university of east london ba fine art
TRANSCRIPT
BA FINE ARTD E G R E E S H O W C A S E
w w w . u e l f i n e a r t . c o m
2019
UN
IVER
SITY
OF EA
ST LO
ND
ON
- BA
FIN
E A
RT
- DE
GR
EE
SHO
WC
ASE
20
19
University of East LondonAVA Building
Docklands Campus4-6 university Way
LondonE16 2RD
Private View: 16th May 2019, 5-9pmExhibition: 17th - 19th May 2019
BA Fine Art Programme Leader, Alexis Harding*:[email protected](:020 8223 7196
facebook.com/uelfineart@ uel_fineart_ba
uelfineart.com
BA FINE ART
BA FINE ART TUTORS:
Alexis HardingAmanda Francis
Dan CoombsProfessor Fay Brauer
Lee MaelzerDr. Linda Aloysius
Dr. Michael PinskyPauline De Souza
Russell HedgesSam Keogh
Dr. Sharone LifschitzSi Sapsford
Susan Stockwell
TECHNICAL ASSOCIATES:
Craig MaddenDaryl Brown
David MorganDr. Dean Todd
Dr. Garry DohertyGaynor ZealeyGlen Marston
Dr. Mark SowdenPaul Nichols
Zoe Hodgson
AND A SPECIAL THANK YOU TO:
Tim AllenDr Paul Manners
Pete CobbDr Andrew Stephenson
THANK YOU TO ALL THE UEL STAFF WHOHAVE SUPPORTED US:
The student cohort of UEL BA Fine Art degree at East London is probably the most diverse group of undergraduates of any BA fine art course in the country. This demographic and the energy they bring mirror the widespread nature of contemporary fine art practice today, and the approaches, opinions and contexts of the graduating students reverberate throughout the superb studios and workshops at East London. The emotional and cultural force this generates in the work pervades the 2019 final degree exhibition.
And how do we help our students along their journey? The deliberate, methodical formation of a way of working is the central driving force for everything we do. Over the three years of the BA Fine Art course we engage with our students in seminars, one-to-one tutorials, artist guest lecture series, professional practice and contextual studies modules.
The richness, diversity and range of work in the 2019 final degree show exhibition is a major contribution to the discourse that is such an important element of the intellectual and emotional life of the department.
The 2019 final degree show also comes off the back of the many internal and external exhibitions the students have taken part in and the urgency, surprise of new works developed for this exhibition reinforces a new urgency and confidence in each artist.
These breakthroughs, these successes will advance the students in whatever journey they choose to embark upon after graduation. In a climate where university education is continually chopping and changing, the nimbleness and flexibility that Fine Art students develop is extraordinary. Our students are resourceful, determined, adaptable and open to change. This will serve them well as they develop their careers in an uncertain world.
We wish this year’s graduates every success!
Alexis HardingBA Fine Art Programme Leader
UEL CELEBRATES THE ACHIEVEMENTS OF OUR 2019 FINE ARTS GRADUATES
Untitled, from ‘Light and Dark’ Series Monoprint on newsprint
Tarandeep Kaur is an up and coming artist from East London.
Her work takes you on a journey of spirituality through forms of abstraction which create an atmosphere of peace and tranquillity.
Sikh teachings and values have motivated Tarandeep to create art which focuses on the Divine.
Her work is not only inspired by the Sikh Dharam, but also by the numerous social problems facing the world today and their impact on mental health, which she believes highlight the need to create peace, firstly by creating a sense of peace within oneself.
Her work expresses higher energies and vibrations of positivity and enlightenment through the ‘movement’ of colour and use of figurative motifs and shapes.
TARANDEEP KAURBANSAL
instagram: @ tarandeepkbemail: [email protected]
website: tarandeepkb.wixsite.com/artist
Beauty LiesPhotographic print
This is my piece called ‘Beauty Lies’ it represents beauty in what an individual might see as their “flaws”.
