Images showing the development of work inspired by decorative architectural pediments found around the N10 area. Printed onto pre-used paper from the area, these images are cut and fashioned into new forms, themselves inspired by architecture. The sculptures are then sited within less easily recognisable Muswell Hill / N10 architecture with the view to bringing to question what any environment really consists of. A series of giclee prints were produced and exhibitied along side the sculptures at the Local Gallery in Muswell Hill for the exhibition RE-Vision.

Text on the Re-Vision Exhibition by Alice Lobb


'At first glance I see stark contrasts; multicoloured growths sprawling up monotone columns, intricate handcraft alongside peeling paintwork, organic sculptural wreaths hanging in concrete jungles. I blink and there are heads of worldly bearded figures, short-legged gremlins, the tails of fantastical sea creatures. As my eyes focus on the intricate patterns of the paper cut sculptures I am hypnotised by their detail, following each curve and crevice as it undulates over the 1940s stonework upon which it has taken temporary residence. 

Artists have been applauded for centuries for their ability to see something new in the otherwise ordinary, introducing new ideas and ways of looking. By presenting a radical new impression of the world and reframing the everyday, some are able to make the ordinary extraordinary and draw attention to what otherwise might go unnoticed. In a contemporary context this ability to re-frame or revise a place is a well known formula for urban regeneration; artists move to a formerly overlooked area and a creative community grows followed by cultural tourists and often increased property prices. Artists have a unique ability to make use of their local resources to offer an alternative viewpoint on a place and to question its perceived value and beauty. 
For Re-vision Beaumont has looked again at Muswell Hill where she lives and works. Following a recent mapping project in the area, funded by Arts Council England, the artist has created new paper sculptures which she has then photographed in the locale. This area of London is not a place that seems overlooked, or in need of regeneration: its green spaces, village feel and views of the city make it a desirable location to live. Beginning with this more celebrated view, Beaumont photographed Victorian architectural pediments on the area's well known Fortis Green Road and Broadway. She then involved the local community through a general call out for paper, a method she has used in previous work.  The images of the stonework are then printed onto these collected drawings, receipts and letters, transposing their once grand elegance onto fragments of the lives of everyday residents. The artist then laboriously hand cuts the images and layers the resulting delicate paper, to slowly build organic ephemeral sculptures derived from elegant masonry. 
The journey of these sculptures continues as Beaumont takes them back into the local area. Led by an appreciation for fine brickwork the artist photographs the sculptures in 1940s housing blocks and back road mews', away from the well trodden roads from which they were originally lifted.  A new perspective on what would otherwise be familiar sites is presented in the resulting giclee prints. The alien paper column signposts the eye to carefully composed doorways and inviting sloped paths. It crawls up geometric stairways and neatly plants itself into overlooked corners whilst the circular wreath made from recycled paper celebrates incidental architectural features and textured tarmac. When the artist talks about this method of taking these transitory sculptures into the urban environment she recalls the strange glances, unpredictable weather and fruitful conversations encountered. The absurdity of her making process is subtly translated into the resulting images and it is this that disrupts and distorts our normal view of these otherwise unremarkable sites.
The paper sculptures are like punctuation in an urban landscape; juxtaposing past and present and making extraordinary otherwise everyday scenes the multi-layered images ask us to stop and look again at our own surroundings. By relocating historical fancy onto and then into the present everyday this series of photographs provide a gap in which to slow down and reconsider or revise how architecture, people, objects and design combine to define a place - what is it that makes them beautiful and how do they retain this value?' 
Alice Lobb organises exhibitions for the V&A. She also writes about contemporary art.