![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/audeladesfrontieres\/WOODS\/PortraitIMG_3264.jpg\")
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Cr\u00e9ateur de bijoux<\/strong><\/p>\n Born (1961) in Surrey. Lives, works London\/Cumbria, UK.<\/p>\n Education<\/strong> Selected exhibitions<\/strong><\/p>\n 2013 2012 2011 2010 2009 2000 1999 1998 1994 1993 1992 Private Collection<\/strong> Publications<\/strong><\/p>\n Studio 1.4 \u2018Artandtrade,\u2019 Exterritorial\u2019. 2012. Published by Susak Press. It is the mystery of the value, personal and\/or socially specified, that so much intrigues Mark Woods and takes him into the exploration of the idea of \u201cfetish\u201d. We find Woods\u2019 artifacts behaving in many ways like those African fetishes, derogatorily defined as \u201cridiculous\u201d and \u201cjunk\u201d by the European traders and the Enlightenment thinkers. The usage of the primitive fetish -an object usually made to be worn on the body for some tangible effects- remains latent on Woods\u2019 art objects as an insisting prerogative, against any real possibility of being possessed and being worn by an individual. The versatility of the multifarious materials Mark uses in his pieces \u2013precious stones, woods and metals, women\u2019s hair and fabrics-, together with the apparent spontaneous manner of arraying them, might provoke the same feel of disturbance or surprise than the one expressed by the first travelers to West Africa. They degraded the symbolic value of African art, as much as their socioreligious systems, on the basis of how they understood the value of the different materials and how they used them and mixed them with one another. The Venetian Alvise da Cadamosto in the 1450\u2019s, talking about indigenous Gambians, asserted: \u00ab\u00a0Gold is much prized among them, in my opinion, more than by us, for they regard it as has very precious; nevertheless they traded it cheaply, taking it in exchange items of little value in our eyes …\u00a0\u00bb.<\/em><\/p>\n C’est la notion myst\u00e9rieuse de valeur, personnelle et \/ ou plus sp\u00e9cifiquement sociale, qui intrigue Mark Woods et l’am\u00e8ne \u00e0 explorer l’id\u00e9e de \u00abf\u00e9tiche\u00bb.. Ses objets se comportent \u00e0 bien des \u00e9gards comme les f\u00e9tiches africains, p\u00e9jorativement d\u00e9finis comme \u00ab\u00a0ridicules\u00a0\u00bb et \u00ab\u00a0junk\u00a0\u00bb par les commer\u00e7ants europ\u00e9ens et les penseurs \u00e9clair\u00e9s. L’utilisation du f\u00e9tiche primitif -un objet g\u00e9n\u00e9ralement fait pour \u00eatre port\u00e9 sur le corps pour cr\u00e9er certains effets tangibles-reste latente avec les \u0153uvres d\u2019art de Woods. C\u2019est comme une insistante pr\u00e9rogative, contre toute possibilit\u00e9 r\u00e9elle d’\u00eatre poss\u00e9d\u00e9 et d\u2019\u00eatre port\u00e9 par un individu. La diversit\u00e9 des mat\u00e9riaux utilis\u00e9s par Mark- pierres pr\u00e9cieuses, pi\u00e8ces de bois, m\u00e9taux, cheveux de femmes, tissus, ainsi que la mani\u00e8re apparemment spontan\u00e9e de leur arrangement, pourraient provoquer la m\u00eame sensation de perturbation ou de surprise que celles exprim\u00e9es par les premiers voyageurs en Afrique de l\u2019Ouest. Ils ont d\u00e9grad\u00e9 la valeur symbolique de l’art africain, autant que leur syst\u00e8me socioreligieux, en fonction de leur compr\u00e9hension de la valeur des mat\u00e9riaux, la fa\u00e7on de les utiliser et les m\u00e9langer. Le Venitien Alvise da Cadamosto dans le ann\u00e9es 1450, en parlant de Gambiens autochtones, affirmait : \u00ab\u00a0L’or est tr\u00e8s pris\u00e9 par eux, \u00e0 mon avis, plus que par nous, car ils consid\u00e8rent que c\u2019est un bien tr\u00e8s pr\u00e9cieux et pourtant ils l\u2019\u00e9changent \u00e0 un prix tr\u00e8s avantageux, avec des objets de peu de valeur \u00e0 nos yeux\u2026 \u00bb<\/em><\/p>\n Cet artiste a particip\u00e9 rue Paul Fort \u00e0 :<\/strong><\/p>\n L’exposition \u00ab\u00a0Au-del\u00e0 du pr\u00e9cieux, au-del\u00e0 des fronti\u00e8res\u00a0\u00bb\u00a0en novembre 2013<\/p>\n >\u00a0Lien vers l’exposition<\/a> Photo<\/strong><\/p>\n Mark Woods Cr\u00e9ateur de bijoux Born (1961) in Surrey. Lives, works London\/Cumbria, UK. Education Self toughed artist Selected exhibitions 2013 \u2018The Collection\u2019, Lincoln Museum \u2018Directional forces\u2019. 