ia13 degree show catalogue
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www.ia13.co.ukTRANSCRIPT
IA13 Degree ShowFriday, June 14th – Wednesday, June 19th 2013www.ia13.co.uk
DEGREE
SHOW
We would like to thank those that have helped us
throughout this degree, and perhaps even in the
years to come. This includes our tutors: Jane Brake,
Jon Biddulph, Hazel Jones and Dave Griffiths. We
would also like to extend our thanks to the staff at the
Manchester School of Art, graduates of Interactive
Arts, and a special thanks to Paul Tutty; all of whom
have supported us in realising our ideas
and ambitions.
Friday, June 14th - Wednesday, June 19th 2013
Holden Gallery
Grosvenor Building
Manchester School of Art
Manchester
M15 6BH
Thanks to the designers of this publication, DR.ME.
www.ia13.co.uk
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“We have to go from what is essentially an industrial
model of education, a manufacturing model, which
is based on linearity and conformity and batching
people. We have to move to a model that is based
more on principles of agriculture. We have to
recognise that human flourishing is not a mechanical
process, it’s an organic process. And you cannot
predict the outcome of human development; all you
can do, like a farmer, is create the conditions under
which they will begin to flourish...
It’s about customizing to your circumstances, and
personalising education to the people you’re actually
teaching….
It’s not about scaling a new solution; it’s about
creating a movement in education in which people
develop their own solutions, but with external support
based on a personalized curriculum.”
Sir Ken Robinson: Bring on the learning revolution!
TED Talk 2010, TED.com
Welcome to the Interactive Arts Degree show 2013.
We would like to thank this collective of individuals
for their contribution to the culture of the course, and
we wish them every success in their future growth and
achievements.
Please enjoy their show.
Jon Biddulph
Programme Leader B.A. Interactive Arts.
(Farmer’s son)
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JAMES
ACKERLEY
SAMIE
AHMED
LAURA
AJAYI
ELISA
ARTESERO
FABIAN
BEICKHORASANI
HANNAH
DAVIES
THOMAS
BEVAN
JULIET
DAVIS
THOMAS
FERGUSON
BECKY
FOSTER
MICHAEL
FOWDREY
SOPHIA
GARDINER
DAVID
GRAHAM
GRACE
HARVEY
JAMES
HASKER
LEWIS
HEALD
MARGAUX
ILLESCAS
FAYE
KINGSFORD
AMY
LAWRENCE
PASCAL
LITTLE
ELLIE
LIVERMORE
HANNAH
MITCHELL
DARREN
MURPHY
KIRSTY
MAE
YASMIN
SADDIQUE
MICHAEL
SANDERSON
JAMIE
SWIFT
SARAH
UNWIN
LAURA
WARTERS
PHILIPPA
WATKIN
ALANA
STREET
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JUSTAR
MISDEMEANOR
My practice is concerned with the investigation and
subversion of everyday objects and power structures.
Expanding from my beginnings as a sculptor, my
work finds its roots in the conventional boundaries
of a contemporary sculptural practice whilst also
utilising the freedom offered by actions and narrative
photography. The aim of this hybridised practice is to
evoke a conversation that can take place both inside
and outside the work.
Unconventional interactions with everyday objects
and street furniture are presented in a mundane urban
environment. Through these simple interventions and
convulsions the authority of conventional systems of
behaviour are questioned, and the rules by which we
allow ourselves to be governed are subtly dismantled
and examined.
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07891727456
jmackerley.tumblr.com
Image Caption: Yellow Composition
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I explore the creation of mess by organised means.
A combination of common foods, mechanical
components, chance and precision turn my kinetic
sculptures into mini events. The construction of each
experiment is simple and raw, and each experiment
has a performance element to it.
Spaghetti hoops, beetroots and pomegranates
are dissected and splattered through modified
components, motors and drills.
The innovative procedures are filled with references
to politics, strands of humour and clinical procedures.
