1215 fine art catalogue

8/20/2019 1215 Fine Art Catalogue

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3 years,

72 artists,1095 days.

12-15 documents the works of seventy two emerging

artists from the 2015 Northumbria Fine Art Degree

Show. Edited by the students, this stand-alone

publication is a testament to the achievements and

ambitions of the year group – a comprehensive

collaborative conversation of progressing

contemporary art practice.

With the inclusion of short articles, artist interviews

and exhibition reviews, 12-15 provides a platform for

voices and perspectives, communicating a context of

contemporary art and visual culture not only to a

professional and academic audience, but to all

interested readers.

Capturing the refined expression of three years of

undergraduate study, 12-15 celebrates the innovation

and dedication of a new generation of artists,

curators, film-makers, painters, performers,

photographers, printmakers, sculptors and writers.

We would like to thank all contributors who enabled

the realisation and production of this publication.

The Editorial Team

Please be aware that this publication contains content of an explicit nature.

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1215


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C on t e n t s

5

Lucy Moss 120

Kerrie Nacey 122

Nurain Omar 124

Katinka Stampa Orwin 126

Sarah Jane Owen 128

Charlotte Pattinson 130

Josephine Peel 132

Samantha Potts 134

Alexandra Pywell 138

Lotti Reid 140

Rachael Scorer 142

Nancy Seary 144

Patrick Joseph Stansby 146

Joanna Street 148

David Thirlwell 150

Murray Thompson 154

George Unthank 156

Samuel Joshua Walker 158

Rebecca Watson 160

Chris Welton 162

Hope Whittington 164

Yuanpu Xia 166

Georgia Young 168

Thomas Zielinski 170

Articles

‘Artists Looking Forward’

by Thomas Zielinsk i & Emma Cole 6

‘At the beginning’ by Alicia Carroll 22

‘Continuous Creation’ by Lucy Moss 38

‘Perpetual Year Planner’

by Rachael Macarthur 54

‘Yellow’ by Frankie Casimir 70

‘The Death of Traditional Art Galleries

and Museums’ by Emily Matthews 86

‘Resurrecting Spectres from WW II in an

Intensely Private Drama’ by Chris Welton 98

‘An Introduction to Feminism’

by Melissa Macpherson 104

‘Ctrl-Alt-Space’ by Julie Bemment

and Kinnetico 118

‘Skateboarding as Artistic Practice’

by Euan Lynn 136

‘The Stranger LARP’

by Visible Psychology Inc 152

‘Northumbria Fine Art Auction 2015’

by Samantha Potts 172

Artists

Oliver Amphlett 8

Louise Angus 10

Sylwia Bak 12

Nadia Raphaella Baldini 14

Hannah Baldwin 16

Elizabeth Daisy Bedford 18

Charlotte Belsten 20

Julie Louise Bemment 24

Chloe Jane Bradley 26

Hayley Emma Brookes 28

Francesca Brown 30

Laura Brown 32

Jessica Carmichael 34

Alicia Carroll 36

Francesca Casimir 40

Hannah Charlton 42

Emma Cole 44

Warren Connor 46

Angharad Croft 48

Sharlie Cullen 50

Daniel Davies 52

Lauren Douglas 56

Conor Dutson 58

Maria Eardley 60

Kate Errington 62

Samantha Furze 64

Kimberley Gallon 66

Emily Gordon 68

Dean Hall 72

Sarah Horsman 74

Samuel Hurt 76

Jenny Irvine 78

Sophie Jarvis 80

Samuel Curtis Johnson 82

Laura Joyce 84

Tommy Keenan 88

Sophie Keith 90

Kinnetico 92

Michiyo Kurosawa 94

Rosa Langran 96

Dominic Lockyer 100

Frankie Long 102

Euan Lynn 106

Melissa MacPherson 108

Emily Matthews 110

Liz McDade 112

Daniel McGee 114

Kitty McMurray 116

Contents


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Ar t i s t s L o ok i n g F or w ar d

7

The constant question on everyone’s mind: what’s

next?

We asked a group of contemporary artists on their

thoughts about looking forward in the modern art

world. We got in contact with R achel Maclean, Neil

Clements, Rupert Thomson, Gerard Byrne, and Maria

Fusco to see what they had to say about the future

of art.

Does art have the power to bring about

potential for change in our society?

R.M. ‘Yes, of course! Art, at its best, gives you an

alternative perspective on world, a new way to see

yourself and others. Art is exploratory; it breaks things

down, turns them over and subjects them to analysis,

without a definite end point or goal. In this sense, artists

uncover alternative or ways of seeing, hearing or doing

that are outside of convention. To be an artist is to

embrace the fact that societies are never static, but are

constantly open for reinterpretation and renewal’.

N.C. ‘The issue in my mind has to do with whether this

societal change could be expected to take place directly

or indirectly. I’m of the opinion that only the latter

would be possible, as for me an artwork needs to

operate successfully on its own terms before hoping to

exert any meaningful or long-standing effect on the

culture that surrounds it’.

R.T. ‘In all sorts of ways, too many to list here. One thing

it can do is give people a sense of wonder at what they

do not know or fully understand - I know that is often

my reaction. That is a good starting point, in terms of

‘potential for change’.

Do you think art has a future?

R.T. ‘I do sometimes worry about this, but ar t is older

than most of the things that might destroy it so it will

probably stick around for longer too’.

R.M. ‘Of course! As long as there are people on earth

there will be art. I don’t think the desire to create and

express human experience through art is something

that could ever be killed off’ .

Artists Looking Forward by Thomas Zielinski and Emma Cole

If you could, what advice would you give

yourself now as an artist about to leave

education?

G.B. ‘Go to everything, and talk to everybody - seriously.

Recognise that your peers now will still be your peers in

ten / twenty / thirty years time. Work with them’.

If you could collaborate with any artist living

or dead, who would it be and why?G.B. ‘I can’t imagine working with the figures I most

admire historically. Working with them would destroy

them for me. Although I would very much like to be able

to time travel; Spring in Dessau in the mid-1920’s,

Autumn in New York in 1968, then back to the Caberet

Voltaire in Zurich in 1916… proximity is everything

really’.

What is the first piece of art that really

mattered to you?

M.F. ‘A parody of Henry Moore’s Oval with Points, which

featured in an episode of ‘Tales of the Unexpected’, Neck,

as a plot device’.

What do you consider your greatest

achievement?

G.B. ‘I think committing to work as an artist in my early

20’s was a wonderfully bold choice. I think anybody

who makes that sort of commitment can take pride

in it’.

Who are your favourite writers?

N.C. ‘J.G Ballard, Caroline A. Jones’

On what occasion do you lie?