55th Venice Biennale, Italy 2013 \u2018Summer show\u2019, Cul de Sac Gallery, London;\u00a0\u2018Degrade\u2019,1.1 Gallery, London. \u2018Chinese Open\u2019, Q Park ,Chinatown, London. 2012 \u2018The end of the World\u2019,Papierfabrik, Graz. \u2018Baculum\u2019. Pertwee,…Continue reading WOODS Mark \u2022<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,30,20,19],"tags":[],"class_list":["post-864","post","type-post","status-publish","format-standard","hentry","category-artistes-invites","category-createurs-de-bijoux","category-par-nom","category-par-pratique-artistique"],"_links":{"self":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/864","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/comments?post=864"}],"version-history":[{"count":4,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/864\/revisions"}],"predecessor-version":[{"id":3990,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/posts\/864\/revisions\/3990"}],"wp:attachment":[{"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/media?parent=864"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/categories?post=864"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/www.19paulfort.com\/galerie\/index.php\/wp-json\/wp\/v2\/tags?post=864"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSelf toughed artist<\/p>\n
\n\u2018The Collection\u2019, Lincoln Museum
\n\u2018Directional forces\u2019. 55th Venice Biennale, Italy 2013
\n\u2018Summer show\u2019, Cul de Sac Gallery, London;\u00a0\u2018Degrade\u2019,1.1 Gallery, London.
\n\u2018Chinese Open\u2019, Q Park ,Chinatown, London.<\/p>\n
\n\u2018The end of the World\u2019,Papierfabrik, Graz.
\n\u2018Baculum\u2019. Pertwee, Anderson & Gold Gallery, London;
\n\u2018Plate\u2019,Alice Herrick Gallery,London
\n\u2018Queen of Diamonds\u201d, Electrum Gallery, London
\n\u2018Widely Absurd\u2019, The Hundred Years Gallery, London;
\n\u2018Target the Heart\u2019. Electrum Gallery, London.
\n\u2018Saturnia\u2019, Brussels.
\n\u2018Exteritorial\u2019.Studio 1.4 Vienna, Austria.<\/p>\n
\n\u2018Sexy 100\u2019. London<\/p>\n
\n\u2018To have, to hold\u2019. The Wapping Project, London. .
\n\u2018The Big Deal (3)\u2019. Camden Collective, London.
\n\u2018Miniscule\u2019. The Oblong Gallery, London.
\nElectrum Gallery, London.
\n\u2018The Moment of Privacy Has Passed\u2019.The Usher Gallery, Lincoln.<\/p>\n
\n\u2018V22, The Sculpture Show.\u2019 Biscuit Factory, Bermondsey, London.<\/p>\n
\n\u2018 Sofa\u2019, Lesley Craze Gallery, Chicago.
\n\u2018La Renaissance Du Bijou\u2019, part 2, Galerie Piltzer, Paris, France<\/p>\n
\n\u2018La Renaissance Du Bijou\u2019, Part 1, Galerie Piltzer, Paris, France<\/p>\n
\n\u2018Very British\u2019,Galerie D\u2019or, Oldenburg, Germany.<\/p>\n
\n\u2018Artists & Artisans of De Beauvoir\u2019, Bowater House, London.
\nVictoria & Albert Museum, London.<\/p>\n
\n\u2018Todays Jewels, From Paper TO Platinum\u2019, Lesley Craze Gallery, London.<\/p>\n
\nThe economist Building, Piccadilly, London. 1991
\nSmiths Gallery,Covent Garden, London.<\/p>\n
\nThe Alice & Louis Koch Collection, Switzerland.<\/p>\n
\n\u2018Design behind Desire\u2019, by Lisa Z. Morgan. 2011. Published by Farameh Media llc.
\n\u2018Unclasped:contemporary British Jewellery\u2019. by Derren Gilhooley & Simon Costin\u00a01998 Published by Black Dog publishing.<\/p>\n
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\n![\"\"](\"http:\/\/19paulfort.com\/images\/stories\/expositions\/audeladesfrontieres\/WOODS\/MW228blackgold.jpg\")
\nBead Black and gold mediator Oxidized <\/em>
\nSilver, 22ct Gold, 18ct white gold, Diamond.<\/em><\/h6>\nPerle sculpture M\u00e9diateur noir et or <\/em>
\nArgent oxyd\u00e9, or 22ct, or blanc 18 carats, diamant.<\/em><\/h6>\n","protected":false},"excerpt":{"rendered":"