Blenheim Walk Gallery is pleased to present Sheila Gaffney’s exhibition 'Embodied Dreaming'. Representative of her entire oeuvre, the exhibition, brings together for the first time a number of sculptures, drawings, video installation and image works, lightboxes, as well as unseen process-based models, and research material, highlighting the importance of process in her practice. The title of the exhibition is inspired by her doctoral thesis titled 'Embodied Dreaming' as a Sculptural Practice. In the process of theorising her own practice of making, she turns to object relations theory, more particularly British psychoanalyst Christopher Bollas’ notion of ‘embodied dreaming’ as integral to the process of embodiment, namely the construction of the self.

Sheila Gaffney is a sculptor whose work is known for its intricate blend of contemporary themes and craftsmanship. For four decades, Gaffney has developed a diverse body of work encompassing various forms—sculpture, mixed media and site-specific installations, drawing, photography—demonstrating her versatility and profound engagement with materiality and form. The materiality of the work is central to Gaffney’s artistic practice. She is deeply invested in the physical properties of her materials and the processes involved in working with them. This hands-on approach allows her to engage with her art on a tactile level, creating pieces that are as much about the process of making as they are about the finished product. Central themes in Gaffney’s work are issues of identity formation, class, gender, memory and multigenerational ethnicity, constantly intersecting with research-practices of sculptural making. She frequently delves into the concept of memory, using her art to render fleeting moments and ephemeral experiences. This focus on the transient nature of life is evident in her choice of materials and techniques, which often involve processes of decay, transformation, and regeneration.

As a feminist artist, Gaffney’s work engages with sculptural forms, feminist theories of life-writing and psychoanalytic aesthetics, exploring their interconnections through sculpture, drawing, and scholarly writing. The Girl—a deep and persistent fascination in her artistic practice—appears in multiple works as a psychoanalytic motif, which uncovers unconscious processes and gains insight into underlying psychological conflicts, desires, and emotional states. Her interest in research focuses on navigating the complexity of sculptural making. She is deeply intrigued by the processes that drive creativity, and develops mechanisms which aim to balance the conscious and the subconscious, memory and reality, tradition and innovation, theory and practice. She recognizes that, having found solutions, she continually poses new questions that emerge from the practice itself, evolving a sculptural language that is intimate and delicate, yet powerful and resilient. For Gaffney research-practice methods are both outward and inward-looking, often reflecting a keen interest in how art can embody and articulate complex social experiences and ideas. Her practice is marked by an ongoing dialogue between the act of making and theoretical inquiry, resulting in a body of work that is both materially rich and conceptually dynamic.

In addition to her sculptural practice, Gaffney is also a dedicated educator, sharing her knowledge and passion for fine art with students and emerging artists. Her teaching is an extension of her practice, fostering a deeper understanding of the artistic process. Gaffney’s legacy lies in her ability to bridge the gap between tradition and innovation, creating art that is rooted in histories but speaks to contemporary issues and experiences. Her work is a testament to the enduring power of craft and the importance of maintaining a connection to the past while forging new paths in the present. Through her art and teaching, she continues to inspire and influence the next generation of artists, ensuring that her legacy will endure for years to come.