R.M. ‘I lie quite a lot, usually to be polite. Being British I

think that we have a culture that requires a lot of casual

lying, mainly to make sure you don’t piss people off. We

are not very accustomed to dealing with frankness

either, so telling someone why you don’t like the meal

they’ve cooked for you, for example, would not be seen

as constructive criticism, rather the means by which to

cock up an otherwise pleasant evening’.

M.F. ‘Only when I have to’.

Which talent would you most like to have?

R.T. ‘I would like to be able to sing like Marvin Gaye’.

Which words or phrases do you most overuse?

N.C. ‘Earnest’ .

What is your motto?

M.F. ‘If it’s not out we don’t have it’.


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O l i v e r Am ph l e t t

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Oliver [email protected] | 07951 721233 | www.oliveramphlettphotography.co.uk

The documentary photographer attempts to produce truthful,

objective, and usually candid photography of a par ticular subject. Visual

storytelling exposes unseen or ignored realities and is used to chronicle

both significant and historical events, and everyday life. Documentary

photography is an effective tool for deepening understanding and

building emotional connections to stories, including those of injustice.

It can capture and sustain public attention, shed light on tough realities

– such as those of war and poverty stricken countries – and mobilise

people around pressing social and human rights issues.

I would suggest that documentary-style photography does not only

help represent a specific story, but is also effective in capturing an

essence of culture. It was the idea of studying and photographing

foreign cultures that lead to my fascination with Eastern culture,

specifically that of South Asia. After researching into the dense history

and politics surrounding the Gurkhas, I planned an expedition to Nepal.

Inspiring acts of bravery have earned the Gurkha soldiers an heroic

reputation and many have paid with their lives to secure the prosperity

and freedoms we enjoy today.

My aim has been to produce a series of powerful emotionally rich

images through photographic documentary, typically of the Gurkha

veterans and their communities living in the foothills of the Himalayas. I

aim to create dramatic photographs out of everyday scenes, capturing

entire stories in a single shot. What makes powerful photographic

documentary is the ‘story-telling’ that exists in a collection or series of

images. For my part, the most interesting component of this is its ability

to capture an essence of human struggle, spirit and joy.

‘ U n t i t l e d ’ ( G u r k h a S e r i e s ) , 2 0 1 4


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L oui s e An g u s

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P r o d u c t i o n , b

e f o r e 2 0 1 5

M y s e l

f i n c o n v e r s a t i o n , b

e f o r e 2 0 1 5

Louise [email protected] | 07423 296535

Please forward to address stated below;

5 Loner house,

Door Two, Squires Annexe

NE1 8ST

What is a house?

What is a studio?

How can one be combined with the other?

Or how can one space be separated from one

another?

With the mechanism of work and production in

the institution of hopeful succession, can a

space then be converted to a private

containment, to become a confinement where

art can progress into public exhibition?

Through this I collapse myself and submit to the

uniformity of the context of domesticity that

exists in the structure of the allocated space I

was provided by the university.

‘ C o n v e r s a t i o n w i t h m y s e l

f ’ , 2 0 1 5


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S yl wi aB ak

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Sylwia Bak [email protected] | 07951 539172

As a young artist, starting a professional practice, I am looking for

challenges. As a person coming from outside the UK I have slightly

different experiences related to art which have had a huge impact on

my current practice. And I have begun to work from imagination. In

approaching conditions of trauma the colour and brush marks have

become a major reflection of emotions. And something that once

seemed impossible, I am thinking of creating a slightly abstract world,

has become my greatest ally. In this I want the viewer to consciously

and unconsciously connect with the emotions that I look to express.

In the last few months I have developed practical skills as well as tried

to understand how other contemporary artists express their feelings

towards their personal experiences and the events from the world

around them. Emma Talbot, whose works are imbued with narrative

content have become a big inspiration for me. And in technical terms,

especially the composition and use of colour, Eleanor Moreton had a

huge impact on my practice.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


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N a d i a R a ph a e l l aB al d i ni

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‘ A s s e m b l a g e ’ ( d e t a i l ) , 2

0 1 5 , ( m i x e d m e d i a )

‘ U n t i t l e d ’ , 2 0 1 5 ( m i x e d m e d i a )

Nadia Raphaella [email protected] | http://nadiaraphaellabaldiniartist.portfolik.com

We are bombarded with images and signs every day of our lives. They confront us visually and invade our

space frequently. We may or may not remember them, recall their messages, or acknowledge their presence,

but we do briefly take them in. And for that moment they stimulate our imagination, senses and thoughts.

Through an exploration of material, colour and scale I wish to bring to the forefront of consciousness an

awareness of these ciphers and facsimiles, and the power they hold. And by inventing and adjusting the

space in which they are displayed, I wish to alter their meaning and function.

‘ A s s e m b l a g e ’ , 2 0 1 5 ( m i x e d m e d i a )


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H ann ah B al d wi n

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Hannah [email protected] | 077857 30577

We tend to think of certain objects through colour.

An apple, we might for example think of as green or

red, and as David Batchelor points out “it is by colour

alone that a certain stone tells us it is a sapphire or an

emerald” - Batchelor, D. Chromophobia. London:

Reaktion, 2000. [Pg. 25]

In truth an object’s appearance depends on how it

refracts and reflects the particular light around it.

This has always intrigued me and drawn me towards

investigating light and colour, and the conjunction

of the two. Through this the paintings I make have

merged into sculptural objects, as the intensive

colour on the reverse casts a colour trace onto the

wall. So where does this leave the image - in both

the painting’s edge and outside of this in its colour

shadow. For me this question intensifies the

relationship of image, object, surface and

environment.

‘ P o t o f G o l d ’ , 2 0 1 5 ( s p r a y p a i n t o n a l u m i n i u m )

‘ O ff W h i t e ’ , 2 0 1 5 ( s p r a y a n d o i l p a i n t o n a l u m i n i u m )


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El i z a b e t h D ai s yB e d f or d

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Elizabeth Daisy [email protected] | 07590 319079

The passing of time and the transient nature of life raises a number of questions about how we view

our existence.

A life can be lengthy or fleeting, but it is the transitory character of various living specimens such as flowers

that I draw inspiration from for my work. My practice explores the flower as a representation of passing

beauty. I have sought to explore a formal aesthetic of the flower and at the same time account for the change

and transformation it goes through within its life cycle.

I aim to expose the altered states of the flower once the vivaciousness of its life has started to diminish. This

fast paced change reflects a wider impermanence of life. I aim to capture the transformation but also to freezeit through its various stages, and to fix it through X-ray so it can’t change any further.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


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C h ar l o t t e B e l s t e n

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‘ U n t i t l e d ’ , 2 0 1 5 ( a c r y l i c o n p a p e r )

Charlotte [email protected] | 07857 655450

1

Horror films have content that is made to frighten, yet, watching horror films can be a

calming positive experience through shared social situations. This contradiction I find

interesting. I am fascinated by fear and the turning point where the familiar and

comfortable turns into something uncomfortable. Although horror films are often filled

with horrific content, it is the imagination of the viewer that creates the biggest sense of

horror. The best horror lets you do the work.

