uog degree show catalogue 2011
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University of Gloucestershire's Fine Art Degree Show 2011TRANSCRIPT
11Fine Art Degree Show3rd-10th June
Ok, so how do I make sense of that never ending flow, the fog that covers life here and now. How do I see through that, how do I cross that bound-ary? Do I walk down the street and make pictures of strangers, do I make a drama-tableaux with my friends, do I only photograph my beloved, my family, myself? Or maybe I should just photograph the land, the rocks and trees – they don’t move or complain or push back. The old houses? The new houses? Do I go to a war zone on the other side of the world, or just to the corner store, or not leave my room at all?Yes and yes and yes. That’s the choice you are spoiled for, just don’t let it stop you. Be aware of it, but don’t get stuck – relax, it’s everything and everywhere. You will find it, and it will find you, just start, somehow, anyhow, but: start.
Paul Graham, 2009
Final degree shows are the place where years of thinking, experiment-ing and work all come together, each student seeing how far their chosen medium can be pushed, pulled and persuaded to express ideas. Photography poses a particular set of problems for its students; there are so many directions to take (conceptual, personal, aesthetic, political... etc). Where to start ? Starting, as Paul Graham implies, can be the hardest part sometimes.
What is the value of photographic images? What do we make of them? A photograph can be difficult to read; what did the photographer mean, why did they take and print that picture? Sometimes the image presents no problem - we know how to read a composed landscape or a clearly constructed portrait. Much of the work here will not be so straightforward for the viewer.
Introduction
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One aspect that defines a Fine Art approach is that much is left to the viewer to fill in – suggestions, glimpses of things that are true, stories that are part told, part hidden; hints that don’t lead us to clear answers. The viewer is not told what to think, rather they are invited to join the artist in looking and asking questions. This could, of course, be intellectual game playing that excludes the viewer. Who needs more questions and enigmas? Are there not enough in the world already? There needs to be something more.What makes these students a pleasure to teach, and hopefully their work a pleasure to look at, is the investment of their personal life and vision. The images do not arise from a dry abstraction, a theoretical stance. We feel that these images connect with a developing worldview. We hope that art theory feeds the work, gives it ambition, but never replaces the powerful sense of the artist’s life and world. Each student has their own history, and this gives a unique sense of what is worth looking at, a fresh view on what is beautiful, what needs to be challenged, and what needs to be photographed. We are pleased this year to see the breadth of work on display, with a show that takes in video, montage, performance, installation, cross stitching even. Photography is a starting point for many different explorations. We hope you enjoy this glimpse of where they have got to so far. We look forward to seeing where the journey takes them in future years and wish them much success and freedom along the way.
Tony ClancySenior Lecturer
This year’s degree show marks a pivotal moment in more ways than one: the graduating students are presenting their final exhibition before embarking on their next journey; and added to the poignancy associated with that is the realisation that this is the last degree show at Pittville after over 40 years in these studios and gallery, as the courses move to new premises in the next academic year. A new era beckons all round, but artists are used to balancing optimism with doubt and uncertainty –it comes with the territory.
A striking feature of these graduates is the fact that they are all female (I’m sure there were some blokes at the start of the course; maybe they were scared off). It may be too simplistic to suggest that this has affected the work in any tangible form: issues of gender and psychological probing are evident, but maybe no more than might normally be expected. In any case the course has always prided itself on the lack of a discernible ‘house style’, and this year is no different in reflecting the diversity of each student’s experience, with elements of figuration, abstraction, collage, photography and installation.
The students have not been afraid to break with convention, extending what might be considered to constitute painting, acknowledging bothhistorical precedents and current theory and practice. Their individual development is rooted in their personal histories and obsessions and they have been encouraged, nurtured and challenged to engage and explore. They have shown tenacity, resilience and flexibility in coping with the demands of the course and the ever-increasing financial rigours of studentship.
Introduction
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There have been opportunities to experience art and culture outside the confines of Cheltenham, from London and Liverpool to wider destinations such as Rome, Prague and Istanbul. Five of the exhibiting students were selected alongside other British and Dutch students to exhibit in Amsterdam.
As these emerging artists take their talents and aspirations out into the world, we would like to take a moment to thank them for enhancing the reputation of the course and enriching the University with their presence. We’re proud of what they represent, congratulate them on their achievements, and wish them well in their future endeavours. We’ll miss them.
