If I were successful in receiving the £10,000 bursary, it would be pivotal in advancing my artistic practice, particularly in the realm of sculptural work and metal casting. Currently, financial constraints limit my ability to fully explore and experiment with materials. This grant would allow me to focus entirely on my work, without the distraction of full-time employment, providing me with the time and resources to push my practice forward.
With the bursary, I would be able to take more risks with my materials, experiment with new techniques.Working at Antony Gormley’s foundry has intensified my interest in metal casting, but I’ve never had the financial means to cast in metal. I have experience with plaster casting, but the bursary would enable me to expand my skill set and explore high-quality, long-lasting materials. This shift would elevate my sculptures both technically and conceptually, allowing me to create more refined, durable works that align with my vision.
My long-term goal is to exhibit globally and use my art to inspire social and political change, contributing to meaningful dialogues within communities. Receiving the bursary would also provide access to professional development and networking opportunities that are crucial for advancing my career. With the financial freedom to focus on my work, I could attend industry events, exhibitions, and workshops that are otherwise out of reach. These experiences would allow me to engage with a broader artistic community, gain valuable feedback, and connect with curators, collectors, and potential collaborators. This exposure would not only elevate my practice but also help build my professional network, increase visibility for my work, and support my long-term career goals in the art world.
This scholarship would provide with the foundation to build a sustainable, professional career in the arts. It would not only enhance the quality and value of my work but also deepen its impact. Ultimately, this funding would enable me to contribute more profoundly to the contemporary art world and help me achieve my mission to make a lasting social impact through my art.
To raise the profile of the creative arts in Darlington, my work would seek to foster a dialogue between contemporary sculpture and the local community, engaging both locals and visitors in new ways of thinking about art. Darlington’s rich industrial history, rooted in the Industrial Revolution, offers a unique backdrop for art that reflects and challenges this legacy. My sculptures explore technological advancement, linking the transformative changes of the past to today’s innovations and highlighting the ongoing relationship between technology, industry, and society.
Through public engagement, I aim to make these connections tangible for the community. By creating interactive installations and hosting workshops, I hope to involve locals in reflecting on how technology has shaped their past and present. This participatory approach encourages a deeper connection to Darlington’s industrial heritage while fostering an appreciation for its creative future.
I aim to enrich the town’s artistic offerings and inspire a sense of ownership and pride in the creative arts. Ultimately, my work will not only raise Darlington’s artistic profile but also demonstrate how art can spark meaningful conversations that resonate locally, nationally, and globally.
My current artistic practice centres on the theme of dissociation from reality within Western society and its impact on community connections. I explore how technological advancements, consumerism, and post-industrial capitalism foster feelings of alienation, focusing on the interplay between real-life communities and the virtual world. This theme is particularly relevant to Darlington, with its industrial roots and ongoing transformation, as I reflect on how technology and industry continue to shape our relationships and experiences.
Recently, I exhibited with the Royal Scottish Academy in their New Contemporary Exhibition (2025), the Royal Society of British Artists’ Rising Stars Exhibition (2024), and the Glasgow Gallery of Photography (2024). My work predominantly revolves around sculpture, but I engage a range of mediums, including painting, airbrushing, casting, ceramics, video, projections, sound, and installation. I often use abstraction to convey feelings of solitude and isolation, drawing on photography and sketching from life to observe the human condition and our interactions with one another.
A key element in my work is the use of trains as a symbol of both the Industrial Revolution’s technological advances and the Futurist movement’s obsession with speed, progress, and the machine.
Incorporating these motifs into my sculptures, I draw on the Futurists’ fascination with motion and mechanisation, using trains to explore how our technological advancements have evolved from hopeful symbols of progress into complex forces that contribute to societal fragmentation. The Futurists celebrated machines as agents of liberation and change, but my work takes a more critical stance, examining how the relentless pursuit of speed and innovation has led to a loss of human connection and a sense of alienation, echoing the very themes of dissociation I explore in my practice. Through casting and manipulating objects, I challenge their connotations, transforming them into monochromatic, dystopian forms that mirror the emptiness I perceive in modern life. I examine communication settings, like dinner tables and public spaces, as symbols of the breakdown of human connection.
By addressing these issues, I aim to provoke change, encouraging viewers to truly see the world around them and reflect on how we engage with each other and technology.
Do you have a degree in visual or applied arts at undergraduate and/or post-graduate level? Please provide details. (200 words)
I graduated in 2024 with a First Class BA (Hons) in Fine Art from Duncan of Jordanstone Collage of Art and Design (University of Dundee). Throughout my undergraduate studies, I developed a strong foundation in sculpture, drawing, and installation art, while also engaging with a wide range of mediums such as painting, ceramics, casting, and video. My academic journey allowed me to explore the intersection of technological themes, human connection, and societal transformation, which continues to influence my current practice.