My aim is to encourage women of all shapes and sizes to embrace the body God has given them.
SHANICEBARTLEY
email: [email protected]
Beside myselfOil on canvas
Chelsie Cameron is a mixed British artist based in Surrey. Brought up in a creative environment her mother’s photography had a strong influence on her work and is often used as a reference for paintings.
Sharing a similar view of portraiture with her mother she focuses on representing her subject’s true self through her work. Seeing each portrait as a self portrait Chelsie carefully chooses models that she identifies with. Initially Chelsie worked solely in pencil with the aim of perfecting her skills in photo realism, at University this was challenged and encouraged her practice to grow, becoming more personal. She began to incorporate distortions in her work such as painting areas of inverted colour, almost making it look as though the subjects are partially emerged in water - a theme she is also exploring through digital media and film.
Her work references psychological and spiritual experiences including mental health issues such as depression and anxiety. Visually interested in space, Chelsie aspires to create depth through the use of colour, something which she explores within her research into the Cubist/Futurist movement, particularly in relation to ‘The Fourth Dimension’. This element of her work is also inspired by Mark Rothko’s paintings in which layers of colour seem to emerge from one another.
CHELSEACAMERON
instagram: @ chelsie.cameron.artemail: [email protected]: chelsiecameronart.co.uk
Video still image
Raven Campbell is born and raised in west London but chose to study in East London due to the diverse and multicultural environment as well as the close knit community.
My mother studied art at the Chelsea School of Art and Performing Arts both before I was born and during my early childhood, which allowed me to grow up around an artistic and creative environment.
This allowed me to learn different ways of expression from a young age and I experimented with fashion and textiles. I was a very avid reader in primary and secondary and won a book series which made me consider becoming a writer for some time. However, fashion is what intrigued me more during my school years.
I studied an apprenticeship in fashion at DV8 Training for about 5 or 6 months, took a year out and worked in the fashion industry for and independent designer named Sarah Baily but during my time there I realised it wasn’t what I was looking for, that’s when I decided to undertake a Fine Art Foundation course at Blake College in order to refresh my love for art and explore different mediums.
During my time in college I experimented with many art mediums but later came to realise that photography and writing/spoken word was something I could relate to more.
My future career would be to become an art entrepreneur, establishing my own creative brand and self-publishing my own work.
RAVENCAMPBELL
instagram: @ ravenalcampbellemail: [email protected]
website: ravencampbell.com
The eclectic (some might say ‘scatterbrained’) nature of my work is due to my interest in a broad range of typically fast-paced media, most notably television, the internet and comic books.
This is in opposition to more ‘traditional’ areas of art which I feel now represent abygone era that’s of little relevance to my generation. This has lead to me referring to my work as MILLENIART, or simply Millennial Art.
In reflection of this, the piece I have chosen for the catalogue references a scene from Edgar Wright’s Scott Pilgrim VS The World (2010), a film which I believe is more relevant to artists of my generation than anything you’ll find in Tate Modern.
ISRAELDJEDJE
email: [email protected]
Wavy Microcrystalline wax with red pigment
From an early age, Chloe Earney was taught to knit and weave by the female figures in her family. Now, as a young artist, she incorporates these craft techniques into her work in order to investigate and challenge the relationship between craft and femininity.
Her current artwork incorporates unconventional materials that often connote masculinity - for example industrial materials. Chloe’s use of these materials, combined with traditional craft process, seeks to critique conventional links between gender and material.
Chloe’s future plans are to continue exploring and critiquing these links by working with a range of materials and media
CHLOEEARNEY
instagram: @ chloerose.artemail: [email protected]
website: chloeroseart.wixsite.com/website
The real struggle of 2009/RIP Jane NormanAcrylic on coat and plastic bag
Eleanor Freeman is an artist based in London.
Her current work reflects on the relationship she has with possessions, and the impact of brands and advertising on identity.
She is currently working on exploring different media, including film, photography, found objects and text.