Paul RosenbloomSenior Lecturer
I want to learn to think stupidly. To see what is in front of me. At the same time I want to be aware of connotations, associations and allegories. I want to be simple and complex. I want my work to be immediate and considerable. Sometimes meaning does not manifest itself until asked for.It is not always apprent while the work is being made. The processing and progression of ideas, accidents, set-backs and wild tangents may not be coherent. Compositional choices are made with much thought, either focused or distracted. Time can be important, leave something for a day. It may seem better or worse on return, but judgement may be crisper. Being an artist is an act of aith. I believe all things are one thing and separation is a myth. Skills can be learnt. I want to see how I feelabout the world, being an artist is the way I am goingto do it.
Untitled3.5cm x 6cmCharcoal on scored paper
Untitled3.5cm x 6cmCharcoal on scored paper
Mary Brazil
Untitled3.5cm x 6cmCharcoal on scored paper
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I hope that when the viewer observes my work that it is instantly clear that I am interested in the female form and flesh. I want to entice them, for them to feel comfortable and at ease and just take the work for what it is. There is nothing sexual or sinister about my work as it is there to encourage one to feel comfortable in their own skin- that an embrace lifts the spirit no matter your size, shape or colour. For me I felt my most beautiful pregnant and most natural feeding my son, although the lasting damage has been done to my body, every flabby bit and stretch mark was worth it and I am proud to have him and I hope the whenever he needs his mum he will find me soft, warm and safe. This is what I hope to have achieved within my painting.
Best FriendsOil on canvas
Laura Brennan
TouchingOil on canvas23.5” x 12”
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This series of paintings demonstrates the suffering of both females and males within today’s world. A high percentage of both genders suffer from low self-esteem due to the pressure of high expectations and stereotypical roles within their everyday life. Through the intimidation of these expectations, both women and men hide the faults they feel embarrassed by which are demonstrated through props such as hats, hair, theatrical lighting and shadows. These paintings are very atmospheric and they interrogate the figure through reflection as a technique of confrontation, they use hair as another distortion of the figures identity, so it becomes questionable. Using compositions such as these, suggest vulnerability and belief. All of these aspects within the paintings are part of a role to make the character unrecognisable to the observers, but to notice the beauty in the figure’s face.
Belief40” x 35”Acrylic on canvas
Confrontation 150” x 40”Acrylic on canvas
Kirsty Brooke
Confrontation 240” x 65” Acrylic on canvas
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The project was based around mixing mundane tasks into specific film genres. Each photograph is represented as a film still. I have tried to arrange the world to look just how I want it to look at a precise moment and then capture it, creating a realistic or unrealistic mo-ment that because it has no before or after, is open to many interpretations. I love the idea of creating a scene that sometimes, is dif-ficult to decide if what you are looking at is real or not.
A Brush with DeathDigital C-Type print
Life Dies at Five Digital C-Type print
Josh Bryan
Haunted ComedianDigital C-Type print
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As he is a curious character with an unconventional lifestyle, I used real-time video footage to capture the ‘ordinary’ in my father with an insight into his habits and routine of his home life, which greatly differs from his working life as a musician. Photographs of his possessions further enhance the unique way of thinking as they display obsessive arrangements of inanimate objects that would never be seen out of place.
Bob and I have always had a special relationship that seems founded on friendship above all else; in response to this I produced a self-portrait video that mimes to Bob’s voice as he sings acapella. The lyrics to the song are sentimental of a life and death, so I turned this around visually to aimlessly walk around Bob’s 2 bedroomed flat and waste time drinking Jack Daniels.
Stills from Only A Memory3m47sMoving image
Robyn Catley
Stills from Breakfast At Bob’s9m16sMoving image
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UntitledC-type print
My work explores the nature of collage and arrangement using collected and accumulated objects reflecting on moments in my life. The fragile nature of life is something that I wanted to express in my composition and display, using the same idea of that to natural history objects, laying my work in deep setting frames, with the title ‘Memento Vivere’, Latin meaning ‘reminder of life’. I used stitching to attach the pieces together which I felt reinforced the fragile quality that I wanted to express in my work. Over the last three years I have been developing my work and interests using a range of materials and techniques. My work has been focusing on the nature of collage, paint and scale, us-ing abstract composition as a subject. The idea of organisation and order found in biology is a subject I am trying to incorporate in my work, focus-ing on taxonomy and biodiversity found in environments in particular.