Each component adopts its’ own personality and is
focussed on its task to dismember.
07514532351
vimeo.com/samietzuriel
Image Caption: Untitled
Visual perception and the mind’s eye fascinate me.
I am intrigued by the reaction of the audience.
Optical illusion, geometric shapes, interior and
exterior design, and decorative patterns all influence
my practice.
The use of monochrome in my work is very important
as it reflects my personality in an abstract manner.
My interests in fashion, film and music are visible
throughout my practice and I think of my artistic
development as a visual diary.
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07756746789
about.me/laura_ajayi
@lauraajayi
Image Caption: Photography by John Lynch
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07503966239
elisaartesero.com
@ElisaArtesero
Image Caption: ‘Leap and the net will appear’
and ‘Sunlight Bowl’
(from Sun and Moonlight Series)
For years I have explored different mediums &
formats, subjecting them to a diverse range of
themes.
Recently I have focused upon ‘The Self’ & what
elements collate to create ‘Identity’.
Investigating how, as a species, we cling on to our
individual customs & defend the components that
constitute our self-identity.
I will attempt to encapsulate my own identity in the
form of bread. Questioning what makes me who I am
& what components are integral to be classified as an
‘Irish-Iranian’?
My intentions are to hopefully, through the
consumption of ‘Me’, provoke the question,
“What would I taste like?”
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07585080806
about.me/fbeickhorasani
f-beick.tumblr.com
Image Caption: Untitled
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As an artist, I am a storyteller. My work focuses on
how stories represent us as people – not only the
stories we choose to read, but also our own personal
stories and how we share these with those around us.
My work is traditional in method but with a digital
conscience. The digital age has revolutionised stories;
how they are produced and distributed and my work
considers the consequences of this. Particular regard
is paid to the relevance of ‘the book’ in society,
and how the art of bookbinding can be utilised to
transform the potential of a book and realign its
position amongst its digital counterparts.
07874050002
about.me/tbevan2
@TBevan2
Image Caption: 4.02pm
I strive to find beauty in the grotesque, to straddle
the border between them, and combine this with my
fascination with the human body, ‘flesh’ in particular.
Working predominantly with my own face and body,
I attempt to blur distinctions between representation
and abstraction. Whether it is through Photoshop,
through paint, through exploring my own physical
limitations, or indeed a combination of these.
Colour is a very important aspect to my work; finding
a balance between translucent and vivid, in what is
often considered to be a relatively neutral thing, flesh.
Working with this organic, pulsating mass, my work is
concerned not with the individual, but with the human
body, completely detached from whom it belongs to.
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07505142889
about.me/hannah_ruby_davies
Image Caption: Untitled
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INSTRUCTIONS (how to make an artistic project)
- investigate public, “experienced” space.
- work with existing materials, forms and words,
(make shifts).
- don’t try to make expressive movements / forms,
but rather geometric, banal, “neutral” moves that still
bring expression / meaning.
- disturb daily actions, create gaps in the continuum.
(make absurd actions / movements, not clearly
related to art)
- propose new ways to inhabit the city.
- cross borders between sculpture, photography,
writing, sound (poetry), performance, video.
- stare at your environment to disturb it, mimic
working instructions to create endless
and/or absurd actions.
- have several relationships with the public:
participants or witnesses of an almost invisible
action, exhibition visitors who haven’t experienced a
“live” event, people who learn about a project
through discussion.
Image Caption: Untitled - Sigh(t)ing the city, action
/ photographic series, 2013. (collaboration with and)
Photograph by James Ackerley
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about.me/julietdavis
cargocollective.com/julietdavis
At school, teachers would always read out my stories
and I would be sat there, my heart beating, whilst
everyone listened to what I had created. The teacher
would say that they were interesting stories and that
I clearly had imagination. However, they would later
add that my technical skills were not very good. I
hadn’t quite got my punctuation or spelling right.