ELEANORFREEMAN
instagram: @ ellie_did_thatwebsite: elliedidthat.wordpress.com
Free for AllCharcoal, Chalk, Ink, Acrylic, oil on Card and Paper
Through layering images and mediums, Joban creates Narrative works of art.
Her focus remains on the human form, but the environments she creates for them are always evolving. In gathering images or collaborating with photographers, she displaces figures in surreal spaces. Joban’s intentions are to create a scene in such a way that the viewer is in some way shaping their own perspective and adding to the life of the work.
The Mixed-media pieces want to create an atmosphere. A place which she imagines exists in another of many realities. Almost disappearing most of what we see in physicality, but which really has not much importance. An emptier place which we are all able to fill up using the contents of our minds and bodies with emotion.
Altering each scene depending entirely on the form placed within it and its relationship to it. “Diving into free flow, fast motion painting as I abandon the common ‘reality’ and the usual belief system which allows us all to co-exist and recognise objects as one, despite seeing them in a different way.
During the production of my work, I spend more time on building and stretching the frames, and in gathering materials. So that my imagination can survive for longer and without restriction during the process, alongside manifesting a comfortable andrespectful relationship to the painting.” .
JOBANGILL
instagram: @ Jobangillartemail: [email protected]
website: jobangill.com
MelAcrylic on leather
Rosie Goldfarb is an artist raised in Newcastle currently based in London. Born In 1995, Goldfarb was the youngest of 3 siblings. Her mother was of French descent and always encouraged Goldfarb to practice art by taking them to various galleries in Paris.
Her earliest memory of beginning to create was inspired by a tutorial book based on detail insect drawing her mother had given her and from then on, her work began expanding and she continued to do art. In her family, art was as important as eating, sleeping and paying bills; this fascination which ran through the family instigated her path to becoming a Fine Artist.
The themes in Goldfarb’s work is forever changing, however her style of work remains the same. Goldfarb’s use of colour is extremely important to her as she makes very conscious decisions to provoke the mood of her work.
Gustav Klimpt has influenced her use of colour and her attention to the detail such as tone and warmth. Her style is inspired by Classical artists such as David, Caravaggio and Michelangelo.
Her Jewish background provoked a love of Biblical art thus a storytelling nature of this can be seen in Goldfarb’s art.
She is regularly inspired my lyrics in music and still shots from films often inspire her composition.
ROSIEGOLDFARB
instagram: @ rosiegoldfarbartemail: [email protected]
etsy: goldfarbArt
Wavy Microcrystalline wax with red pigment
My work is a mixture of different subjects and media. As an artist I am interested in how colour changes in different forms.
I have continued experimenting with different media, such as paper, fabrics, wood and household liquids.
My recent paintings are a collection of intuitive paintings that are deep, bold in colour, abstract and patterned. Capturing colours is everything in my work.
As a painter of still life and nature it is always the depth of colour that I remember most about my subject. It’s my inspiration and enables me to channel my life experi-ences onto paper.
DANETTEHIXON
10,307 likesPhotographic Print
Originally taking inspiration from the city and how people move throughout it, Luke has focused his work on capturing these moments through long exposure photography, in an attempt to explore the relationship between commercialism in art
LUKEHOLDBRROK
instagram: @ holbrookshotsemail: [email protected]
website: holbrookshots.co.uk
This is Not a Real AxeFound materials assemblage
Anthony Lubi is a young artist working in sculpture and performance.
His work is spontaneous and innovative in his use of the readymade and found objects. His materials are repurposed for his practice, in particularly old artworks of colleague’s and his own as way of recycling old ideas into something new.
Lubi’s work encompasses both figurative and abstract approaches to construction which ties in to his experiences of the roles and memories of his life. Many ideas are formed through role playing culture present in storytelling, coupled with the aspect of creating something by hand instead of leaving it to the mind to be eventually forgotten.