Memento Vivere IV24.5cm x 24.5 cmMixed media
Carys Davies
Mememnto Vivere II24.5cm x 24.5cmMixed media
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Distorted, squashed, restricted, old and fat. All the things that most peo-ple would feel repulsed by I find intriguing. I would consider myself both a painter and photographer and have always had an interest in the human form, skin and flesh. People’s reactions to my art have always interested me too, the uneasy and embarrassed vibes I often get from those observing my work. I have even been asked “Sarah, why can’t you just paint pretty landscapes?” The truth is I have always found the personal and taboo the most inter-esting things to study. Subjects such as domestic abuse, fetish, bondage and nudity have been strong influences for me. Artists and photographers have inspired me equally. Jenny Saville, Patrick earl Hammie, Irving Penn, John Coplans, Nan Goldin and Russ Freeman. I have used my own body in my projects, creating many self-portraits, paintings and photographs. I want to thank those who have modelled for me and the people who have helped and inspired me throughout my journey as an art student, you know who you are.
Naughty Boy33in x 23inPhotographic print
Sarah Dawes
Never Say No to Mistress33in x 23inPhotographic print
Obedience and Loyalty33in x 23inPhotographic print
Back into the Real World60in x 90inOil on canvas
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In recent years I have discovered a passion for wildlife, be it animals or birds. I especially like to view them in their natural habitat. I want to express to my viewers exactly what excites me about these beautiful creatures. Their unique patterns and markings are often sidelined and overlooked but it is this factor that first captured my imagination. The concept of texture and natural design is an area that I would like to explore in greater detail. I use a wide variety of mediums, as this allows me to capture certain features of the animal’s appearance e.g. feathers and fur. Colour, pattern and texture play a predominant part in my work. In my most recent paintings I have been exploring the nature and impor-tance of camouflage in the animal kingdom and have found an additional direction for my work.
The Long and Short of It50cm x 100cmAcrylic on canvas
Stephanie France
Black or White Stripes80cm x 100cmAcrylic on canvas
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My work started with the fallen leaves of autumn, as I found the colours, textures and shapes of them interesting. I started experimenting with various materials to make quick drawings of the leaves, exaggerate the colours and build up layers of leaves on the paper. This then led to painting leaves on canvas, I kept the details on them to a minimum as I wanted to focus on the exaggerated colour and to build up different shapes, sizes and colours of leaves. I have recently been using cut-outs, and building up layers to create colourful, expressive pieces of work.
Autumn Leaves100cm x 76cmAcrylic on canvas
Charlotte Gayton
Untitled59cm x 42cmMixed media
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This body of work is explorative of the gaze; the construction of a reality that is made up of fragments which may represent the way we see and understand our surroundings. It explores notions of truth in photography, and the accuracy of a representation in the way that we experience the world. The construction of fragments of found and new images creates a new reality in which the artist can become present. In the moving image work, the narrative is mediated in its reconstruction.The in-between status of the narrative from the subject’s perspective is removed, and therefore must be created by the viewer. Similarly, the subjective and evocative use of manipulated imagery constructed from found footage only makes the viewer aware of the spectator gaze, which becomes the subject of the footage.
Intra-diegetic 20113.33 Min loopedVideo
Vertigo (Constructed Narrative) 2011 124min loopedVideo
Felicity Hammond
Constructed Landscape 2010100cm x 100cmGiclee print
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My work is inspired by Geographical process; rather than re-creating a landscape on canvas I aim to communicate the landscape in its most physical form, seeking to create an illusion of depth and tangibility on a flat surface that relates to the processes by which the landscape is made.Geology, altered by man but where nature has reasserted itself, is my primary focus; these interactions and reactions are achieved by multiple layers of different mediums, working towards a surface that both reveals and conceals what came before. My work encompasses aspects of erosion, sedimentation, decay, pollution, and of surface textures, traces, layered earth tones and hues,which suggest the passing of time. Visual clues emerge from within rivulets and glazes of paint and the subtle eroded textures that allude to the passage of geological eons, the crevices and fissures of the surface hinting at an abstracted fragment of an altered landscape.
Untitled160cm x 200cmMixed media
Anne-Marie Hart
Work in progress220cm x 220cmMixed media on canvas
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The basis of my work is centred around my stepdad’s terminal brain dis-ease called PSP. The work has embodied a concept of inhabiting and exploring “my world”, and expressing to the viewer visually my emotions and thoughts. have experimented with different types of Polaroid to create different effects, culminating in two main visual focuses - landscape and self portraiture. Although the imagery may seem quite bleak on the subject matter ofillness and death, it has allowed me to find a voice, and helps me to soothe rather than enhance my feelings of pain and grief. Even though my body of work is personal, the ability to explain and express myself visually has in turn meant that I have a greater understanding of myself, as well as attempting to initiate inner – healing, and look towards a brighter future.