I’ve spent the last few years exploring different ways
to tell a story and I have become interested in the idea
of telling the same story in different mediums. These
different mediums have their own limitations and
benefits.
The film and performance are visual, but the audio
piece is a narration offering more, not necessarily
trustworthy, information.
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07522350037
about.me/t.ferguson
tomfer.tumblr.com @TomVerb
Image Caption: Untitled
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Looking at the construction and deconstruction of
language, my work explores how we form words,
subvert meaning and hide behind language. These
themes are studied through my own personal
thoughts and experiences, concealing them
behind codes and processes of deconstruction and
construction.
Currently the deconstruction takes place through
the process of cutting up my writing and weaving
it back together as a form of construction. Taking
the opinions of others as well as my own thoughts,
it focuses on the themes of faith and religion,
specifically my own experiences.
Image Caption: Untitled (weave 3.4), 2013
about.me/beckylucyfoster
Since starting the Interactive Arts course, I have
learned new methods of approaching my work and
developed new ways of generating ideas. I have been
greatly inspired by the work of other artists and have
begun to develop a visual language of my own. This
language is often partially comprised of a traditional
technique, subverted by a digital mechanism. The end
result could be anything from a process-based work of
kinetic sculpture to a generative lyrical couplet.
Learning some coding fundamentals has enabled me
to move beyond the functionalist limitations of off the
shelf design packages. In the future I hope to continue
my studies to a postgraduate level, eventually working
with physical computing and data visualisation.
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cathode.tv
@cathodeDOTtv
Image Caption: Untitled
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07596098855
sophiagardiner.wordpress.com
Image Caption: Wanga Bottle,
(Drapetomania Project, 2013).
My practice is centred on the idea of producing
imaginative and exciting visual films. Focused on
presenting the idea of human emotions in an artistic
way, an important factor to my work is the approach
to creating inventive ways to distort and alter the
subject. With emphasis on producing visual narratives,
using the movement of the body and other materials
to create a variety of effects in order to provoke the
audience emotions, allowing the piece to be
open to interpretation.
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about.me/david_graham/
david-jackson-graham.tumblr.com/
@DavidJ_Graham
Image Caption: Stills taken from ‘Ink Experiments’ film
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I am fascinated with the concept of unseen presence.
More specifically, my interest lies with the areas of
our architectural surroundings that are located out of
sight and the sense of void that is evoked by these
areas. My practice is concerned with emphasising the
conceptual potential of these spaces. I work site-
specifically to alter my architectural environment
in order to manipulate the viewer’s experience of a
space; to question what we think we know. Image Caption: Research Image: “The wall cavity
that encompasses our studio”
about.me/graceharvey
graceharvey.tumblr.com/
@_graceharvey
Drawing has always been my main medium within my
work but this year I have taken a different direction
then I would have ever conceived before I started
university. Focusing upon the themes of portrait and
control. This has leaded me to create individual pieces
of ‘expanded drawings’, these drawings are process-
based portraits in which I have set restrictions and
limitations in the way I draw them.
The goal of these pieces is to create a portrait on my
own body whereas the restrictions in the process’s I
go under will restrict me from drawing the portrait. I
have incorporated myself into my expanded drawings
to demonstrate and explore the intimate relationship
between the artwork and the artist.
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07854710836
Image Caption: Expanded Portrait via Acrylic Paint
Special Thanks to all those who have
participated in my work.
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My work is about the adaptation of objects, bringing
them into focus through mechanical processes. The
pieces I create are primarily kinetic, enjoying works
that are physically animated.
I create such work in an attempt to progress from
static pieces as I believe the marriage of art and
physics creates something truly fantastic. I aim to
engage my audience, humour them, have them view
the object in a new context and inspire them to think
about the object in a new way.
Image Caption: How Long is a Piece of String? Mk2.
07840317098
lewisheald.wordpress.com
I am an interactive artist inspired by the quotidian
experience of life, sometimes a particular moment,
the way I felt at that moment. People inspire me
as individuals.
