BIO
Sophie Hoyle currently lives and works in London where she graduated with a Post Graduate Diploma in Fine Art at Byam Shaw School of Art, 2010, and has a background in Human Geography (BA, UCL 2009).
Hoyle remains actively involved with a range of organisations that approach urbanism and debate its issues both academically and practically (Art & Architecture organisation, TINAG) alongside her artistic practice.
She currently has a studio residency at The Bow Arts Trust London, and teaches on the Photography, Art and Architecture course at Central Saint Martins College of Art and Design.
Sophie Hoyle currently lives and works in London where she graduated with a Post Graduate Diploma in Fine Art at Byam Shaw School of Art, 2010, and has a background in Human Geography (BA, UCL 2009).
Hoyle remains actively involved with a range of organisations that approach urbanism and debate its issues both academically and practically (Art & Architecture organisation, TINAG) alongside her artistic practice.
She currently has a studio residency at The Bow Arts Trust London, and teaches on the Photography, Art and Architecture course at Central Saint Martins College of Art and Design.
Sophie Hoyle
EXHIBITIONS
Cityscapes
22.06.2011 to 06.07.2011
For her sub30 residency at Proyecto Ace (2011), Hoyle undertook site-specific research through a series of explorations around Buenos Aires photographing the built landscape. She was drawn to the beton brut style architectural structures of the Biblioteca Nacional and Torre Dorrego (also known as the ‘death star’), with their shared characteristics of a raw concrete aesthetic and an imposing or foreboding atmosphere, with a near-dystopian or almost science-fiction quality.
Drawing from the original photographs, new architectural structures were formed though photomontage to produce images for photolithographic prints. By folding and cutting into the prints themselves, the architectural components were again re-arranged to form new structural compositions. Through their installation into the gallery space, the images were re-spatialised, and reconfigured in relation to each other. Protruding from the surface of the wall, they gained a new objecthood and sculptural quality. The prints were left unframed and were integrated into the rest of the space. Printing on translucent paper allowed them to be placed on top of one another, creating multiple layers of imagery, building up further the sense of a dense cityscape. A selection of pieces was mounted on the window of the gallery space, superimposing architectural images on the landscape behind.
Through processes of fragmentation and abstraction from the original photographic image, particular aspects of the architecture were selected and emphasised, creating an atmosphere or overall ‘sense-of’ this style of architecture in the city.
Drawing from the original photographs, new architectural structures were formed though photomontage to produce images for photolithographic prints. By folding and cutting into the prints themselves, the architectural components were again re-arranged to form new structural compositions. Through their installation into the gallery space, the images were re-spatialised, and reconfigured in relation to each other. Protruding from the surface of the wall, they gained a new objecthood and sculptural quality. The prints were left unframed and were integrated into the rest of the space. Printing on translucent paper allowed them to be placed on top of one another, creating multiple layers of imagery, building up further the sense of a dense cityscape. A selection of pieces was mounted on the window of the gallery space, superimposing architectural images on the landscape behind.
Through processes of fragmentation and abstraction from the original photographic image, particular aspects of the architecture were selected and emphasised, creating an atmosphere or overall ‘sense-of’ this style of architecture in the city.