RSA New Contemporaries

School of Fine Art Sculpture & Environmental Art

Matilda Glancy

My work is deeply rooted in the nexus of location, time, and the individual. Working with temporal events to balance the physicality of the event and how it is affected by the passage of time to produce new realities.

As an artist, the process is equally important as the final product. The sun and its rays are the very essences of life. I am celebrating the special nature of time and place, the point at which all forces are gathered in a never repeated way. The moment at which we are all truly in our own moment.

Sitting within a strange mix of fact and fiction, it lives and feeds on myths, spirituality, and reality. It is pertinent only to the protagonist and their interpretation. The process is repeated time and time again, yet changing in context each time. A sense of perpetual journeying and a process of continual learning.


Nomadic Sundial
Environmental Sundials

Nomadic Sundial

This particular series focuses on a textile work called the ‘Nomadic Sundial’. Each yellow ray is indicative of an hour of the day and when the textile is positioned to true north on a sunny day, you can measure the angle of your shadow against the yellow rays: The textile has become a clock, and your shadow is the hand on that clock.

Through a series of processions, the ‘Nomadic Sundial’ infiltrates the ‘every day’. The process is repeated time and time again, yet changes in location each time. Each time laying it to rest and using its function as a clock.


Train from Glasgow to Ediburgh, 28th February 2022

San Miguel de Allande, Mexico, 4th April, 2022

Holland Park, London, 7th March 2022

Millport Beach, Scotland, 20th January 2022

Environmental Sundials

Nonconvention in its format, the sundials were made up of my shadowed forms, their length and placement indicative of the first minute of every other hour of the day. The shadow figure held its hands high up in a dramatic pose, reminiscent of an archaic aesthetic. Quite literally giving memory a body.

The process of making the sundial is almost ritualistic. I first observe the sun and my shadows placement in relation, then I mark the lands, so that everything is perfectly aligned at the given moment.

It demands the viewer takes a critical position by becoming the fulcrum in the equation.


Wormwood Scrubs, London, 25th September, 2021

Wormwood Scrubs, Midday Planted shadow, 2nd October 2021

West Kilbride, 25th October 2021

Portobello Beach, Edinburgh, 15th October, 2021

Pollock Park, Glasgow, 3rd November 2022