My preferred mediums are sound and the moving
image. Creation leads me to research and research to
creation; both are essential to each other and it is a
long process before I consider the final piece.
Lately, I have had an interest in our perception of
spaces through sound. This work has been challenging
because it gives me a new way to approach the
relationship between sound and image.
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07975511773
cargocollective.com/millescas
Image Caption: Testing Exhibition,
Untitled audio picture, M.Illescas, 2013
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I have found over the course of my studies that I
am continually questioning who I am. Rather than
resisting this and seeing it as a distraction, I chose to
embrace it and look deeper into it.
Like most others, I have my memories of growing
up, my experiences, the places I have been and the
people that I have met. These memories are inherently
one sided, clouded or even rose-tinted.
I have gathered evidence of my life, mostly from
my family. I’ve gathered their accounts of different
periods of life, photographic verification of places
I’ve been and people I spent time with. I’ve examined
ways of presenting these accounts and snapshots in
ways that map out my own life, encouraging others to
question their own histories.
Image Caption: “Life Journey” (2013)
Photograph by Pete Kingsford
Manifesto 01
i. The process of completion must allow for the
uncontrived.
ii. The work must have no completion date but
always a duration.
iii. Present behaviour as art.
iv. The live image is always a truthful
representation.
v. A dialect between the material and
immaterial is necessary.
vi. Present a non-spectacle as process.
vii. Results are encouraged.
viii. The viewer becomes creative accomplice.
ix. Gap between art and life is teased
and loosened.
x. Performance as situation, situation as
power relationship.
xi. Social choreography may transform
un-reactive objects.
xii. The catatonic viewer as ideal participant.
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about.me/AmyLawrence
Image Caption: Untitled
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Mixed-media artist, self-styled sad clown, and
purveyor of surrealist eyeball-buggery.
07758011776
scumbola.blogspot.com
Image Caption: Screenshots from “the Little
Spermaid” and “Butter Won’t Melt”,
two experimental horror shorts.
Investigating the educational and social dynamics
credited to participatory art, ‘Participatory Quilting’
invites viewers to contribute to its evolving surface.
Introducing multiple levels of involvement, the
audience can choose to watch, to sew and/or
insert a ‘theme’.
The often overtly political approach taken in
many participatory artworks’ cause us to critique
the niceties of the ‘community arts’ tradition.
‘Participatory Quilting’ is open to flick between the
two, one minute a collaborative sewing project, the
next acting as a socially engaged one. In this work, I
look to further understand the relationship between
the political and the social as well as learn more about
the nature of participation.
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07584089080
about.me/ellielivermore
ellielivermore.tumblr.com
Image Caption: Untitled
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I have an interest in art as therapy, used as a cathartic
release. I explore this in my practice by looking at the
fears, anxieties and traumas that everyone deals with,
regardless of significance.
At the time of writing this, my works focuses on the
burdens of others, their traumatic experiences, and
the impact it has on that individual.
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kirstymaeart.tumblr.com
@KirstyMae20
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Image Caption: Untitled
The idea that it may have a great impact on their life,
a normality if you like, but to passers by, outsiders,
strangers, there is no way of knowing.
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Art is a vital part of my life. It allows me to express
my feelings, thoughts and concerns, whilst raising
awareness of controversial and traumatic, social,
political and environmental issues.
Employing a child’s perspective has been a dominant
theme throughout my work; deconstructing nursery
rhymes and lullabies, adapting familiar found imagery
to engage the viewer and provoke thought on varying
subject matters.
I like to challenge myself with large-scale projects. I
am currently recreating war scenes that confront the
viewer with the harrowing reality of what many face
on a daily basis.
07761731782
about.me/jmisdemeanor
Image Caption: Fuck War, Make Art (60” x 60”)
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My work responds to my own memories and
surreal experiences. I explore the body and absent
consciousness and document this through a variety of
techniques.