UntitledPhotographic print
Untitled Photographic print
Gabrielle Hine
UntitledPhotographic print
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If my photographs have a mission, it is to explore my fascination with the outside world.My initial interests were based on photographing flowers up close and macros. Objects hold beautiful details that we never take the time to notice, and blowing those out of proportion in prints makes them seem magnificent. On the other hand, anything and everything about other humans is intrigu-ing – their ways and reasons of being, doing and acting. My two major projects (‘Identity’ and ‘Crowd of Individuals’) are based on the individual. The first one is a mixture of my control (of the environment) and the model’s control (of the outcome). The models, coming from all walks of life, chose to take part in the project. The latter project is the exact oppo-site – the subjects control where and how they appear, while I choose who and how I photograph and which is the final image being used.
UntitledPhotographic print
Untitled Photographic print
Vesela Kovacheva
Untitled Photographic print
UntitledPhotographic print
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This series of work has led on from previous work in which I explored our cities by creating models. The sets were a way for me to explore our surroundings and to cre-ate unfamiliar and surreal environments, in which the viewer can feel able to portray their own memories into the set as they stir memories of childhood. This creates a piece that lives and breathes through the viewer’s personal memories and experiences. To progress my work I wanted to create a more human element in my images, but not necessarily by physically adding people so I started to look at voyeurism. By going out to photograph houses and the people inside them in a voyeuristic manner, I had to look at my surroundings in a new light – as if for the first time, which mirrors Psychogeography’s philosophy of the Flaneur. My work hints at human presence. We can see their mark but not necessarily their physical presence, which creates a narrative in the image that is personal to each viewer as they read into this absence.
Untitled119cm x 84cmDigital C-Type print
Helen Lambert
Untitled119cm x 84cmDigital C-Type print
Untitled119cm x 84cmDigital C-Type print
Untitled59.4cm x 42cmDigital C-Type print
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This work is influenced by the compulsion to explore and examine the human response to trauma. Rooted in personal experience the paintings address ideas of vulnerability, fear and entrapment through the use of self-portraiture in a reflective and sensitive way. The single nude figures are held within and feed from the psychologi-cal spaces they inhabit; created by the layering and stripping of oil paint and ink on the canvas. The paintings hold a sense of deterioration and disturbance through embracing the natural reactions of the materials against each other. This removal of control reflects the uncontrollable events and emotions which act as both the inspiration and content. The sense of reality shifting is an important factor in the paintings, ex-plored through the overlaying of a second figure suggesting an out-of-body experience and raising questions over the instability of the situation and state of their being. The feeling of entrapment within one’s own mind is created by restraining the figure within the frame of the canvas; enforcing the struggle and suppression of terror and grief.
‘Self-Portrait 4’178cm x 43cmOil on canvas
Alice Leeman
Dissolve (Self-Portrait)73cm x 104cmOil and ink on canvas
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Uncovering the potential of a technique, which is more often associated with decorative or applied art and using it to create intricate works, which explore themes of time, relation and artistry. Each thread is equally significant to the unity of the image, and unlike a photograph the surface has a delicate and overwhelming presence. The photographic images on which these works are based were made more than 20 years ago and speak of small intimacies of the everyday.
Mum and Dad64cm x 52cmStranded thread on 8 count aida
Emma Mountford
Dad’s Shed79cm x 53cmStranded thread on 8 count aida
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The continuing drive which encourages my art is the search for substance in the mundane; to find the apex between acceptance of existence and the vanishing point of consciousness. Hugsa pláss translates from Icelandic to mean ‘thinking space’, I have explored this concept through photography. I want to create a moment of escape where the mind can become void and pure; where unaffected thoughts can form. The place documented is not important, instead I focus on the feeling imposed on the self by wide open space.