Initially Lubi began using found objects due to financial reasons however this evolved into an interest in recycling and repurposing objects and materials. Lubi’s personal charm and deadpan sense of humour pervade his work and his life style as an artist seemingly akin to performing with a mask.
Chance and the speed of execution that comes with spontaneity is Important, in order to push forward the evolution of his practice and set the foundation to which his works can pursue this childish fuelled fascination of being something only found com-mon in modern gaming and geek culture.
ANTHONYLUBI
website: anthonyjlubi.wixsite.com/anthonylubiartistry
ON SEMINARS
Third year seminar is a place that facilitates open thinking, where discussions take unexpected turns and where occasional chaos can sometimes unfold that helps us go beyond the expected and prescribed. It is a table onto which each student brings his or her culture, experience, and practice. It is open and encouraging but also challenging and demanding. It allows students to reflect on their own practice and its positioning within the art world and culture at large. At the core is a pushing of the creative process, an understanding that what makes our work go further is moving beyond the known and tested...
Sharone Lifschitz
Roses Mixed mediums
Born in 1998 in Southwest London, Eleana Rowe’s interest in art began as a young child. Coming from a female dominated family, her work is informed by feminism and broader issues relating to gender.
Eleana’s fluid and expressive style has developed over time by observing artists such as Paula Rego and Dawn Mellor. She plays with the expectations of gender bymanipulating context and composition in painting, photography and mixed media, as well as critiquing the conventional gendering of certain materials.
By removing women from romanticised settings, she also deconstructs traditional notions of beauty.
ELEANA MACAULEY-ROWE
instagram: @ eleanaroweartemail: [email protected]
website: eleanamr4.wixsite.com/mysite
LuckyScreen print on paper
I have spent the last four years exploring concepts of fame and myth in my work. Mostly through large silkscreed reproductions of iconic cultural figures, such as Mick Jagger, Liz Taylor, Lord Lucan, Winston Churchill and Donald Campbell’s fatal Blue Bird crash. I make multiple images with bands of hot colour that sweep across the image sometimes using misprinted techniques that reference Andy Warhol and Robert Rauschenberg but with my own hand print and contemporary references.
I also experiment with different materials including tissue paper, black bin bags and cardboard boxes. My work has been shown as part of a group exhibition at Bow Road as well as three solo exhibitions at The Poplar Union, Eastbury Manor House and Barking Learning Centre.
Works held by the Princes trust collection and in private collections in the UK and Italy.
L.AMACDONALD
email: [email protected]
Empty milk bottles left in the fridge’ Oil on canvas
British Autobiographical and Confessional artist Liam Stonier McDonald looks at themes of shame and sexual violation as well as his own troubled upbringing.
This focuses mainly on growing up around his mother’s drug and alcohol addiction as well as the emotional and physical impact of his involvement with the underground sex scene.
LIAM STONIERMCDONALD
instagram: @ liamstoniermcdonaldwebsite: liamstoniermcdonald.com
Dad, it’s growingEnamel, oil and masonry paint, charcoal on MDF
British-Mauritian artist Stephanie Modely’s focuses on representations of science and global politics, through the idea of disease and the human body, this association derives from her fascination with events relating to her Father.
Stephanie uses enamel, masonry, oil paint and charcoal. The materials used dictate the narrative form of her work, which is designed to provoke a conversation with the audience.
She is also interested in exploring the fine line between abstraction and representation.
STEPHANIEMODELY
instagram: @ stephaniemodelyemail: [email protected]
website: stephaniemodely.co.uk
The small heads Clay
My sculptural works are based on drawing and the doodles I like to draw often. I tend to watch a lot of anime shows which explains why most of my works come out with a cartoon feel and look to them.
The small heads on display today is a continuing project. The materials used to make these heads are oven-bake clay and aluminium kitchen foil, the foil is used as the base for the heads by scrunching it up into a ball and then using the oven-bake clay to build over it to make the head and the features of the face. To mould the clay, I first play with it to soften it up then use my hands and some plastic modelling tools to model the heads the way I envision them to be.