2

I have made a series of small scale paintings using screen shots from horror films as a

starting point, in particular Stanley Kubrick’s The Shining. By utilizing ideas of horror,

dreams and fantasy, contradictions occur. I aim to explore these contradictions. The horror

screen shots are picked apart and played around with creating new contexts. By

transforming the images into dreamy scenarios the uncanny is provoked. Working on

paper with watercolour and acrylic, allows me to respond to the changes that occur to the

paint. The process with inventing scenarios and then further exploring them through

responding intuitively, results in the images taking on new meanings where unplanned

things start to occur.

3

Dreams can be strange and mysterious in an unsettling way. Things are often strangely

familiar but never fully correct. When the boundary between reality and fantasy is blurred

an uncanny effect arises. In dreams sensations and images occur with no set beginning or

end. The mystified happenings can feel real but with shifting details and situations

transforming. Things are not what they seem and can change rapidly. A sense of comfort

and safety can be present but never relied upon. This shifting quality of dreams where the

familiar is present in an unfamiliar way creates a strangeness that can be present long after

waking up.




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A t t h e B e g i nni n g

23

At the Beginning by Alicia Carroll

Northumbria University, BA (Hons) Fine Art, Induction Week, September 2012

Embarking on a three-year journey, over 70 aspiring artists gathered in the newly commissioned studios of

Baltic 39 for a week’s worth of collaborative study.

To begin we were asked to respond to the City of Newcastle, which for most of us was a new and unexplored

environment. Here commenced an intensive layering of ideas generation, testing, skills and techniques

gathering and self expression, and as a group we began to flex our creativity using Newcastle as a catalyst for

artistic production.

Culminating in our first group show, the week’s

experiments enabled us to create, investigate and

interact with each other. It was the first instance of

our community emerging within the structure of

the course.

Pictures by Chris Welton


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J ul i e L oui s e B e mm e n t

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‘ P r o v o k e ’ , 2 0 1 5 ( a c r y l i c o n c a n v a s )

Julie Louise Bemment [email protected] | 07799 061884 | http://juliebemmentfineart.com

Phenomenology is the philosophical study of the

structures of human experience and consciousness.

Phenomena are experienced in our state of being

aware of our surroundings, through the senses

including seeing, touching, hearing and tasting. This

concludes by how our interpretation and thought

processes react to that which is experienced.

Driven by an interest in human perception, time, and

attitudes to physical and pictorial space, I am curious

in exploring our relationship with the world around

us. The work uses an expansive visual and material

vocabulary through painting and photography, and

in installations created from set-ups of found objects.

Considering architecture and structural influences I

investigate the way in which individuals engage with,

understand, and respond to their surroundings,

whilst taking into account how the brain

manipulates the information we receive.

Mixing abstracted motifs strongly connected to

architecture, yet influenced by Minimalism, the works

play on traditional technical conventions of pictorial

layering, illusion, and use of geometric form. Surfaces

and shadows create intersections of time and space,

intensify visual perception, and colour is used

intuitively to create unique visual illusions.

I have also become interested in the stranger

qualities of our vision, such as the way in which upon

seeing an object we are able to either look over or

alternatively focus intensively on it as an isolated

detail. In the latter everything around what we are

looking at becoming a blur that allows us, like a

portal, to become drawn into and almost step inside

an object.

‘ R e a c t ’ , 2 0 1 5 ( p h o t o g r a p h )

‘ T e m p o r a l ’ , 2 0 1 5 ( p h o t o g r a p h e d s e t u p )


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C h l o e J an e Br a d l e y

27

‘ F l i g h t ’ , 2 0 1 5 ( d i g i t a l p r i n t )

‘ C o b / S p l i t d o m p i e d 3 1 ’ , 2 0 1 5 ( d i g i t a l p r i n t )

Chloe Jane Bradley [email protected] | 07889 565993

Captivity, fragility and ritual. These are key things that I am reflecting on at this current time through my work.

We overlook many aspects of day to day life, or merely have little awareness of activities occurring within it. If

it were possible to isolate these particular activities would we see them as completely unfamiliar, or would our

attention be captivated by them?

Working with lens based media and sound installation my practice investigates the unseen and yet intimate

bonds that exist between birds and their breeders. It serves as a topology of family, generation, breeders, birds

and the exhibiting of Australian Parakeets. I am interested in the decline of specialist bird breeding, in

negotiating it as an unnoticed pastime, and in unpicking the repetitive and ritualistic process of care it entails.

‘ B 6 9 2 3 r e c i p i e d 2 5 ’ , 2 0 1 5 ( d i g i t a l p r i n t )


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H a yl e yEmm aBr o ok e s

29

We are consumed by hyper reality. We are engrossed by the over exaggerated lifestyles people claim.

I use lens based media to negotiate reality TV. I look through its archives and rework its images. I isolate

individuals intensifying and displacing narratives from their original situations (shows) and environments.

Without their original context the emotional content of their expressions takes on new forms. I am interested

in voyeurism and in how this operates in relation to reality TV, and I’m interested in what exists between verbal

language and social behaviour.

‘ R e e m ’ , 2 0 1 5 ( d i g i t a l p r i n t )

Hayley Emma [email protected] | 07840 558856

“We watch, and we are watched”Exposed: Voyeurism, Surveillance and the camera.

‘ R a h ’ , 2

0 1 5 ( d i g i t a l p r i n t )


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F r an c e s c aBr o wn

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‘ U n t i t l e d ’ , 2 0 1 5

Francesca [email protected] or [email protected] | 07581 407935

The key interest within my practice is about expressing my identity in the form of a selfie. This means

exploring the idea of how you pose for an image shown to the world. A focus of the work is the idea that

individuals establish fake identities for use across social media.

I create the images using my mobile phone. Altering and increasing their scale distances the truth of it being

a selfie, and from being just another throwaway image. With the series I try to expose different sides of my

identity and character to give a sense of who I am in this context. Background objects within the images are

very much about where I am at the time the image is taken, allowing images to be individual as much as part

of a wider collective whole.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


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L aur aBr o wn

33

And for those who own fish, underwater worlds are created by the way the tank is decorated. The fish bring

these still seascapes to life. Using my own holiday photographs I attempt to capture through painted

landscapes a wider set of perspectives, changing how we view environments and the connections we make

between the land and the underwater.

‘ L a n z a r o t e G r e e n L a g o o n ’ , 2

0 1 5

Laura [email protected] | 07772 146074

What we don’t see, may exist. We know more about our moon than we do about what lies beneath the

oceans. Hidden underwater worlds wait to be discovered, yet how can we come to witness them. Earth’s vast

oceans bear witness to some extreme phenomena, of natural beauty as well as constructed and accidental

additions to the ocean floor. A cenote in Mexico gives the illusion of a surreal underwater river, drawing in

even the most experienced divers to play in the hydrogen sulphate mist that flows between rainwater

and saltwater.

