PAMPLEMOUSSE

Fine Arts BA(Hons) Graduate Exhibition

15th - 31st May 2014

York st John University The New School House Gallery

#NOT TO

EVERYONE’S TASTE

PARTICIPATING ARTISTS

My work explores and identifies the connection between two-dimen-sional painting and three-dimensional sculptures through the means of travel. By the term travel I mean the connection and continuity the sculpture and painting control through one another. How something in one space can connect through line and travel within another space, identifying how the line becomes as important as the sculp-tures in completing the work.

This work represents breast cancer statistics with light. In a bid to show the actual numbers that are normally forgotten in attempts to raise awareness. A light in the dark

CALLUM AKRIGGBlock

ROBYN ASTLEYUnti t led

(2)

(20)

www.callumakrigg.com

My current practice concentrates on taboo feminist subjects por-trayed in a comical context, helping the audience realise the subjects should be open and comfortable to talk about. My series of anima-tions cover periods, women’s choice of childlessness and sex. The humour follows an absurd narrative to make light of subjects people do not like to confront in a social setting.

CHARLOTTE COULTHARD Laughing on the Other Side of Your Vagina

(30)

The work I produce is strongly influenced by the media - particularly elements from games, movies and graphic novels and I quite often create my own fan art derived from my favourite aspects such as Assassin’s Creed, Batman and The Avengers. My work is a mixture of macabre, kitsch and illustrative styles, as I adore the idea of fantasy & super human elements, skulls and the living dead.

SARAH -JO ARCHBOLDMarvel Vs DC(24)

www.sarahjo.portfoliobox.me

www.charlottecoulthard.co.uk

A moment can last a split second or a lifetime and it is within these moments that we are shaped and defined. This artwork exists not within performance or finality but the moments in between. The perfomative text offers insight into the frantic and often fragmented qualities of memories. It’s mirrored aspect allows raw honesty whilst still maintaining distance from the understanding of others.

EMA CLIPSOM 21 Years(22)

My work is motivated by our bodily experience in the world, how our meaty selves habitually form familiarities. Using film to visually explore intrinsic textures – thinking about things that become so intertwined with their context that they sink into it, generally unseen.

JESSANNAH COOLINGAt The Edges(12)

www.emacate.com

www.jessannahcooling.com

Natalie’s work has always been process-led, and recently this has come to the forefront of her practice. The primary idea that drives her practice is making the familiar unfamiliar - subverting normality. Her recent work explores the dynamic that is created by situating craft and other domestic activities in a fine art setting. The work shown incorporates a secondary artistic interest of sensory percep-tion, whilst taking a tongue-in-cheek look at the idea of the woman’s place being the kitchen.

NATALIE ROSE CLARKEFood Ser ies I I (23)

The work I produce stems from my love of traditional styled por-traiture whilst stepping away from seemingly compulsorily norms. Wanting to show the obsessive & repetative nature I develop when working with portraiture I have reproduced the ‘same’ painting over & over. The time spent with the image allows new depths & levels of engagement to develop & poses new questions.The childs face in a school photograph reminds us of the sacredness held in our own school photographs - hinting towards a reason for the repetition.

LOIS COOPERUnti t led(26)

www.loiscooper.co.uk

www.natalieroseclarke.com

I enjoy focusing my art on subjects I care deeply for, as using art aids me in expressing my opinions in a creative form. The work shown explores the world of animal rights and different forms of animal cruelty. Displayed in the form of video art, I aim to show the harsh reality that is animal cruelty.

REBECCA CLARKE Untamed(25)

My drawings aim to capture moments, unique experiences and en-counters that no longer exist. Based in the simplest and most repet-itive thoughts where emotion is slightly removed, there is room for interpretation. Each drawing maintains it’s own existence, occupied within the boundaries of the drawing. From this, relationships are formed between the works creating a collective and evolving narra-tive, broadened as more works are added and exhibited.

REBECCA CORNEYSubconscious(7)

www.rebeccacorney.co.uk

My art practice is a vehicle for materially understanding and artic-ulating encounters and concepts. Examining nuances between the production, reception and representation of art practice; making and research function in a co-dependent duality. This work enters into a discussion of how art can be understood and re-understood through representation.

GEORGIA DEARDENLimbo(17)

My practice has developed from studying maps & exploring how they represent the features of different places that give them their unique identity. I have used my own travels as a starting point; marrying together my own representations & cartographic representations of spe-cific cities. My work considers how the places we visit leave an impres-sion on us & how we in turn leave an impression on them. Through this integral themes of travel, exploration & discovery have been broad-ened, resulting in a reflection on tourism & souvenirs as end products.

