"Wardill's films are those rare works in which nothing is immediately comprehensible. These are conundrums, lessons in disorientation, pieces of sinister mischief that keep you awake all night. Watching this is exhilarating ,frightening and strange, like ice skating in the dark. ..
While so many of her contemporaries assume the becalmed gaze of the archivist or follow Chris Marker's spectre-like stray cats, here's work that feels riotously ambitious and vivid. Each film feels bewildering and singular yet all of them emerge from Wardill's obsession with 'the irreducible strangeness of images'. Critical rumours about the Film's meaning abound but none catch the rare weirdness of its atmosphere or its anarchic shape."
Charlie Fox. Sight and Sound.
"Wardill’s methods are distinctive not because they employ the structuralistic commonplace of disabusing viewers of their investment in filmic fiction, but because they proceed to convert that commonplace into psychological and physiological motifs: the schism between filmic and real worlds corresponding to a dissociation between mind and body, and between self and others."
Mark Prince. Art in America.
"The impetus of the film is not the story in itself, but rather how to tell it, or frame it; how the characters act within it, but also their reactions to it. It is narrative as physical material, a case study in which the discarded psychological undercurrents and loose ends of gesture and incident are reinserted and allowed to play out: the specter re-ma-terializes and becomes active."
Kirsty Bell Catalogue Things Keep Their Secrets.
"Over the years Wardill’s films staged wide ranging forms of individuation whose sense of continuity always appeared to be contested, forms in which “the ego is as impermanent as the body.” In which becomes graspable that, as (Ernst) Mach observes, 'what we fear so much in death, the destruction of permanence, already occurs in life in abundance.'"
Kerstin Stakemeier. Secession. Night 4 Day.
(*1977) lives and works in Lisbon, Portugal and Malmo, Sweden.
Wardill’s work has been exhibited in solo shows including Secession (2020) Kohta (2019) Bergen Kunsthall (2017), Gulbenkian Project Spaces (2017), INDEX, Stockholm (2014), The National Gallery of Denmark, Copenhagen (2012); de Appel arts centre, Amsterdam (2012); The Contemporary Art Museum St Louis (2011) List Centre MIT Boston and ICA, London (2007–08). Her work was included in group shows at Te Tuhi, New Zealand (2019), XYZ Collective, Toyko (2019) The Biennale of Moving Images, Geneva (2016), Salzburger Kunstverein (2015), the Serpentine Gallery London (2012), the Showroom Gallery London (2010), the Gallery of Modern Art Glasgow (2011), the MIT List Visual Arts Center in Cambridge/MA (2010), the ICA, London (2008), the Hayward Gallery, London; Witte de With, Rotterdam; MUMOK Vienna; and MOCA, Miami. She has shown in the Berlinalle Forum Expanded (2021), New York and London Film festivals (2010, 2014, 2017). Her work was awarded the Jarman Award in 2010 and the Leverhulme Award in 2011. She participated in the 54th Venice Biennale (2011) and the 19th Sydney Bienalle (2014).
Some of the international collections holding Wardill's work are Tate Britain, MUMOK Vienna, Gulbenkian Art Museum, Fonds Municipal d’Art Contemporain de la Ville de Genève, FRAC Champagne-Ardenne Collection, Saastamoinen Foundation and the Arts Council Collection of Great Britain as well as numerous private collections.
She is represented by Carlier Gebauer (Berlin), STANDARD(OSLO) and Altman Siegal (San Francisco).
Wardill has taught at The University of the Arts (Helsinki), University of British Columbia (Vancouver), Central Saint Martins (London), Academy of Fine Arts (Munich), School of the Art Institute (Chicago) ,National Art School (Sydney,Australia), Städelschule. (Frankfurt), Academy of Fine Arts (Karlsruhe), Goldsmiths University. (London) & the CCA (San Francisco).
Wardill currently works as a Professor at Malmo Art Academy, Sweden and as a visiting tutor at Maumaus, Lisbon.