In September, I will begin my Master’s degree in Sculpture at the Royal College of Art in London. This opportunity will further refine my technical skills and deepen my conceptual approach to sculpture, particularly in the context of contemporary practices.
Have you previously received professional grants or awards? Please give details. (200 words)
In 2024, I was honoured to receive the RSA Wilhelmina Barns Graham Award, which has significantly supported my current project in Gujo Hachiman, a town renowned for being the birthplace of shokuhin sampuru—the art of creating hyperrealistic food replicas. This grant has allowed me to explore the intersections of craft, commercial display, and contemporary art, as I investigate how these hyperrealistic food models serve both as cultural artefact’s and as reflections of consumerism.
As part of this award, I will be exhibiting my findings and a new body of work at the Royal Scottish Academy in 2027. Additionally, I will be donating an artwork to their private collection, further solidifying my engagement with the broader art community.
I have also been long-listed for the Aesthetics Art Prize 2025, which is a notable recognition of my continued exploration into themes of alienation, technological influence, and the human condition. This long-listing offers valuable exposure and further opportunity to connect with other artists and critics working in similar conceptual spaces.
I graduated in 2024 with a First Class BA (Hons) in Fine Art from Duncan of Jordanstone Collage of Art and Design (University of Dundee). Throughout my undergraduate studies, I developed a strong foundation in sculpture, drawing, and installation art, while also engaging with a wide range of mediums such as painting, ceramics, casting, and video. My academic journey allowed me to explore the intersection of technological themes, human connection, and societal transformation, which continues to influence my current practice.
In September, I will begin my Master’s degree in Sculpture at the Royal College of Art in London. This opportunity will further refine my technical skills and deepen my conceptual approach to sculpture, particularly in the context of contemporary practices.
In 2024, I was honoured to receive the RSA Wilhelmina Barns Graham Award, which has significantly supported my current project in Gujo Hachiman, a town renowned for being the birthplace of shokuhin sampuru—the art of creating hyperrealistic food replicas. This grant has allowed me to explore the intersections of craft, commercial display, and contemporary art, as I investigate how these hyperrealistic food models serve both as cultural artefact’s and as reflections of consumerism.
As part of this award, I will be exhibiting my findings and a new body of work at the Royal Scottish Academy in 2027. Additionally, I will be donating an artwork to their private collection, further solidifying my engagement with the broader art community.
I have also been long-listed for the Aesthetics Art Prize 2025, which is a notable recognition of my continued exploration into themes of alienation, technological influence, and the human condition. This long-listing offers valuable exposure and further opportunity to connect with other artists and critics working in similar conceptual spaces.
My artwork has been featured in several prominent publications, showcasing my practice and its exploration of contemporary themes. In May 2024, The Scotsman published an art review by Susan Mansfield, titled “Art Review: Degree Show 2024, Duncan of Jordanstone College of Art and Design.” This review highlighted my work as part of the degree show, focusing on its conceptual depth and innovative use of materials.
In June 2024, my work was featured in Art Mag (Issue 317, page 44), in a piece titled “All Things New.” This publication covered emerging artists and provided a broader context for my exploration of technology and alienation through sculpture and installation.
In March 2025, The Skinny included my work in Issue 230, with an article by Rachel Ashenden, titled “Young Team.”I was selected for this inclusion following my participation in the New Contemporary Exhibition at the Royal Scottish Academy, which offered valuable exposure and solidified my place in the contemporary art scene.
Additionally, in April 2025, my work was featured in Jan Patience’s article “Thank the Lord for New Contemporaries… when Degree Shows Get Distilled” in Airts & Pairts, recognizing my contribution to the evolving dialogue of contemporary art.
I participated in the Grampus Heritage Schemes – Traditional Skills residency in Cyprus from June 15th to July 7th, 2024. During this residency, I worked with the local community to learn traditional crafts, including lace making, crochet, mosaics, icon painting, and boutique work. This experience enriched my understanding of traditional craftsmanship and its cultural significance, while also deepening my appreciation for how these practices intersect with contemporary art.
In addition, I recently completed a six-month work placement at the professional metal foundry of renowned British sculptor Antony Gormley. In this role, I was responsible for finishing sculptures in SG/Iron, working on tasks such as preparing surfaces for smoothness and precision, refining holes for assembly, and executing fusion welding for structural integrity. I also gained experience in TIG/MIG welding, ensuring materials were welded with precision, and in polishing sculptures to bring them to a fine finish for presentation.
This work placement provided hands-on exposure to the technical aspects of sculpture production, where I collaborated with a skilled team to meet deadlines and ensure high-quality results. It was a valuable experience that sharpened my technical skills and provided deeper insights into professional sculptural practices.
Email: maddy.pearce06@gmail.com
Address: Auchen Tulloch, Rafford, Forres, Moray, IV36 2RU, GB
Local Authority: Moray Council
