Meg Shirayama: Ashurst Emerging Artist Prize Sculpture Winner 2020
Japanese born artist, Meg Shirayama, completed her Bachelor’s diploma in Fine Art at Wimbledon School of Arts and Masters at the Slade School of Fine Art. Meg explores the universal language of geometrics through works which can be experienced mutually from various standpoints.
Would you please tell us a little more about your practice?
Within my practice, I explore the perceptual shift that can occur in the presentation of an object. Using geometric language through minimal painted forms, I investigate seemingly utilitarian objects and the spaces they occupy. More specifically, the concept of how the appearance of functionality defines the identity of an object and the relationship between efficiency of form and the appearance of usefulness. I’m also particularly fascinated by the semiotic terminology of “painting,” and how it can be expressed in the reductive form. My aim is to create a “non-representational painting” with elements that are inessential to its function in order to question what is required to be considered a painting. I also enjoy incorporating colors without attached meanings or symbolism, which can be perceived subjectively because of their ambiguity.
Multidisciplinary function and material are themes in my practice, so my works comprise objects rendered in natural and found materials, like wood and mirrors. I am greatly influenced by the resourcefulness of modernist ideology and the roles that art, craft, and texture play. So, I have worked with artisans and instrument makers in my practice, reflecting on the process of turning artwork into functional objects and how we achieve these distinctions.
Mirrored-handrail-paintings, 2019, acrylic on bamboo plywood and repurposed mirrors, 30 x 30 x 15 cm each.
What does it mean to you to be awarded the Sculpture Winner for the Ashurst Emerging Artist Prize 2020?
I am ecstatic to have been selected as the winner of the Sculpture Award for this year’s Ashurst Emerging Artist Prize. I thoroughly enjoyed my fellow shortlisted artists' works, so it is a tremendous honour to receive this award and be recognized amongst such talented artists. I would like to thank the panel of judges who took interest in my work, and I would also like to thank everyone who supported me throughout this process.
Being selected for the Sculpture Award also provides an opportunity to present new sets of artworks at the winner’s exhibition. I’m very excited to be able to continue to exhibit the work I initially submitted and to share what I have been working on more recently with the public for the first time.
In your opinion, how well does the contemporary art world embrace and support emerging artists?
Currently, there are so many artists at various stages of their careers on social media whose practices are widely accessible to view from all over the world. As an emerging artist, to be able to follow the art practices of the world’s leading artists and have the possibility of connecting with them through social media is incredible. I tend to connect with the artists I have met in person on social media, and it is a fantastic way of keeping in touch and sharing my practice. I continue discovering incredible artists through social media and their activities motivate me to strive further.
The contemporary art world is also getting in tune with the digital art viewing experience, especially since the pandemic started. I hope improved digital art experiences will help increase the possibility of introducing talented emerging artists' works to wider audiences and pave their ways to greater success.
Mirrored-handrail-paintings, 2019, acrylic on bamboo plywood and repurposed mirrors, 30 x 30 x 15 cm each
How did the pandemic and the months of lockdown impact your practice? What were the challenges that you faced as an artist? How did you adapt?
I received a phone call from the Ashurst Art Prize during the months of lockdown, and it was the best news I have received this year. The prospect of being able to exhibit helped me stay motivated during this uncertain time. I also participated in the Artist Support Pledge initiative founded by Matthew Burrow during this period. For this, I created smaller scale models of prospective works, which encouraged me to continue creating even when I had limited resources and space. Many of my works are inspired by the idea of the economy of space and design, which is ironically getting more relevant during the time of lockdown. One of the models I created for the Artist Support Pledge is the inspiration behind my forthcoming solo exhibition with Ashurst, so I am thrilled to be able to create the full scale pieces for this exhibition.
Do you have any new projects in progress/any upcoming events?
I have been in contact with the gallery director of Zembla Gallery in Scotland, and he invited me to participate in their forthcoming group exhibition in 2021. The group exhibition is centred around the beautiful Modernist architecture by British Brutalist Peter Wormersly, which is situated near the Scottish Border. The exhibition date has been postponed due to the pandemic, however I am looking forward to the process of drawing inspirations and actualising them in near future.
Before we say goodbye, do you have any comments or worlds of advice for emerging artists?
It is challenging to continue creating artwork without the prospect of exhibiting in public. I created ‘Mirrored-handrail-paintings’ with no prospect of future exhibition. I submitted works for a few art prizes at the beginning of this year, and I’m very grateful that I pursued these. It is not easy getting represented by a gallery or participating in public exhibitions in this economic climate, but I see a rising number of open submissions from various art funding organisers which are great opportunities to introduce your artwork to the public.
Mirrored-handrail-paintings, 2019, acrylic on bamboo plywood and repurposed mirrors, 30 x 30 x 15 cm each