When on a coastal summer holiday it is natural to visit the beach. Stepping into the ocean – a place I explore

– we often don’t take note of what lies beneath us. But for those who are equipped with a snorkel or diving

gear, exploration becomes possible. But what stays in our mind from what we see? Instinctively we create

memories (images) and draw comparisons to things we have seen before, perhaps a similar fish in

another place.

‘ W i n d e r m e r e L a k e D i s t r i c t ’ , 2 0 1 5


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J e s s i c a C ar mi c h a e l

35

‘ G e n d e r S w i t c h ’ , 2 0 1 5

Jessica Carmichael [email protected]

It is interesting how artists have

constructed and challenged

concepts of identity through the

human form. Through my own

interests my work has led me to

investigate and address the female

form through sculptural processes

whilst working through concepts of

gender inversion. In this I aminterested in exploring new

figurative forms through everyday

materials, creating subjective

comical exposures that open up

possibilities of new interpretation. ‘ T h e G r e a t C a s t r a t i o n ’ , 2 0 1 5

‘ T y i n g t h e K n o t ’ , 2 0 1 5


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Al i c i a C ar r ol l

37

Alicia [email protected] | 07772 532985 | www.alicia-carroll-art.weebly.com

Obelisk

Raw steel columns, which keeled on rain-softened soil,

now stand attentive on t he gallery floor. Their faces,

stained by a fine film of rust, are carried by joints

succumbing to the contortions of their nature. Their

bodies, worn by their journey, reveal the marks of

fabrication.

Beginning in the workshop, hard steel is measured,

cut and welded into an assembly of familiar form.

These feckless structures, gathered in rooms

designed for production and making, are, in this

context, devoid of intention or purpose.

Transported into the pastoral environment of the

North East, these formal structures tether a rural

landscape into the frame of viewing. Through a

series of private events within various sites the

structures evolve from inanimate forms into tools.

Their occupation of these places results in an

accumulation of sediment and physical scarring on

their surfaces.

Reconstructed in a gallery environment a new

situation is created. Using both digital and analogue

projection the installations re-purpose accumulated

images of place, collaging them to create a layered,

technologically alert live event. As the projections

flick from one environment to the next narrative is

blurred. Time and place is folded through memory

and site and the images morph into a collective

non-site.

Within this the steel columns act as a

counterbalance to the transience of collaged light

and re-implement the figurative form. This

constructed environment is enhanced by the glitch

of digitally translated media and the whirr of the

projector fans, a mechanical mantra that fills the

silence between a reality and its reproduction.

‘ O b e l i s k ’ , 2 0 1 5 ( p r o j e c t i o n s o n s t e e l )


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C on t i nu ou s C r e a t i on

39

they inspire and the resemblances of themselves

that people hold in their heads. Because these

things are part of the artwork, a viewer, simply by

interpreting the artwork shapes what that artwork is,

making it different whilst it physically remains the

same. The viewer, by interpreting the art work,

becomes, in part, an author of that work. We return

to the three parts of the artwork, the artist, the

art-object, and the viewer. Each can change if theothers hold steady. The material the artwork is made

of can change, for example, yet if the idea of the

artwork remains intact, so does the artwork. These

‘mechanical’ rules seem to hold in other areas as

well. Think of an object, a tin-opener. A tin opener is

the metal that forms it. It is the shape, but it is also

the idea of the tin opener, and the uses it is put to. It

is its name and its name is a concept. The concept

originates from us, therefore we make the tin opener

what it is. What about other areas of art?

Mechanically, an artwork is ak in to a song. A song is

finished once it is written, or perhaps it was sung

once. It is now complete, and doesn’t need to be

sung again to be finished. But, if it was sung again,

wouldn’t that second singing also be part of that

song? An artwork, when complete, is a finite form,

however it can be reinterpreted in infinite ways.

Each of these is part of the artwork, yet none have to

happen for the artwork to be complete.

So an artwork ceases to be an object, it becomes a

rhizomatic relationship of connections, momentary

couplings, and un-couplings. An art-machine. Its

cogs and gears, interpretations and influences. It is

the reviews that are written about it, the contexts

that surround it. While the artwork has a finite body

it contains infinite possibilities. It is paradoxically the

infinite contained within the finite; a multiplicity,

more than the sum of its parts, a product of

continuous creation.

Where does this leave us as artists, where does our

authorship stand? If we view this rhizomatic

relationship between artist, art work and audience as

a dialogue, this becomes a question of who is

speaking, and who is speaking first? Just as it is

important that the viewer reacts to the artwork, it is

also important that they have something to react to.

As artists we are instigators of the conversation,

propagating a dialogue, giving it flesh, bones, a

heart, and a ribcage. We bring it into existence, an

active catalyst for the dialogue or ‘performance’ of

the work to come. An artwork is this movement

between entities, a dialogue. But it is also an object,

even if that object is an idea, made by the artist, and

it has many qualities other than communication.

Artists travel the borders between what a thing is

and what it is not. They are like a Shaman, a

channeller, bringing a multiplicity of ideas,

methodologies, theories and influences into the

single pinpoint that is the artwork.

There is a literary theory in which the reader writes

the text simply by interpreting it. Because every

reader will have a different interpretation, every time

the text is read it is changed, re-authored, if you like.

A chronologically backwards creation. Is this also

true of art, that to be a viewer is to co-create the

artwork? Perhaps an artwork is not a singular entity,

rather a rhizomatic relationship between its three

parts; the artist, the art-object (however it ismanifest) and the viewer.

It is easy to comprehend how the artist affects the

art-object, and by proxy the viewer. It is also not a

great leap to see how the art-object affects the

viewer, and can even influence the artist (think of a

painter responding to the canvas, or a happy

accident in which the artist chooses a ‘mistake’ to

become part of the work). But what of the viewer’s

influence on the art-object? The art-object acts as a

stimulus to the viewer, a catalyst that encourages a

response. This response can be termed

‘interpretation’. Each interpretation is unique, it has

never arisen before in precisely the same way. It is a

creation created from the artwork, but it is also a

creation created from the viewer. If the artwork,

instead of being a finite form, is in a constant state of

reinvention, an open work where the artwork is

changed every time it is viewed, then every

interpretation alters the artwork. But the artwork stillhas a body, material form, a boundary. The object

itself never seems to change, how can an entity be

continually created anew if its manifestation never

alters?