At the age of six I discovered my love for drawing after I saw my older brotherdrawing one of his favourite anime characters, Goku in his super Saiyan form; whereas the passion I gained for sculpture came at the age of 17 in my second year of college after making a self-portrait of myself using clay and plaster.
Since this is still a continuing project there is a lot more, I would like to do with the heads such as paint them in different black skin tones since the facial features on the heads do resemble black features and I just so happen to be black.
ATAMOREIRA
instagram: @ moreiraataemail: [email protected]
website: atamoreira.wordpress.com
Sea of happiness Gouache, acrylic, pastel pencil and gloss varnish on canvas
Focusing on her present mental state, Shabana visually projects her thoughts,feelings and emotions through various media, mainly painting. Love, relationships, men-tal health, and past negative experiences are all released using various materials.
A mixture of childlike brush-marks, dreamy colours and subtle 3D textures, reveal insight into Shabana’s deeply honest representations of events in her life.
SHABANARAHMAN
instagram: @ shabanaartistemail: [email protected]
website: shabanaabdul3.wixsite.com/shabanaartist
Christopher James Robertson is an installation-based artist.
Christopher combines sound and illustration to create visually and aurally engaging environments.
His practice focuses on human nature and our ability to recall memories, and highlights the loss of information that can occur over time through the motif of repetition.
CHRISTOPHER JAMESROBERTSON
instagram: @ topher.james.ryoutube - topher higgs
spotify: artist/7kFWWC19SpeWvjbxEHSyNB?si=xdtuGEosQ4GD4xsGCtKI1w
On the movMixed media on plaster
I was born in La Paz, Bolivia, in the heart of South America but now reside and practice in London, England.
I am influenced by nature and culture and express myself using different scales, processes and colours in order to produce work that is “thought provoking” and has a sense of space.
I am currently experimenting with different methods of printing, such as screen prints, etching and block printing.
I am particularly interested in exploring the relationship between movement, balance and tone through various media.
HELENSANDI-EDWARDS
instagram: @ helensandiedwards_artemail: [email protected]
PoppyMixed mediums on canvas
I am originally from Iran and for as long as I can remember I have always had a keen interest in art. As a little girl in Iran, during the Iran/Iraq war, I can remember always seeking to spend the majority of my time in the privacy of my room, where I first began my artistic journey.
Now that I am older and more knowledgeable about art and my own practice, I realise that it was in those early years that I first became aware of my individuality and uniqueness. The adults around me would find my choice of wanting to paint rather than playing with dolls unusual. I can remember having this natural feeling of knowing how to mix the colours up in order to create the different hues and tones, happy in a world of my own making. My life so far has been varied and dramatic, with extreme challenges and triumph over adversity. I realise many have suffered thus, or much worse, and in my work attempt to address the issues of the human condition and suffering. As well as tackling such laden subjects that are meaningful to me I wish to discover new methods of making beautiful and visually stimulating work.
I am constantly testing out different materials and methods of making. I want to extend the possibilities and push the limits of processes and production. My creative approach is intentionally unconventional, one of constant experimentation in order to gain new insight through individual experimentation. My passion is to create work that speaks to the masses, not just fellow artists.
I want to attract and draw the attention of the wider community, for the artwork to elicit responses and create connections between disparate people as a result of the messages I attempt to voice through them. I also am fully engaged with the contemporary art scene and ambitious to further my career.
KHATEREHSHOJA
instagram: @ shojaartemail: [email protected]
website: shoja.co.uk
Video Still image
Paige Jessica Stainsby is a Filmmaker and Writer from Hertfordshire.
Her work combines moving image and melancholy monologuing to negotiate her own experiences and understandings of the world around her.
A fascination with social and cultural issues came from her own experiences with loss, grief and mental health.