ALICE DOWSE Gif t Shop(28)

www.alicedowse.co.uk

www.gdearden.co.uk

Establishing a connection between humans and nature is the sole aim of Jasmine’s work. Specifically, her interests lie in the similarities between humans & trees. The parallels in the way that they grow, their roots, their branches & their layers, can all be related to that of human beings. Working to display these connections through her sculptures, her intention is to provoke thought about growth, time and lifespan. The idea of lifespan itself; how short it is in the world, & the beauty of nature as a material are her inspirations.

JASMINE DEVLINHuman(29)

My work is based on the ideas & ideologies which are apparent in the general media & news. I have spent time looking at what is actu-ally classed as a ‘news’ story & why it is deemed as a relevant story to be represented in the press. I have based a lot of the work in the show around representation in media & what is broadcasted across all media platforms to the general public.

SAMANTHA DALTONMedia Mayhem(4)

www.jasminedevlin.co.uk

www.samanthadaltonartist.wordpress.com

The human environment expands to all landscapes, both urban and natural. What I aim to explore in this work is the way in which hu-man growth and development has encroached on Britain’s national wildlife. It is almost commonplace today, to see animals walking city streets. Managing to adapt and survive in our environment, as their natural habitats change. It is this adaption and survival instinct that interests me the most. Would we as humans, be able to adapt as well to our surroundings if it were all to change tomorrow?

VICTORIA GATERWe Change. We Adapt. We Suvive.

T h e E a r l .

(6)

The work I produce focuses on the edges of unrecognisable forms & how their identity is recreated through reformation & layering. The ambiguous & delicate shapes which make up these new formations are fragments of photographs which no longer have any physical indication of their origin. Looking closely at the edges of each shape you can see how their raw cuts hold signs of a previous identity. These shards are integral to my work because it is the use of unwanted material. The photographs have become the emphasis & inspiration of the work.

AUTUMN GARNERShard(11)

www.autumngarner.co.uk

www.vicbua.co.uk

My practice contemplates the significance of initiating creativity by removing a mark and the possibilities presented in the act of select-ing and erasing an image. Responding to the objects function and the physicality of the object, all emerge as valid ways to process a creative act. This current project explores the transient and endur-able nature of the art exhibition for both participant and viewer by using the exhibition poster.

DEBBIE HEPWORTHTumbling Man(27)

My work currently explores the materiality & aesthetic appeal of mundane scrap objects. Experimenting with scrap mental I aim to highlight the lost beauty of disregarded objects. I intend to play with the viewers expectations of the gallery environment by appropriating objects & placing them in a gallery space. Pushing the boundaries of artistic norms & asking questions about the gallery space, my work seeks to captivate & intrigue the audience.

AMY HILL Don’t Forget Me (32)

www.amyhillartist.co.uk

www.debbiehepworth.com

My practice examines simulacra of objects and the potential they have in relation to one another; reveling in play on meaning and slippage of language. My work invites and repels. Working with ma-terials and themes which are often repugnant, whilst being simultane-ously seductive. Through these tenuous, yet dense relationships the viewer is invited to draw upon their own conclusions which often appear in the humor-ous, absurd, and surreal.

OLIVIA JONESBUNGALOW(19)

J.D. works with the muted tones & natural makeup of wood against the harsh colours, yellow and pink, within manmade materials such as cellophane and acetate to create an installation piece. J.D. looks at shape & line interacting simultaneously from 2D into 3D; lines are made physically & visually from the positioning of the colour, mate-rials & arbitrary objects within the work - these arbitrary objects are given meaning from the decision to place them within the work.

J .D. HIVES Gutless(5)

www.jchartist.wordpress.com

www.oliviajones494.wordpress.com

I employ a conceptual approach to my work, in an attempt to un-ravel and explore relationships surrounding humanistic values, and overriding ideological structures. Through the methodology of par-ticipatory practice I seek to break down orthodox categories, and hierarchies of artist, curator, institution and audience.

GEORGE KINGOSKAR SCHLEMMER

paint ing & decorat ing ser vic -es to society s ince 1938

(10)

Loong Kwei’s practice is about anthropomorphism & the representation of animals through bodily & facial features that we can relate to. The ‘human’ elements of animals enable us to have an emotional connection with them. The marks created allow a conversation with the audience in the expressions & the accessories the animals are wearing.Loong Kwei likes to include humour in his work because it represents his personality and is the way he connects with his work. His practice has an interest in humorous llamas because they are his favourite animals.