The viewer’s interpretation can work backwards, it is

not only a response to the artwork, but it is part of

the artwork. This is because the conception of an

artwork, the idea or psychical manifestation of an

artwork, is part of that artwork. For example Francis

Bacon’s paintings are colour and paint and canvas,

they are also war and crucifixion, love and jealousy,

and a thousand other things. They are the emotions

Continuous Creation by Lucy Moss


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F r an c e s c a C a s i mi r

41

‘ p e e l ’ , 2 0 1 5 ( d e t a i l )

‘ p e e l ’ , 2 0 1 5

Francesca Casimir [email protected] | http://francescacasimir.weebly.com

CRAINT

Noun: craint, crainte; plural noun: craints

[French definition: to fear]

Verb: craint, craindre

1. Action, a form in which colour and paint exist as one:

They are attempting to craint today

Painting allows a familiarisation to colour. Placing material with colour there is an acknowledgment of existing

unity. Craint permits this unison, introducing colour and paint as equal forms. Colour is possessed by paint,

creating different sensations, which are spread over a surface and left to dry. Craint acts in various ways. A

drying time allows for the production of a thin protective coating, pushing and pulling the layers beneath the

wet paint. The boundary of craint becomes apparent, physical, acting almost like a shield, holding in the fluid,

and protecting the tension of the skin. The skin in turn creates multiple dissimilar areas of surface, all produced

with only one material, craint.

‘ p u l l ’ , 2 0 1 5 ( d e t a i l )

‘ p u s h ’ , 2 0 1 5


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H ann ah C h ar l t on

43

‘ S t u d i o ’ , 2 0 1 5

Hannah [email protected] | 07971 813707

‘Simulation is no longer that of a territory, a

referential being or a substance. It is the

generation by models of a real without origin or

reality: a hyperreal.’

Jean Baudrillard

Informed by Jean Baudrillard’s writings on

simulation, the works intervene with the

spaces in which they are shown in adisobedient manner exposing and

heightening notions of falseness. Through a

diverse media they assume a displaced

representation that imitates and re-presents in

order to confront conventions of authenticity.

The curious paradoxes evoked draw on the

viewer’s instinctive powers of association,

encouraging a questioning of the

relationships – existing and implied – in the

choreography of the multiple works

(fragments) across the space. In connecting

with ideas of the fake and the false, I am intent

on exposing the façade of the replica through

playful spatial constructions that operate

through actual and implied simulated realities.

‘ F l o o r e d ’ , 2 0 1 5

‘ B r i c k W a l l ’ , 2 0 1 5


24/91

Emm a C ol e

45

Emma [email protected]

Branded Colour

Colour is consciously placed into people’s everyday lives, and is a key

visual attraction built into advertisements. Within the high street we

enter into a paradise of enticement through luminous commodities

and blocks of colour that direct and consume our gaze. The elusive and

compelling way in which colour absorbs an object, person, and place,

creates within us illusory satisfaction – a momentary feeling of

euphoria. “In one sense colour is here, now, around and in front of me, a part of objects and atmospheres, as real and commonplace a presence as

anything.” – David Batchelor

Product consumption is commonplace within our contemporary

society, and as consumers we rely on intensive visual stimulation,

particularly through advertising. Visual pleasure generated through

images, aspirations, and products, is a desire we seek, not a necessity,

which rinses our wallets every month. I offer visual experiences of

colour that mimic and replicate the pleasures gained in these

commercial situations. In taking branded colour out of direct consumer

contexts I am isolating and reconfiguring its aesthetic function, as

visual stimulation, and repositioning it within formal contexts of

contemporary art practice.

‘ S t a r b u c k s , P r i m a r k , C

o c a C o l a ’ , 2 0 1 5

‘ S t a r b u c k s , P r i m a r k , C

o c a C o l a i i ’ , 2 0 1 5

‘ P a l e t t e P a n e l s ’ , 2 0 1 5 ( a c e t a t e o n w i n d o w s )


25/91

W ar r e n C onn or

47

My practice is a relentless enquiry exploring sound

and its proficiencies. Sound is a medium of vibration,

an energy force of its own. What captivated my

interest in the medium is its intangible qualities,

along with the immersive influence it can have on

space. Sound has few limitations, boundaries, and

ultimately through the mind is open to being

interpreted in various ways. What has drawn me to

sound is how it leaves behind possible limitationsthat visual media have, in productive ways allowing

the mind to create images. The photographs I

produce hint at possible representations. When

creating sounds I like to think that one of their

potentials is to heal the mind, body and soul. I have

become increasingly inspired by Brian Eno and his

work, along with the idea that his music can be

activated as a method of healing. Connected to this I

like to think that my work can be used as a

therapeutic distraction of everyday stresses.

Warren Connor [email protected] | 07735 836683

‘ U n t i t l e d ’ , 2 0 1 5

‘ B o u n d a r i e s ’ , 2 0 1 5


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An g h ar a d C r of t

49

The presence of absence.

I find it captivating how groups of people are so inherently different. I’m intrigued by diverse ethnic

subcultures within urban environments, and I’ve been documenting this through photography in Newcastle. I

often look for similarities between groups, but I’m constantly drawn in by their differences. Through this I’ve

found groups in different areas of the city expressing their cultural identities directly within the streets and its

buildings they occupy. I’ve started to revisit these locations as they are constantly changing. The more I’ve

returned the more I’ve found distinct markings and new forms of visual aesthetics. The photographs don’t

document the people and groups but instead have become focussed on the places, colours, patterns and

details of the streets where they live and work.

Angharad [email protected] | 07557 766499 | angharad-croft.squarespace.com

‘ C h i n a t o w n ’ , 2

0 1 5 ( d i g i t a l i m a g e )

‘ H o t P o t ’ , 2 0 1 5 ( d i g i t a l i m a g e )

‘ B u

ff e t K i n g ’ , 2 0 1 5 ( d i g i t a l i m a g e )


27/91

S h ar l i e C ul l e n

51

‘ D I Y s

e q u e n c e r / e l e c t r o m a g n e t i c ’ , 2 0 1 5 ( d i g i t a l p r i n t )

‘ B i r k e l a n d c u r r e n t ’ , 2 0 1 5 ( d i g i t a l m e d i a )

Sharlie [email protected] | 07429 191126 | https://soundcloud.com/birkelandcurrent

My main concern is turning the studio into an

experimental, shifting, space where knowledge is

grown through the testing of various media and

materials. What I do is informed by science and the

approaches of the laboratory, I attempt to create

situations where ideas can be tried and tested. As a

starting point to this I often create sculptures

through found objects and find ways to

communicate these back through performance andsound. I’m interested in working with sound and

electromagnetism as a way to create active tools for

thinking about the body in a physical space, of both

the artist and viewer, and the continued vanishing

line between the two.

‘ W h a t I s T h i s B o d y ? ’ , 2 0 1 5 ( v i d e o s t i l l / d i g i t a l m e d i a )


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D ani e l D a vi e s

53

‘ U n t i t l e d ’ , 2 0 1 5

Daniel Davies [email protected] | 07891 049826 | www.daniel-davies.com

Scroll down, double tap.