Each of her films engage with her own autobiographical battle with depression andcreates films as part of her own self analysis as she tries to dissect the turbulent emotive state people face
PAIGE JESSICASTAINSBY
instagram: @ paigestainsbyemail: [email protected]
Photo of Solo Exhibition5th Base Gallery, London, Uk
The frame’s importance can be traced back through many cultures’ civilisations and beyond.
It can be viewed as a space, an extended field or a background for artistic and cultural applications; a protection of emotions and values.
For example, a house where we live or a canvas that we paint.
A TRAVELLER
instagram: @ atfineart
Technicians Workshop by Aaron Doig2018 Linkaters Art Prize winner
Linklaters Art Prize 2019
The Linklaters Art Prize is a collaboration between Linklaters and the BA Fine Art Programme at the University of East London.
Linklaters is a global law firm with 30 offices is 20 countries. We have over 5000 employees throughout our offices. We are committed to making a positive impact on our neighbourhoods and wider environment, both locally and globally.
The Prize seeks to reward innovative practice and excellence in the field of contemporary art, and to give early career artists the opportunity to engage in a commercial environment.
Prize
A purchase prize of £1000 will be awarded to the winning artist.
Judging
A judging panel will select a shortlist of artists from the degree show, who will then be voted on by Linklaters staff.
Eligibility
Applicants must be final year students on UEL BA Fine Art
NEW VOICES
A lot of the time in the seminars we critique the work to enable the student to achieve greater depth and specificity. Sometimes the subject of the work is beyond the immediate experience of the tutors and this means the student has to explain something about their experience and identity. Often the tutors try to find ways that allow the students to give a form to their experiences. This can involve looking at the work of other artists - so during the seminar the students google artists and artworks which are projected to make a continuous collage of possibilities.
Politics comes in to play especially when the student might find themselves drawing on the past in another country, war zone or conflicted territory. Identity politics is also an important way of framing oneself, especially in relation to the ‘big other’ of social or mainstream media. Often students have made something instinctively and the question becomes about unearthing the impulses behind a work. All the students are under immense financial pressure, so problems of time and access and other practicalities abound. The How, What and Why of an artwork is considered in a friendly, open, entertaining forum where any issue can be raised publicly. This is a reciprocal debate where the tutors may try to trigger responses and the students may challenge the limits of the tutors’ knowledge.
Dan Coombs
THANKS TO THE GUEST SPEAKERS WHO PARTICIPATED IN THE BA FINE ART GUEST LECTURE SERIES 2018 -2019Artist statment !
instagram: @email:
website:
21st to 25th of January 2019University of East London College of Arts, Technology and Innovation
Roadmaps for the Art and Design Industry: Artists, Designers, Illustrators, Photographers, Curators, Agencies, Networks and Organisations talk about Professional Practice and varied routes from art school to professional success.
Formal teaching stops, practitioners come in and offer inspiration by discussing the paths they took. This unique event is in its 6th Year and invites all our students to think about their own possible pathways.
Detour Ahead is an event put on by the Art and Design Cluster.
RICHARD WILSON – ARTIST
Richard Wilson, born 1953, is one of Britain’s most renowned sculptors. He is internationally celebrated for his interventions in architectural space which draw heavily for their inspiration from the worlds of engineering and construction.
Wilson has exhibited widely nationally and internationally for over thirty years and has made major museum exhibitions and public works. He has been nominated for the Turner Prize on two occasions and was awarded the prestigious DAAD residency inBerlin 1992/3.
He was one of a select number of artists invited to create a major public work for The Millennium Dome.
Wilson’s projects have generated universal critical acclaim.
Wilson’s seminal installation 20:50, a sea of reflective sump oil, which is permanently installed in the Saatchi Collection, was described as ‘one of the masterpieces of the modern age’ by the art critic Andrew Graham Dixon in the BBC television series The History of British Art.