LOONG KWEI LEE I’m Ready For My Close-up(33)

www.loongkweilee.co.uk

The balance; this work surrounds an emotional approach to creativity & centers on such negative experiences as neglect, desperation & restriction. These emotional focuses however are met with structure, familiarity & comfort in some cases. By approaching my work in this way I have invested myself into a theme of acceptance, making the best of bad situations & appealing to the sweet tyranny that is our human nature to want to suffer. This work will surround a contempo-rary & surreal theme with use of the human form & discarded materi-als.

LUKE MAPPLEBECKUnti t led(18)

Lauren works with surfaces and texture building, revealing layers through cracks and folds. Working with enlarged prints & using symbols stencilled with black emulsion to represent hierarchy. The message is to represent the language that is partaken in daily by the news. This becomes an act of language as a culture, passively read-ing ‘words’ from the media that are repeated within a circulation in society, creating propaganda which becomes believable, but how much is fact?

LAUREN MERCHANT

∆(8)

www.laurenmerchant.co.uk

I work mostly with paintings and am interested in how the process of painting becomes the work itself, as opposed to having a pre-de-termined meaning. With little or no realist content, and all emphasis placed on form, any meaning which does emerge is as a result of the making process.

NIAMH O’BRIENPaint ings 1 & 2(31)

My work is about my experiences within the natural landscape, ex-plored through paint and acrylic ink.

KAYLEIGH RICHARDSONUnti t led(9)

www.kayleighrichardson.wordpress.com

www.niamhobrien14.wordpress.com

Death is imminent. It is the only thing in this world that is a certainty. Everything else is just a pleasant surprise. Through the combination of desaturation, muted colour & geometric shapes, I explore the idea of death & decay from a contemporary viewpoint. Though the idea of death is one that has been heavily exploited, my practice looks at the small details of it. I try & find the beauty that comes with these details, whether it be the delicate cracks in a skull or the muted col-ours from roses which only exists as a result of rot & decay.

SKALAWSON Death Cannot Ki l l What

Never Dies

(3)

My work is a large installation piece consisting of a purpose built room. This room, made of wood with a pitched roof holds a collec-tion of my drawings and mono-prints. The patterns and shapes which will form my mono-prints will be a product of my unconscious mind as I inhabit the room over a period of weeks. Resulting in a room of drawing which reflects the course of my movements and feelings.

BECKY SIMPSONDwell(21)

www.rebeccasimpsonartist.wordpress.com

I aim to create work that can encompass every viewer. In other words, create something that everyone can find meaning in. In many ways it portrays the emotion that I feel without being too literal, but I also hope that others can find emotion within the work too. This particular piece embodies that idea to the full, enabling the viewer to see their own reflection, but hopefully something more. This ‘more’ I believe is the true power of a work, and something that is usually hard to come by.

BETH THRAVESA Version Of Me That

Isn’ t Afraid(16)

My practice involves mixed media photography. The foundations of my work are based on a selection of old found photographs. I have used these photographs to analyse the materiality of an image, through a process of erasing and destruction. By altering the original form this allows the images to take on a new aesthetic and meaning. The work is a formal inquiry into image making, breaking an artwork down and investigating the works quality, surface and aesthetic.

CHARLOTTE TAYLORThe Matter Of L i fe(1)

www.charlottetaylorart.co.uk

www.bethsoniathraves.co.uk

My artistic practice is strictly linked with the process of my research on I Ching, and provides the basis for my final piece. This takes the form of an illustrated book containing all the key information amassed as well my personal experiences and artistic engagement with this ancient Chinese text. The book will be set within a space that will enable the viewer to move from a rational stage to a stage of intuition: to what is undiscovered and internal.

JULIA TRZPISUnti t led(15)

A multi-dimensional memory theatre, this light installation presents a journey experienced in the aftermath of trauma & displacement. Ex-tensive study into the fluid, immersive medium of film has led to explo-rations of this, together with that which is perceived to be static - our foundation, the domestic home. The paper house serves as a catalyst to points of existence where trauma occurs. Flimsy walls & roof offer protection from the elements, but in doing so create an unnatural envi-ronment. As light casts shadows around us, we are invited to interact.

SARA TREW 9. Way Through(13)

www.juliatrzpis.co.uk

www.saratrew.co.uk

“The true mystery of the world is the visible, not the invisible.” - Patrick Keiller 4000 Feathers is an interactive piece made to engage the senses. The work stems from ideas of trying to reconnect with reality. By using our senses can we feel more human? 4000 individual feathers have been used to create this piece, like many sensory art works it is to be touched and enjoyed by the viewer.

SOPHIE WOOLGAR4000 Feathers(14)

www.sophiewoolgar.com

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