In the now not-so-new digital age we are

inundated with images, a stream of data

repeating and reproducing. We question

quality and ownership and continue to scroll

and spiral through what seems to be

something yet nothing, only to find

ourselves lost in cyberspace, or, back to

where we started. Searching.

Standing before a painting there is a sense

of how it has been made or what it is made

from. In front of a screen, viewing the same

work (as an image) it disappoints. The

characteristic of the hand-made that is

present in the painting is never fully tangible

in a digital image. So regardless of how

saturated we become with these images,

and how much the maker has been

removed, we are never satisfied with what

we find of these representations. It only

results in us searching for

something.

Nothing.




‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


29/91

P e r p e t u al Y e ar Pl ann e r

55

* Preferred red: c.2014, my thoughts of a red

reality are twisted by Matisse when I read that his

studio was not red at all. It was always grey.

Matisse turned it red for his painting “The Red

Studio” (1911) in a delicious choice of freedom, to

allow for harmony and for the buzz of the black

outlines to buzz blacker and harder. A funny

expectation (mine) now deadened.

* Manet’s black: c.1997 a stifling vermilion-hot

day in the art classroom at high school sends a

kaleidoscope of orange-red spectrum across my

retina. I am angry with the teacher who says we

are not allowed to use black in our paintings.

Why not? The answer does not suffice and years

ahead in future days, I think of Manet’s paintings

and the particularities of their black which seems

to be always truly his, like the black of Spanish

lace or the black of Japanese lacquer, and realise

he was correct in his singular, out-of-style usage.

* Helsinki white: c.2014, the Finnish crystal white

sun glows around me and you: in the cool of the

lake; in the garden; in our temporary bed; in the

forest; along the path with the tiniest frogs I have

ever seen. At the festival, the sun shines my eyes

to an all-white surround, and the sound makes

me remember and long for a place I do not think

I have ever known: longing reaches up from my

gut, into my heart, into my eyes, out into salt-heavy tears which must be the colour of

quarried chalk.

Perpetual Year Planner by Rachael Macarthur, Associate Fellow in the Colour Studio, Northumbria University

A place for making art, for looking at and recording

the world, changes with each year passed. I equate

the time when I was marooned unwell in bed aged

5 years old, colouring drawings on paper = with a

routine of painting expediently onto paper on the

floor of the Colour Studio Northumbria. The

paintings I make change with each new place I live

in, with each new place I paint in, with each new

person I meet. I cannot forever count on what I call a‘studio’ from one year to the next (home/ library/

alone at bedtime/ thoughts on the cusp of sleep)

but I can count on the forever-changing of myself,

and my place within these spaces.

Myself + paint + support + colour = I can transfer to

each new place I choose to call a ‘studio’, in the same

way I can count on the matrixial effects of reflecting

on a colour, which I carry as postcard reproductions

in my pocket.

* Fehler blue: c. 2001, I am 20 and I am learning to

paint in oil. I trail a heavy sloe-black paint into my

parents’ house, home from the studio, stuck on my

shoe, caught there; I traipse it up the stairs, all over

the ivory cream carpet (brand new). Later, the blue

oil is stepped deep down into the warp-weft of the

carpet and, lying to my father that it is tarmacadam,

my mother and I scrub at the puddled marks in

angry silence (hers) while he watches telly behindthe living room door.

* Jubilee grey: c.2012, a friend has a baby and a 9-5

job. A time for making painting, now, is travelling to

and from work on the bus. Little paintings are made

with his trigger finger, over the bright white screen

of the iPad. The sun shines over the screen; the

white-on-white cancelled out to a dull transport-line

grey. There is his studio.

‘ F r i n g e ’ , 2 0 1 4 ( a c r y l i c o n n e o n c a r d )

‘ U n t i t l e d ’ , 2 0 1 5

‘ C o l l a r e d ’ , 2 0 1 4 ( a c r y l i c a n d n e o n p o s t e r p a i n t o n n a v y

s a n d p a p e r , m

i n t g r e e n p o l y s t y r e n e

f o a m

f r a m e )


30/91

L aur e nD ou g l a s

57

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

Lauren [email protected] | 0772 9434162

An anxiety around ‘ideals’ is heavily present within

our contemporary society. We are pulled in by

capitalist corporations through excessive spending,

warranted by a desire to feed personal aspirations

and define social positions. In approaching this

tension the work uses conventional motifs in

unconventional ways, positioning multiple and

opposing layers of appropriated and designed

wallpapers within a space. The wallpaper imagery isconsumer-orientated print matter. Interspersed with

this are printed receipts, bringing visual languages of

consumption and spending into direct contact and

question. Repeating imagery to make patterns

reflects the way in which consumer attitudes

become ingrained over time through a process of

repetition and reiteration. This becomes so

compelling and familiar that we neither notice nor

question it. My work positions this homogeneity and

conformity within its capitalist opposite, spending.

‘ F l u x ’ , 2 0 1 5


31/91

C on or Du t s on

59

Conor [email protected] | 07926 486444

Investigating the connection between

music and language is an area that I am

particularly interested in, and is the main

direction of my practice. Works have been

produced through a combination of spoken

word recording (taken from both found and

self recorded audio) and a guitar played to

mimic the sound of the voice.

Despite not being traditionally considered

as such, the spoken voice has musical

properties. This becomes evident in the way

we control the way we speak, changing the

pitch and rhythms of our voices to express

different emotions. This becomes clearer

when heard alongside a musical instrument

replicating the notes of the voice, allowing

the speech to be located in a musical

context. I am interested in the way that this

strips language from meaning, and pitches

sound with sound.

Inspired by artists and musicians such as

Janet Cardiff, John Cage, and Frank Zappa,

my attempt is to create an atmosphere in

which the two elements of the piece can be

heard both separately and together, blurring

the line between music and speech.

‘ T h i s i s h o w I t h i n k . E v e r y . S i n g

l e . D

a y ’ , 2 0 1 5


32/91

M ar i aE ar d l e y

61

‘ I f Y o u R e s p e c t M e I ’ l l R e s p e c t Y o u ’ , 2 0 1 5

Maria Eardley [email protected]

We all live our lives and walk the streets and so we all

experience it. Its temporary existence leaves it

vulnerable. Its anonymity and unknown reasoning

causes curiosity but allows it to speak for itself. In

truth we all leave marks. Some add to them, some

ignore them. Take from it what you wish. I create

environments as positive micro-topias, points of

interaction and exchange. Enjoy the moment.

Pass it on.

