Amanda Lwin
‘Artemis of the Lea’, 2019
3 vessels, 30 x 20 x 15 cm (each)

Amanda Lwin is an interdisciplinary conceptual artist whose practice is concerned

 with urban systems and how they impact on our sense of self, national and global

identity. Most recently, projects have attempted to reveal the way that systems and

infrastructure underlie our societies and lives: networks that hold cities together

but might be invisible or intangible. Initially trained in architecture and urban design,

since shifting towards contemporary art she has been commissioned or funded

by, amongst others, The City of London, the National Trust (England), The British

Council, University College London, British Airways, and Arts Council England.

Recent commissions include a textile installation in the City of London (a square

mile that is the ancient heart of London and one of the capital’s two financial districts).

A Worldwide Web of Somewheres is a map of the City’s underground infrastructure.

It is currently installed in Leadenhall Market, site of one of the oldest marketplaces in Britain.Her most recent curatorial project, Unreal Estates, commissions artists and writers to collaborate to produce new work relating to homes and domestic interiors. Presented as an exhibition in a real-life estate agency, as well as online on, the Arts Council-supported project critiques the homogenisation of interior aesthetics, which correlates with a growing idea of property as a tradable asset. b. London, UK. British of Burmese heritage. Currently lives and works in London.



About the work:

Throughout summer 2019, a host of East London allotmenteers experimented with the use of urine to boost their vegetable growth. When topped up with water, urine is an excellent nitrogen-rich fertiliser – seven times more potent than manure. In October 2019, vessels designed to function as both watering cans and portable urinals were festooned on a pipe-like frame, in an installation named 'Artemis of the Lea'. A multi-breasted riverine mother goddess, this sculptural installation combined hard-edged lines with voluptuous forms, and recalls the muscular yet feminine strength of ancient fertility deities. At the exhibition’s end, these purpose-made urns were distributed for ongoing use as allotment holders continue to nourish their crops with home-made fertiliser. Water networks are often thought of as the infrastructure of supply and sewerage, yet solutions can operate from the scale of the individual to that of the landscape. This project resurrects connections with the environment, celebrates water infrastructure and elevates human bodily waste as a natural and precious resource.



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