User:Lucy Noakes/sandbox

who creates site-specific minimalist installations and often works with organic matter.

She was a nominee in the 2003 Turner Prize, alongside Grayson Perry, Jake and Dinos Chapman and Willie Doherty.

Her use of organic materials results in natural processes of transformation and decay, meaning that Gallaccio is unable to predict the end result of her installations. Something which at the start of an exhibition may be pleasurable, such as the scent of flowers or chocolate, would inevitably become increasingly unpleasant over time. The timely and site-specific nature of her work make it notoriously difficult to document. Her work therefore challenges the traditional notion that an art object or sculpture should essentially be a monument within a museum or gallery. Instead her work often lives through the memory of those that saw and experienced it - or the concept of the artwork itself.

She sometimes re-creates works. Her most well-known work Red on Green was originally made for her first solo showing in a public gallery, at the Institute of Contemporary Arts, London in 1992. It was then recreated ten years later for the exhibition Blast to Freeze: British Art in the 20th Century mounted by Kunstmuseum Wolfsburg in 2002 - 2003 and for the 2004 British Council exhibitionTurning Points: 20th Century British Sculpture.

Stoke 2004 used 70 percent cocoa, confectioner-quality chocolate (the same kind used to craft handmade truffles) and invited visitors to get physical with the piece—licking, touching, and stroking the walls in a Willy Wonka-esque free-for-all.

preserve ‘beauty’  1991 - 2003 was one the artworks which gained Gallaccio a Turner Prize nomination in 2003.

In a 2015 exhibition at the Museum of Contemporary Art San Diego, Gallaccio worked with students to build an unlikely technology: a 3D printer for clay to render a version of the iconic national monument, Devils Tower. Gallaccio joins a primal art material, clay, with a futuristic innovation, the 3D printer. With this effort, Gallaccio insinuates the slow build of geological time with the immediacy of 3D printing. The 3D printer suggests San Diego’s identity as a hub of technological innovation, even as the form, Devils Tower, possesses otherworldly connotations, as a sacred site in Native American tradition and the location of an alien landing in the 1977 film, Close Encounters of the Third Kind. For Gallaccio, the printer’s extruded coils of wet clay highlight the potential slippage between artistic intent, the limits of materials, and technological processes in contemporary artistic practice.

Exhibitions