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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.
‘ 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 )
‘ 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 )
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A t t h e B e g i nni n g
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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
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‘ 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
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‘ 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
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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
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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 )
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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 )
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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.
Scroll down, double tap.
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.
Scroll down, double tap.
Scroll down, double tap.
Scroll down, double tap.
‘ 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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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 )
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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
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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
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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
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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
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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
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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
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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 )
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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