Hugsa pláss #120in x 24inGiclee print
Martha Níelsdóttir
Hugsa pláss #220in x 24inGiclee print
Hugsa pláss #320in x 24inGiclee print
Hugsa plássProjection with sound
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I am interested in everything to do with people. At the beginning I started with exploration of migration i.e. what is surprising people when they move to the UK and how they are putting an invisible mask to fit with everyone else. After that I was looking at people through street photography and by using self-portraiture I explored myself as a foreign person in a new coun-try. All of that made me confident enough as a photographer and a person to start to do portraits. Portraits are about trying to represent someone’s identity in one photograph. I am interested in how people portray themselves as what we think is our best portrait doesn’t have to be according to others. How people are conscious about their appearance and getting old. Our skin is like a map of our life. Everything that happens to us is recorded by our skin as different marks and scars. That’s what makes it so interesting.
Untitled from the series “Skin”100cm x 100cmPhotographic print
Paulina Olejnik
Untitled from the series “Skin”100cm x 100cmPhotographic print
Untitled from the series SkinProjection5 Min
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My photographs are very much associated with Devon, capturing landscapes that are linked to my grandad. Last summer he went missing and my work has become a reflection on this. I have documented this walk he takes on a daily basis. It is the same walk that he became lost in. He has known the surrounding landscapes for so long yet he managed to get lost within it. There is strong connection to water, from the day that he went missing to the first day that I began to document this body of work.I have photographed different locations that my grandad has once lived or a personal connection. Due to my grandads stroke he has lost parts of his memory, so he no longer remembers these places as well as he once did. For me travelling to these locations was very new to me. I was exploring these new locations and finding out new information. It has been about the exploration into my grandads past and the landscapes. Looking at the idea of how you can become lost within a landscape, whether in your thoughts or physically.
Keymelford The Walk
Jess Palfrey
The WalkVideo piece
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My work mainly deals with the feeling of displacement and a personal view of the unknown, reflecting the way in which I view the city. Rather than photographing the obvious I am instead drawn to the areas that to me hold more character and interest. I have recorded these areas in such a way as to capture the atmosphere yet still give the sense of detachment from my surroundings, and to reveal the city from a different perspective. I have chosen to find the empty spaces within the city, which is something you don’t expect to discover. By means of exploration I found that the tops of multi storey car parks provided me with the emptiness and quiet that I wanted to find in such a claustrophobic area.
Untitled from the series ‘Unaccounted For’100cm x 38cm
Amy Pardoe
Untitled from the series ‘Unaccounted For’100cm x 38cm
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Untitled from the series ‘Unaccounted For’100cm x 38cm
My work explores the relationship with the unrelated; I am also inspired by politics and world events. I change the context of a photograph or painting by adding or subtracting elements from the originals, creating a new meaning from an old piece. The original title or composition can inspire what juxtapositions work within my photomontages. The process in which I produce this work is fundamental to transform data back into a physical object, expressing my own emotions and opinions by using photomontage as a medium of execution often resulting in a humor-ous outcome.The procedure begins with purchasing a painting that motivates my im-agination, then I photograph the painting, rework digitally and apply the juxtaposition, then print and rehouse in the original frame. This technique is a way to gain ownership and authenticity with a found object.
Untitled40cm x 31cmPhotomontage
Untitled 40cm x 31cmPhotomontage
David Petts
UntitledStill from video
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A series of intimate portraits that aim to reveal the vulnerability of the subject. Forming the bulk of this collection is a series of self portraits. Using myself as a subject is extremely relevant as it has allowed me to model the pose depending on my emotions. There is deliberate cropping of the paintings in such a way that they become confined in the surroundings of the canvas. Further heightening this amongst the self portraits is the use of physical barriers, with the contortion of the body and masking of the face.Stripping back the colour to a greyscale colour palette highlights the notion that it is the composition and pose of the subject which is the fundamental essence of the work.
Self Portrait 516” x 22”Acrylic on canvas
Alys Phillips
Self Portrait 416” x 22”Acrylic on canvas
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UntitledAcrylic on canvas
These images reflect the relationship between the constructed landscape and nature, turning the mundane into the extraordinary, looking at what is kept to the eye’s periphery.
“I hope that these photographs are sterile, that there’s no emotional content.” -Lewis Baltz
Untitled100cm x 100cmGiclee print
Untitled 100cm x 100cmGiclee print
Felipe Pires Dias
Untitled100cm x 100cmGiclee print
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This work embodies an artist’s escapist expression. Delving into a world of Sadomasochistic rituals and displaying them as dirty little secrets. It combines Photography with Kinetic Objects, conveying a womans desires in a secretive, yet domestic manner.