‘ H o w D o Y o u F e e l ? ’ , 2 0 1 5

‘ K e e p S t a n d i n g T o g e t h e r ’ , 2 0 1 5


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K a t e Er r i n g t on

63

Kate Errington [email protected] | 07753 115819

I am interested in the contrasting structures of rigid

pieces of furniture and pliable bedding, and in

manipulating these through physical reforming and

other materials such as plaster to create an alien like

flesh and bodily quality to the sculptures.

The materials I work with allow me to explore

possibilities of form and experiment with different

and new ways of making. This is important as it is

process and materials that lead the work. In many

ways the process is more important than the

finished work, making the work interests me more

than having the object or sculpture left at the end.

Because of this I often choose to revisit old works

and rework them, to play around more with them

and expand what I can do with them as materials

alongside the furniture and objects that I have to

hand.

‘ G u t s ’ , 2 0 1 5

‘ F l e s h ’ , 2 0 1 5


34/91

S am an t h aF ur z e

65

‘ C i r c u l a t i o n i n s e r i e s , T e s t 1 : C o m p o u n d 3 ’ , 2 0 1 5Samantha Furze

[email protected] | 07875 245040

Forward,

Two steps back,

Left,

Movement is more than a mere action of one foot in front of another, it

speaks of the physical language inherent in architecture. Light, colour,

and shape are primary architectural agents, while space, time, and

moving form introduce actual relations between objects and people.

Back,

Circle,

Look,

Down,

Within the work the room becomes a template that defines the

installation of objects, and in so doing becomes a new physical

(architectural) frame. I choreograph materials and mechanics to set a

dialogue of movement, individual and particular to the environment.

Through the casual basis in which objects are staged the equipment

becomes a productive obstacle. Interruptions occur as the objects that

make the work are negotiated and navigated, altering and disrupting

the illusionary effects seen by the eye. The aim is not to trick but instead

to make visible.

Keep moving.

‘ M o v e m e n t 6 7 ’ , 2 0 1 5 ( p r o j e c t i o n o n p e r s p e x )

‘ T e s t 1 , C

o m p o u n d 3 9 ’ , 2 0 1 5


35/91

Ki m b e r l e y G al l on

67

Kimberley [email protected] | 07756 519499

My work features my grandparents, both on my mother’s and father’s side, documenting their lives and their

interactions with the world around them. I didn’t intentionally seek to show the differences between them

but in the end this is what developed. In terms of age there isn’t much of a difference, however through

circumstances their lives have become very different.

In this series I have used analogue film photography to document and record their lives. There is an aesthetic

with film that draws me to it, and I like that the images are unseen until processed in the darkroom. This is a

clear distinction from the dominant digital age where images are immediately visible and discarded at the

point of photographing. 35mm is the format associated with historic family photographs, so the medium

supports my own reflection of photographing my older relatives.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


36/91

Emi l y G or d on

69

‘ U n t i t l e d ’ , 2 0 1 5 ( a c r y l i c o n c a n v a s , H 1 0 0 c m x W 7 9 c m )

Emily [email protected]

Through the paintings I experiment with

mark-making, colour, shape and form. My

practice explores ideas of transformation,

through destruction and reconstruction. I

cut and rip my paintings apart to rebuild

them into new works. This approach has

become crucial as I don’t see works as

finished until I have destroyed them to some

extent. My current works have pushed thisto a new extreme, where I am cutting and

ripping paintings apart until only piles of

canvas are left on the floor. I see this as the

starting point of the paintings, with the piles

of cut and ripped canvas the building

blocks. As I rebuild the paintings fragments

and parts come together in fresh ways with

one another. Reconstructing the pieces

creates entirely new paintings and with it

new meanings. Dynamic new forms are

created and these enable me to display the

paintings in less formal and unconventional

ways, allowing them to become a part

greater of the space.

‘ U n t i t l e d ’ , 2 0 1

5 ( a c r y l i c o n M D F ,

H 7 3 c m x W 1 1 6 c m )

‘ U n t i t l e d ’ , 2 0 1 5 ( a c r y l i c o n c a n v a s , H 1 1 4 c m x W 7 1 c m )


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Y e l l o wExh i b i t i on

71

Yellow was a pop-up exhibition

initiated in response to the

Colour Studio Northumbria

(CSN) Conversation series held

during the autumn of 2014.

CSN is a research and practice

resource within Northumbria’s

Department of Arts, operating

within and outside of theacademic curriculum.

Yellow , led by Sue Spark,

extended the dialogue of the

CSN Conversation, allowing

artists to explore yellow as form,

material, object, phenomena

and proposal within the

expanded field of painting.

Participants initiated discussion

and practical making

negotiating yellow as colour,

content and function within

painting.

The range of works created

allowed yellow to be pushed

outside the distinct definition

of the colour.

Yellow featured work from:

Nikki Lawson, Victoria

McDermot, Sophie Byron-

Forster, Emma Goodson, Kitty

McMurray Matthew Simcox,

Matthew Young, Lucy Moss,

Rachael Macarthur, Charles

Danby, Daniel Davies, Nadia

Baldini, Frankie Long, George

Unthank, Frankie Casimir, Sue

Spark, Rebecca Gavigan,

Hannah Charlton, Julie

Bemment

Yellow Exhibition by Frankie Casimir

R a c h a e l M a c a r t h u r ‘ P u z z l e ’ , 2 0 1 4

C h a r l e s D a n b y ‘ U n t i t l e d ’ , 2 0 1

4

F r a n k i e C a s i m i r , ‘ G

l o s s D r o p ’ , 2 0 1 4

S u e S p a r k ‘ U n t i t l e d ’ , 2 0 1 4

R e b e c c a G a v i g a n ‘ U n t i t l e d ’ , 2 0 1 4

H a n n a h C h a r l t o n ‘ U n t i t l e d ’ , 2 0 1 4

J u l i e B e m m e n t ‘ U n t i t l e d ’ , 2 0 1 4

N a d i a B a l d i n i ‘ U n t i t l e d ’ , 2 0 1 4

F r a n k i e L o n g ‘ U n t i t l e d ’ , 2 0 1 4

G e o r g e U n t h a n k , ‘ R a w O c h r e ’ , 2 0 1 4

D a n i e l D a v i e s ‘ I M 9 - 7 8 7 1 7 ’ , 2 0 1 4


38/91

D e anH al l

73

Dean [email protected] | 07446 178078

Mark – noun – a line, figure, or symbol made as an

indication or record of something.

This is one definition of what a mark is, there are

many more, however it is an important one for

me. A mark needs context. I use marks, be it one

or many, in my paintings to represent and

respond to what I see and experience on a

day-to-day basis in and around the city area I live

in. I draw inspiration from the smallest of things,

from a colour on the wall to an event I see while

passing in the street. Either or both can have a

great deal of meaning to me and my work. A

crucial factor within my work is speed, be it how

quickly the piece is created, or the perception of

the speed of the marks made. This sense of speed

and fluidity in my work I believe stems from my

connection to graffiti, which as part of the urban

environment I’ve grown up in and has always

been part of what I’ve responded to. The shapes,

marks and colours used in this style of

production have always fascinated me, and I try

to take elements of this into my own work.

