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CV
| 1985/6 |
Fellowship |
South Glamorgan Inst. of Art & Design
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| 1984/5 |
MA Fine Art |
Birmingham Polytechnic |
| 1981/4 |
BA Sculpture |
Chelsea School of Art |
| 1980/1 |
Foundation Studies |
Loughborough College of Art &Design |
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| Currently |
Course Leader - Fine Art, Sheffield Hallam
University |
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.
Recent 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.
Current research: Inter Harris Museum and Art Gallery,
digital animation and sculptures created by rapid prototyping
processes.
Bio
'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.
Two 2006 commissions Plipperty-Plopp and Thinly Veiled
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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