I am fascinated with natural and artificial
environments, and use these to re-create experiences.
07813709780
about.me/Hannahbmitchell
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I ultimately view my work as a multi media process,
with my main outcomes falling between photography
and film.
Image Caption: Untitled
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An interest in dialogue is the main drive behind my
work. I previously felt it necessary to create objects
to facilitate conversation and exchange. However, I
realise the conversation itself is the integral part of
my work.
Acting, in the words of Peter Dunn, as “context
provider” rather than “content provider”. I create the
environment for discussion rather than the object
that provokes it. As a result, the social effects of the
institution and location are an important consideration
in my practice.
Recordings and documentation are produced to
provoke further meditation on the dialogues enabled
by my process-based practice, allowing me to widen
the transmission of these conversations beyond the
bounds of their initial participants.
Special Thanks to Rowlinson Garden Products for
supplying furniture.
07815821692
about.me/murphydarren
@bonesmurphy
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Image Caption: Containing Memoirs
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In art, beauty is as important as its ability to provoke.
I make art that generates a deeper meaning while
remaining accessible.
The human form, parts of or in its entirety, is always
been present in my practice. To me it is accessible on
an instinctive level. They generate ideas of identity
and representation.
Working in mixed media, my current work aims to
represent family identity and how it is morphed
through illness. This work has evolved through the
use of studies from old photographs, interviews and
personal experiences that have took place.
I attempt to question the viewers understanding of
cancer and the affect it has on the family dynamic
as a result of this work, as well as develop a stronger
understanding and appreciation myself.
07432704812
Image Caption: Untitled
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With a soft spot for objects that have seen better
days, my work intrigues our need to fulfil certain
gender instincts, and how our perspective on sex
affects our emotional capacity in relationships.
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@Alanastreat
Image Caption: Vagina Stool (development) - 2013
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My body of work concentrates on a fusion of both
photographic stills and Haute Couture garments,
establishing themes such as future and time. My stills
are directed towards fashion portraiture, which often
contain narratives.
Through the making process, there are two main
distinguished moods become dominant and
continually juxtapose each other to create a constant
and stable interaction of differences. This oxymoron
captures a melancholic emotion infused with aspects
of romance, which engages a battle between darkness
and beauty. This creates an intriguing atmosphere
invoking the viewers awareness; what constitutes
physical attraction can be.
about.me/melancholyromance
@MelancholyRo
Image Caption: Gravity
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My work responds to material culture while examining
how we collectively explore, archive and measure our
human condition.
I view my work as a composite of sculpture, process
art and installation.
07889814839
sarahunwin.com
@sarahunwin
Image Caption: Untitled
In this modern time, our spiritual selves and conscious
minds are easily overlooked. I have been exploring the
circular form, or Mandala. It connects us in so many
different ways, physically, spiritually and consciously.
The Flower of Life also intrigues me; this geometric
design is believed to be the basic pattern from which
everything is derived, just by looking at this pattern
we are able to re-connect with our core selves.
I use these symbols and concepts to remind people
that we are all connected. I believe it is important to
remember that we are connected to each other and
to think about the world on a more spiritual level.
Currently, using 3D designs and painting have enabled
me to bring my concepts to life.
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07740823073
about.me/laura.warters
Image Caption: Photograph of investigations
into naturally formed Mandalas.
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Focused on ideas of xenophobia, my work deals with
the fear of others and of the unknown.
We tend to fear that which we cannot relate to and do
not understand. This idea of otherness can lead to the
‘us and them’ mindset that can cause the persecution
of people from groups other than our own.
Is this human nature or is it something we can
overcome?
This is a question I have been examining and exploring
in my work. Using my personal experiences and those
of people around me, I have tried to discuss this idea
of ‘the other’ through the medium of film.
07825330232
pippas-sketchbook.tumblr.com
@Flick_Watkin
Image Caption: Clitheroe, Blackburn and
Burnley film stills.
www.dr-me.com