Through the way the sprays are used and

manipulated, the techniques, and through how

quickly these pieces are created.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


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S ar ah H or s m an

75

Sarah [email protected] | 07868 385143

In my work I am attempting to explore the

relationship between natural and man-made

environments through moving image. I am looking

at what it is that connects these seemingly opposite

places, and what happens when we bring them

together in the same space. Through the process of

making this work I began to question what it really

means to have a natural landscape. Can an

environment really be called natural when it is beingconstantly altered by human interference? And

when a contemporary man-made object is placed

into such an environment, does it become

sculptural? My decision to work with moving image

came from my growing interest in film, and the

realisation that the environments I was interested in

are time-based, constantly changing through both

human and natural intervention.

‘ U n t i t l e d ’ , 2 0 1 5 ( fi l m s t i l l )


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S amu e l Hur t

77

‘ U n i t l e d ’ , 2 0 1 5 ( s t i l l f r o m s t e r e o s c o p i c v i d e o p i e c e s ) .

‘ L o u n g e E n t e r t a i n m e n t ’ , 2 0 1 5 ( d i g i t a l i m a g e )Samuel Hurt

[email protected] | www.basecampuk.com

With plausibility and the ‘truth’ of the

photograph in mind, my work explores the

trajectory of current digital images and relations

to past photographic technologies. I investigate

how the wide accessibility to digital

photographic formats and post processing

techniques may be shifting the relationship that

the contemporary photography image has to its

historic past.

In an attempt to engage the viewer in deeper

sensory clarity I am working with optical

techniques such as stereopsis and three-

dimensional image generation. This not only

provides the illusion of an image literally

growing beyond its two-dimensional plane, but

also creates a single amalgamated image from

two mutually exclusive parts put together within

the eye of the viewer. Through this I aim to lend

a unique and temporal nature to the image.

Furthermore, I am investigating the use of

moving imagery in place of standard still images

found in such stereographic displays - forcing an

older medium to produce new creative

pathways. The bringing together of a 19th

century viewing apparatus with a contemporary

digital viewing platform establishes

contradiction and facilitates constructive

dialogue of image making, media andtechnology.

‘ B o y b y t h e V a l l e y ’ , 2 0 1 5 ( d i g i t a l i m a g e )


41/91

J e nn yI r vi n e

79

‘ S i g h ’ , 2

0 1 5 ( o i l o n p a p e r 3 5 x 2 2 c m )

Jenny Irvine [email protected] | 07801 478905

‘ S i l l a g e ’ , 2

0 1 5 ( o i l o n p a p e r 2 7 x 2 4 c m )

‘ U n t i t l e d ’ , 2 0 1 5

I am primarily concerned with colour, tone and gesture within the oil paintings I produce and what these

pictorially imply when set next to a title. In my works there is always a direct connection between a painting

and its title – with any narrative association being generated through the sound of the word. The titles are

chosen through personal preferences for the sound of individual words, often with an interest in the

semantics of the word in mind.

I have been exploring ways of applying and handling oil paint to create different surfaces and textures, finding

that some approaches create surfaces that do not look or even feel like oil paint. The words I am drawn to, and

how I think to interpret them, has influenced the range and variation of painting techniques I have generated. To me ‘sigh’ is a soft word, like an exhaled puff of air in the cold. This was thought about as a number of thin

layers of pale grey and white paint.


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S o ph i e J ar vi s

81

‘ U n t i t l e d ’ , 2 0 1 5

Sophie [email protected] | 07580 057479

My motivation comes from my childhood and the activity of tracing

everyday objects. By taking conventional objects and tracing them

several times over until they just become a shape, and are no longer

recognisable as the object they once were, I am able to generate

detached mobile forms. The works play with cut-outs, colour reflection,

and surfaces, and up close their collaged messiness is evident. There are

scratches and pencil marks across paper surfaces, roughly cut shapes,

and other traces that evidence their making. Through vibrant colours

and large primary scale shapes the works explore childhood makingand more knowing formal conventions of art making. My attempt is to

create playful and stimulating environments, by displaying objects on

the walls and floor, that can be walked around and encountered by

viewers.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5


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S amu e l C ur t i s J oh n s on

83

Samuel Curtis [email protected] | 07795 563787

The installations and paintings I produce connect to research and ideas

of mapping positioned within the fields of archaeology and geology.

Mapping through deep earth excavation, the structuring – stratification

– of rock layers, and the time-based layering of sedimentation –

superposition. I am interested in ‘phasing’, the concentrated

accumulation of earth materials connected with land use, and in the

anomalies it produces within the earth’s strata. Interruptions and

disruptions produced by agriculture, industry, excavation and building.

Using these ideas I attempt to physically construct and layer spaces

through installation and paintings, deploying spatial contaminations /

anomalies that interfere with the architectural orthodoxy of the spaces.

This allows me to alter the perceptual experience of the viewer and

their interaction with the work. Through this I have become interested

in awkward navigation that plays on ‘barriers’, permeable borders, and

that activates thinking and orientation around the ‘front and back’ of

the work.

The installations provide a physical platform for these ideas, placing the

viewer in immersed navigational and spatial relationships with the

space. Lights respond to the movement of the viewer, flickering,

creating sensory experiences that further disorientate and disrupt a

navigation of the space. The paintings provide an alternate

representation of phased layers, formed with marks and bands of colour

that cross and contaminate from one to another. The paintings optically

shift depending on how the viewer encounters them, as iridescent

pigments alter and interfere with underlying colours.

‘ N a v i g a t i o n a l ’ , 2 0 1 5

‘ N a v i g a t i o n a l ’ , 2 0 1 5

‘ U n i t i t l e d ’ , 2 0 1 5 ( g l o s s , o

i l , p e a r l e s c e n t , i r i d e s c e n t o n

r e v e r s e s i d e o

f c a n v a s )


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L aur a J o y c e

85

‘ U n t i t l e d ’ , 2 0 1 5

Laura [email protected] | 07514 518143

Every day we carry out many mundane activities and interact with the same or similar objects, not giving

these a second glance or much thought. My work is an attempt to disrupt this normality and bring humour

into the mundane through the use of large scale sculptures. In my work I increase the scale of familiar

everyday objects and expose boundaries between the real and the manipulated. I create these larger than life

sculptural replicas using unusual industrial materials such as compressed polystyrene. I then incorporate these

sculptures into performed activities, activating them in real-world contexts, and using video to record these

encounters. These pieces are intended to provoke curiosity and allow people to witness the unexpected.

‘ U n t i t l e d ’ , 2 0 1 5

‘ U n t i t l e d ’ , 2 0 1 5

1215 fine art catalogue

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