Left: We, 2018. Bronze. Right: Know, 2018. Bronze.
Nothing, 2022. Bronze, silk bows.
Left: Don Joy: Snog, Anna Nicole Smith and J. Howard Marshall, 2022. Giclée print, framed. Right: Don Joy: Dennis Rodman and Carmen Electra, 2022. Giclée print, framed.
Left: Don Joy: Tom of Finland, The Pleasure of Play, 2022. Giclée print, framed. Right: Don Joy: Anna Nicole Smith and J. Howard Marshall, 2022. Giclée print, framed.
Works on paper, Galerie Chloe Salgado, 2021, Paris, France. Through the thick of her bush, 2021. Alpaca wool, wood, canvas, inkjet on paper, silk and straw.
Habitual Castor Gallery 2020, London, UK. It’s a bit hard to care, 2020. Left: Bronze, lycra, ink. Centre, Right: Detail photos.
Under the Volcano Broke Benington, 2020, Mexico City. Greta, 2019.
Left: Cocos, 2019. Lycra, ink, rope and steel. Right: Detail photo.
Fanzine made for my solo show. Participating in a chair, Castor Gallery, 2019. Collaborative text, including work by Ruby Wroe and Kai Isaiah Jamal and the chorus of Climax by Slum Village.
Slum Village, Kai Isaiah Jamal and Ruby Wore.
Hopp och Lek pt2. Collaborative project with Lucas Dupuy, 2019, Blockhouse, Tokyo. 2019. Inkjet on paper, satin and wood.
Inkjet on paper, satin and wood.
Inkjet on paper, satin and wood.
Matriarch Beach, Galerie Chloe Salgado, 2019, Paris, France. Installation view of a social plinth, viewers were encouraged to sit on the bronze stools, eat dates and commune.
Left: FEEDER, 2018. Dates, fabric, polystyrene, webbing, patches, bird toys and bronze. Right: Detail photo.
Participating in a chair, Castor Gallery 2019, London, UK. Left: Ada, 2019. Plywood, silk tapestry, marquetry, sandbags. Right: Detail photo.
Left, Right: Detail of marquetry.
Left: Rosen, 2018. Bronze, silk, paper, padding and felt. Right: Josefin, 2019. Plywood, marquetry, rope, water bottles and water. ￼
Left: Toya, 2019. Mdf, perspex, silk, spotlights, bird toys, vase and fresh cut flowers. Right: Detail photo.
Arwen, 2019. Plywood.
Recreational Grounds V © DATEAGLE ART, 2019, London, UK. Left: Feeder, 2019. Rope, millet and bread. Right: Detail photos of Feeder.
Doing it in the park, doing it after dark. Castor Gallery, 2018, London, UK. Left, Right: Installation view.
Silly Ass, 2017. Left, Right: Sheepskin, tyre, synthetic hemp rope and dye.
Left: Doing it in the park, doing it after dark, 2017. Bronze and synthetic hemp rope. Right: Detail photo.
Detail photo of the underneath of Doing it in the park, doing it after dark.
Left: Pippi, 2017. Functioning chalk slippers, attached to your feet and used to draw the gallery floor. Webbing, chalk. Right: Detail photo.
Amanda Moström, born in Umeå , Sweden in 1991. Now living and working in London. She graduated Fine Art Sculpture from City and Guilds of London Art School in 2016. Doing it in the park, doing it after dark, was her first solo exhibition. She was in Bloomberg New Contempories at Block 336 in London, followed its launch at The Baltic 39 in Newcastle in late 2017. She has shown internationally, to name a few, Architecture of Change at Void Gallery in Derry, Northern Ireland 2018 where she showed alongside with Assemble. Under the volcano, Studio Block m74 in Mexico City, Mexico 2020, Room 237 with Bubenberg and Contemporaines in Paris France 2019, Hopp och Lek Pt.2, Collaborative project with Lucas Dupuy at Block House, Tokyo Japan 2019. Recent solo shows include Participating in a chair at Castor Projects, London UK and Matriarch beach at Galerie Chloe Salgado in Paris France both in 2019.
Straddling an intersection of object making, photography and creating sites of interaction. My practice often takes the form of an installation. I have a strong interest in interdisciplinary exchanges and am always hungry to engage in or create spaces for exchange.