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CV
juliewesterman@blueyonder.co.uk
www.juliewesterman.com
Mob – 07751471850
TRAINING |
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1985/86 |
Fellowship |
South Glamorgan Institute of art and Design |
1984/85 |
MA Fine Art |
Birmingham Polytechnic |
1981/84 |
BA Sculpture |
Chelsea School of Art |
Currently |
Senior Lecturer
Contemporary Fine Art. BA |
Sheffield Hallam University |
1997- 2004
2006 – 2008 |
Course leader
Sculpture BA
Course leader BA Contemporary Fine Art |
Sheffield Hallam University |
1999-2004 |
Director/Company Secretary |
S1Artspace /Projects |
2010 – present |
Member of the board of trustees |
Site Gallery, Sheffield |
selected exhibitions and commissions.
solo shows
2011 |
Fly Birdie Fly, Julie Westerman/John Hart.World Badminton Championships Wembly Arena |
2007 |
Barely There, Phoenix Gallery, Belfast. |
1999 |
Keeping My Head Above Water. S1 Artspace, Sheffield |
1994 |
Bringing Home the Bacon. Royal Institute of British Architects, London |
1993 |
Sculpture and Drawings. Playhouse Gallery, Harlow. |
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group shows |
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2012 |
Tegel: Flights of Fancy. Kino Babylon, Berlin, |
2010/11 |
15: S1 Artspace |
2010 |
Die Panke LoBe project Wedding Berlin |
2010 |
Julie Westerman/Stephan Husch LoBe Gallery Berlin |
2009 |
Afterwards, Warwick Mead Gallery |
2006 |
Distance, Gallery 5020 Salzburg |
2004 |
Inter, Museum and Art Gallery, Preston |
2001 |
Lightshift . Forest of Dean |
2001 |
Light Proof / Aprova Di Luce. Jesolo Lido Venezia, Italy |
2000 |
Subway Special. Aldwich Underground Station, London |
2000 |
Femm. Catherine Murphy Gallery St Paul, Minnesota |
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commissions
2008 |
Illuminated Carpet. Durham, Festival of Enlightenment |
2006 |
Thinly Veiled. Engraved copper wall, Grand Opera House, Belfast. |
2006 |
Plipperty-Plopp. Garden Journeys, Polesden Lacey National Trust Properties, Surrey |
2004 |
Critical Mass. Animated sculpture, Wolverhampton University. |
2001 |
Where R U. Site specific projection, Wakefield |
1996 |
Flighty Piece. Windsor Square, Caerphilly |
1995 |
The Jackdaws of Caerphilly. Stockland Square, Caerphilly |
1995 |
Gossiping Geese. Caerphilly, South Wales |
1991 |
Vulgaris Vulgaris. Peel House, Birmingham. |
1990 |
In the eye of the wind. Ruthin, N. Wales |
awards and publications |
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2011 |
Publication: Brutalist Speculations and Flights of Fancy |
2011 |
Grant: Engineering and Physical Sciences Research Council, Fly Birdie Fly, World Badminton Championships |
2010 |
Grant: Engineering and Physical Sciences Research Council- Arts/Sports Science Collaboration |
2010 |
Transmission HOST. Collaboration with Kate Davis |
2009 |
Transmission HOST. Collaboration with John Timberlake |
2008 |
Transmission: HOST. Collaboration with Christine Borland |
2006 |
Rules of Engagement, Drafts/Draughts. Collaboration with Joanne Lee |
2001 |
Publication: Where R U - Dove 6 |
1998 |
Award: Arts Council of England. |
1998 |
Publication: The Jackdaws of Caerphilly |
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residencies |
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2010 |
Artist in residence. LoBe Gallery Berlin |
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1998 |
Visiting Artist. Escola Guignard, Belo Horizonte, Brazil |
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1998 |
Chaos of the elements. Franconia Sculpture Park, Minneapolis USA |
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1997 |
Iron Pour UK. Laxfield Sculpture Studios, Suffolk |
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1993-6 |
Town Artist. Caerphilly, Wales |
Julie Westerman’s practice has been firmly placed
within sculpture, working across a wide range of materials.
A body of work using cast metal has been exhibited in both
North and South America.
Public art commissions include (with Lulu Quinn)
Critical Mass animated steam and steel sculpture, University
of Wolverhampton; Where R U Text projection, Cathedral Square,
Wakefield; exhibitions of cast iron, For the Sake of Appearance
Gallery, Guignard Belo Horizonte, Brazil; Femm Catherine
Murphy, Gallery St Paul, Minnesota.
'I have a long history of successful public art projects.
Fundamental to these is the notion of creating site-specific
works that reflect and engage the audience and enhance their
experience of the place. These range in scale from intimate
interventions to monumental forms and in materials from
bronze and copper to steel, acrylic, light and steam.
Although I have worked with a variety of materials and
approaches, my recent work utilizes CAD, and animation packages,
using the change in scale and media to bring together the
implausible, the intangible, the transitory or the ephemeral,
with the monumental and the sculptural.
Plipperty-Plopp and Thinly Veiled
both use computer animation to capture a moment in time; a splashing
droplet of water and a curtain in motion. CAD and animation
programs were used to build and manipulate 3 dimensional
forms of ephemeral phenomena and to transpose them into
the material world, the resulting sculptures bringing together
the virtual and the physical. The final sculptures have
an unashamedly seductive use of materials that form a point
of contact at a very human and tactile level. The images
are both recognizable and contemporary. They understand
that we are all now conversant with the computer generated
image and yet fulfill our desire for the physical pleasure
in materials.'
Julie Westerman
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