Milly Peck’s sculptures, installations and paintings are often cropped scenes of everyday narratives and familiar objects. There is a theatrical liveness to her work, as she elevates the everyday.
Peck plays between the pictorial and the three-dimensional. She uses a hand router to carve into wood. To be handled by the tool, the imagery has to be simplified into cartoon forms. In the pages which follow, we have a chance to see Peck’s work up close, looking at the detail of the drawn, rendered and carved line. Isolated hands carry out tasks, in staged scenes where the hands have become unwitting performers.
In recent works, she draws from ‘foley’ (sound effects that are added to films and other media in postproduction) as a process for exploring the reproduction of the minute detail of everyday life and for the architectural qualities of the Foley-studio, where the Foley process takes place. Continuing her interest in staged environments, she has been researching plays by British playwright, Alan Ayckbourn, paying close attention to the importance of ‘off-stage action’ and drawing influence from stage directions and set design within his works. Peck has made a new work for Ambit’s website influenced by a scene in Taking Steps written by Ayckbourn in 1979.
Milly Peck (b.1990, London) lives and works in London. She studied at The Ruskin School of Art, Oxford University (2009-12) and The Royal College of Art, London (2014-16). Recent solo shows include: Pressure Head, Assembly Point, London (2018); LOUD KNOCK, Matt’s Gallery (Studio Space), London (2017) and The Slip (Summer Window Installation), Tintype Gallery, London (2018). Recent group exhibitions include: ebc023, East Bristol Contemporary, Bristol (2019); Fakers, Thames-Side Studios Gallery, London (2018) and Survey, Jerwood Space, London / BALTIC, Newcastle and Bluecoat, Liverpool (2018/19). She is represented by VITRINE, London/Basel. millypeck.com