JAMES WINDSOR – HOW TO BECOME SELF-EMPLOYED
James Windsor, is an accountant who has worked with everyone from Monty Python to the painter Peter Doig. Working within the arts in its widest scale, this is a talk that WILL relate to all of you in your lives; there is no avoiding it. Alert, frank and full of good advice, jokes, songs and life lessons, James will go through the step by step process of making the transition from being a student to becoming a self-employed artist and freelancer.
Wake up & Smell the Coffee: Life, Death and Taxes. Everything you wanted to know about being self-employed but were too afraid to ask.‘You mean I can claim for that?!! Becoming Self Employed’. Come on in, the water’s warm: Becoming Self Employed: A 1st time users guide.
ORI GERSHT – ARTIST
Ori Gersht was born in Israel in 1967, but has lived in London for over 20 years.
Throughout his career his work has been concerned with the relationships between history, memory and landscape.
He often adopts a poetic, metaphorical approach to explore the difficulties of visually representing conflict and violent events or histories. Gersht approaches this challenge not simply through his choice of imagery, but by pushing the technical limitations ofphotography, questioning its claim to truth. Frequently referencing art history, Gersht’s imagery is uncannily beautiful; the viewer is visually seduced before being confronted with darker and more complex themes, presenting a compulsive tension between beauty and violence. This has included an exploration of his own family’s experiences during the Holocaust, a series of post-conflict landscapes in Bosnia and a celebrated trilogy of slow-motion films in which traditional still lives explode on screen.
At the end of the talk Ori will also introduce an innovate APP he has been working on that radically reinvents the manner in which artists and designers can archive, store, organise and disseminatetheir work.
JOANNA PENSO – BOW ARTS TRUST
Joanna Penso, artist and freelance arts practitioner, ex staff member now working freelance for Bow Arts to support our outreach to graduates
“Our aim is to support emerging artists in London with opportunities, space to work and creative development sessions.
Navigating the art world is difficult, and not always a straightforward process, particularly for new graduates; through a series of interviews with some of our flourishing studio members, we’ve compiled a wealth of advice and tips for graduates to help them in the transition from student to professional artist and know what steps to take next after their degrees.
This advice has been formed into an insightful, engaging and valuable talk whichleaves students feeling empowered, informed and positive.”
RICHARD DYER, BINDI VORA AND AZEEMA MAGAZINE– PANEL DISCUSSION CHAIRED BY PAULINE DE SOUZA
Richard Dyer is Editor in Chief of Third Text and a Contributing Editor to Ambit literary magazine. He is a widely published art critic, reviewer, poet, fiction writer, practicing artist and musician. His critical writing has appeared in Third Text, Contemporary,Frieze, Flash Art, Art Review, Art Press, The Independent, The Guardian, and many other publications and catalogues
Bindi Vora is the Curatorial Project Manager at Autograph, London, and an artist, curator. Prior to Autograph she was at the Hayward Gallery working on their exhibitions and displays and The Photographers’ Gallery. Later this month she will be Curating an exhibition at Sheffield’s iconic Portland Works Let’s go through this again. As a contemporary photographic artist, her practice utilises various analogue processes. She has participated in a number of exhibition across Europe. In 2014 she published her first photographic book In the Blue Light we Failed, which was acquired by The Women’s Art Library, Tate Modern, Museum of Modern Art and others.
She is currently working on a commission for The Hospital Rooms.
Noor is the deputy editor of AZEEMA Magazine, an independent print magazine exploring Women within the MENASA region, diaspora and Women of Colour.
Garnering an international following with three printed issues, AZEEMA pushes the boundaries by extending important conversations in a safe space where women can feel celebrated and represented. Noor is also a DJ, radio presenter/producer and painter with work showcased in various London galleries, such as Blyth Gallery and Menier Gallery, as well as in Khobar, Saudi Arabia.
THANK YOU TO ALL OUR SPONSORS WHOHAVE SUPPORTED US THIS YEAR.
Catalogue Curation : Tarandeep Kaur Bansal, Joban Gill, Chioe Earney and Alexis Harding. Layout: Nelson Cunha