“It is good taste, and good taste alone, that possesses the power to steri-lize and is always the first handicap to any creative functioning.” S.Dali
UntitledPhotograhic print
Hayley Riding
TescoPhotographic print
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Descartes in his Fundamentals on First Philosophy questioned the nature of being in the world with his statement “I am a thinking thing”, but how does this relate to the science of today; the mind/body dilemma? The nature of consciousness itself is now explored in a ‘dematerialised’ fashion, electromagnetic firings in neurons; our understanding of what it is to be a ‘physical thing’ is being rewritten by chaos theory and quantum physics. Current theories of space and time, or energy and matter, the stuff we are all made of, push the concept of a ‘concrete’ physical reality to the edge of existence. In my work I explore this notion using the manipulation and detection of light and shadow as a medium. In photography and sculpture I aim to ‘dematerialise’ the physical to the boundary of the minimal, the abstract and immaterial.
Dematerealise 59.4cm x 42cmPhotographic print
Lesley Skinley
Light Drawing59.4cm x 42cmPhotographic print
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As an artist, I can’t imagine art without emotion. For me it seems intrinsi-cally woven into my make-up, not only as a human being, but as an artist. It is something I am acutely aware of and something I have to draw on and explore, It’s what drives me to produce art.I have a keen interest in real life complexities to do with human behaviour, in particular, human emotions while attempting to anaylise and understand this world and the affects and influences through investigation. I feel this has had some contribution or effect in me wanting to express these feelings through a visual, as well as the need to produce a deeper understanding and connection through my work, evoking a unity, empathy, or personal connection between artist and viewer. My work holds a strong connection to myself, my own experiences and reflections, inner feelings and experiences of life and I use this to project my interpretation and viewpoint of my world into my work.
Untitled61cm x 71cmAcrylic on canvas
Rose Vellacott
Untitled42cm x 32cmAcrylic on canvas
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“How would you feel if you lose a job that you have had for years?” My work takes a view of memorable moments of an important location in my mother’s life. These still photographs are presented in a video and leads the viewer to the reason why I have chosen to do this sentimental project. It also guides the viewer with the artist’s autobiographical soundtrack to understand her project more.
Mary Abigail Villa
Untitled still from video Gone But Not Forgotten7 Min
Untitled still from video Gone But Not Forgotten7 Min
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Untitled still from video Gone But Not Forgotten7 Min
Creating a piece of art is a way of expressing myself through objects, developing my work into a form of beauty through several processes, using items from in and around the home that have been discarded, giving them a new lease of life. Throughout each piece of work I create I find myself learning more about what interests me, seeing the objects through a new perspective gaining more knowledge and inspiration. My work has a range of sizes and styles all relating back to the basis of the items being worthless, with a history or past, however all coming together to create a composition that expresses each piece as a collection. The work I create has meaning and depth to them; they have more about them than if I was to use a blank canvas, bringing the pieces to life and seeing the objects from a different perspective.
UntitledInstallation
Laura Wheeler
Untitled (2010-2011)Framed mixed media
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The journey we make after losing a loved one is one we have no prepara-tion for and it happens to everyone. Ordinary people just like you and me. ‘Easily broken’ is a series of work about the loss of my mother but is a message of hope- you can find incredible beauty in the most difficult and ugliest things. By sharing my experience through my art work, I hopeothers can relate to it and realise that this is an entirely natural process. The use of foliage, introducing organic elements to the canvas, issuggestive of decomposing, fragmented lives and the delicate and fragile compositions are illusive of distant memories. With its decaying nature, I hope my work shows how fragile life can be, and yet every day can be filled with beauty and hope.
Helen Williams
My Family TreeMixed media on paper
Dandellions70cm x 30cmWatercolour and ink on paper
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Acknowledgements
The inevitable time has come where we have to step away from the relative safety of University life. Whilst that’s a daunting prospect, it’s one we know we’re equipped to deal with - and that’s thanks to the help and nurture of the following people, both artistically and personally. We’d like to express our unerring gratitude for their knowledge, willingness to help and above all their patience, which we can carry forward to motivate and inspire us in our artistic career and beyond.
Special thanks to:
Clive BarrattDaniel Boetker-SmithPaul BoonRichard BillinghamDave ChildsTony ClancyBob DavisonMatt FrederickNat GoodenPaul RosenbloomRichard SalkeldJayne SedgwickMark UnsworthStuart WildingDan YoungIsabel Young
Ack
now
ledg
emen
ts
