 30, Truman Brewery, Brick Lane London E1
October 2005: Paper Pen; The Art House, Westbourne, Hants
April 2005: ‘Red Art’; The Troubadour Gallery, London SW5
February 2005: ‘Fold It’; Stroud House Gallery, Stroud, Glos.
November 2004: Candid Arts Trust, E1; Fortnightly film screening
October 2004: ‘MAX10’; Newlyn Art Gallery, Newlyn, Cornwall; Monthly film screening
October 2004: ‘Soft Sculpture’; The Art House, Westbourne, Hants
July 2002: ‘First XI’; The Nunnery, London E3

Solo exhibitions:
November 2008: Gilbert White’s & Oates Musum, Selborne, Hants

Projects:
October 2006: Torchaira, Italy
In collaboration with 4 other sculptors, site specific wood carvings

June 2006: Bedfont Junior School, Bedfont, Feltham, Middx
In collaboration with pupils, painting of a mural in school dining hall

February 2006: Bedfont Junior School, Bedfont, Feltham, Middx
In collaboration with pupils, painting of a mural in school cloakroom

Processes:
Textiles
Sculpture
Animation

 

Concepts, ideas, themes:

Maggie is interested in the overlooked and undervalued in our everyday lives; those ordinary things that have such familiarity as to have become almost invisible.

Her most recent work looks at a commonplace component of our daily lives: stitching. Stitching is an ancient and fundamental constructional method containing the contradictions of both fragility and strength. Using the repeated rhythmic actions of both the sewing machine and a circular stitching motion, those frequently unseen elements of everyday construction become three dimensional geometric forms made from thread and time.

Previous work has looked at buttons and how an everyday object can be a highly treasured possession to one individual and worthless to another. This work centred on her family button box which had been passed down through four generations – why?.  Small irrelevant objects that were once saved for their perceived usefulness had become a collection entwined with memories, stories and mysteries affecting and altering them and our perceptions of them. 

Maggie is also keenly interested in the environment and looks to using materials that ‘already are’, manipulating them into something else.  Everyday insignificant items can provide valuable source materials, e.g. office paper, envelopes and paper clips have also featured in her work.