Granfalloon Central Saint Martins Degree Show Catalogue 2015 MA Art & Science MA Fine Art足 MA Photography
A Maha Ahmed Yasmine Alnabulsi Sophie Alston Kyra Altmann Jean Paul Alves Moreira Aava Anttinen Daniel Ayat B Tracy Barakat Siobhan Belingy Sandra Berghianu Javier BernalArevalo Zhanna Bobrakova Pamela Butler C Alice Cazenave Amalia Charikiopoulou KyungMin Cho Sarah Crew D Jared Davis Natalia Davis Bonamy Devas Crow Dillon-Parkin Paul Doherty Valerie Driscoll Vivienne Du E Emma Eagle F Hanping Feng Hugo Figueira Brazao Jacob Flood
Irini Folerou G Katyayini Gargi Helena Goñi Alonso H Libby Heaney Katy Howe Jing Hu I Ting Hung I J K Minji Kang Sooyon Kim Benjamin Knight Rachel C Kremer L Sivan Lavie Yi Fung Li Hengxi Li Sinead Loftus Inga Loyeva M Karim Mahmoud Marie-Pier Malouin Albena Martinova Laura Marques Chao Meng Miena Mizusaki N Maliheh Norouzi Daniel Nutt O Róisín O’Sullivan Dahlia Osman P Andy Picci
Ingrid Pumayalla Q Yuwen Qin R Parvaneh Rahimi Morfydd RansomHall Samuel Ivan Roberts Italia Rossi S Miriam Sedacca Trilokjit Sengupta Dario Srbic Dana Strango Arushee Suri Jasmine Szu-Ying Chen T Kyle Theo Rikki Turner May Turner U V Dennis Vanderbroeck Hana Vojáčková W Jou-Yin Wan Su Wang Jessica Windhorst Tess Williams Hyeji Woo X Y Avita Yan Guo SeiHee Yoo Mengjiao Yu Z
Introduction
ALEX SCHADY
I challenged our MA students to make a catalogue that if found on a tube train would be interesting enough to hold the reader’s attention for the whole journey. The students’ response was to treat this publication as a site for new work. They have curated their work within this format to construct a publication that represents them as a whole. The work shown here was produced by students from our MA Fine Art, MA Photography and MA Art & Science courses. This cohort of culturally diverse emerging artists, thinkers and writers demonstrate inexhaustible energy and creativity with work that is both urgent and ambitious. This is a group where the categorical distinctions between artist, scientist, writer, curator and publisher are blurred. Our postgraduates understand that they are not making work in isolation and the work showcased addresses global art worlds as much as individual concerns. They question where, how and even why we make.
In this document the diversity of the group’s interests and concerns is celebrated. A series of conversations have been set up across disciplines and between artists. In these encounters ideas can develop, mutate and expand as they pass from one practitioner to another. The dialogues that emerge as a result of this are challenging and engaging. Established boundaries between disciplines are trampled as the students evolve new trans-disciplinary models. If you find this catalogue on the tube, enjoy the journey. Alex Schady Programme Leader MA Fine Art
Order of appearance
Bonamy Devas 139 Hanping Feng 67 Yuwen Qin 33 Róisín O’Sullivan 97 Katy Howe 77 Minji Kang 81 Jing Hu 23 Morfydd Ransom-Hall 35 Yasmine Alnabulsi 47 Aava Anttinen 133 Tess Williams 121 Miena Mizusaki 29 Sooyon Kim 83 Amalia Charikiopoulou 59 Dario Srbic 159 Miriam Sedacca 107 Karim Mahmoud 91 Zhanna Bobrakova 135 Dahlia Osman 99 Jasmine Szu-Ying Chen 39
Italia Rossi 105 Jean Paul Alves Moreira 51 Hengxi Li 149 Libby Heaney 21 Irini Folerou 73 Crow Dillon-Parkin 15 Chao Meng 93 Vivienne Du 17 Rikki Turner 113 Mengjiao Yu 165 Inga Loyeva 89 SeiHee Yoo 129 Emma Eagle 19 Hana Vojáčková 163 Tracy Barakat 7 Jou-Yin Wan 117 Kyra Altmann 3 Rachel C Kremer 147 Alice Cazenave 11 Andy Picci 101
Siobhan Belingy Valerie Driscoll Maha Ahmed Yi Fung Li Benjamin Knight Su Wang Helena Goñi Alonso Paul Doherty Sivan Lavie Daniel Ayat Albena Martinova Kyle Theo Maliheh Norouzi Laura Marques Javier Bernal-Arevalo Sarah Crew Jessica Windhorst Pamela Butler Jared Davis Dennis Vanderbroeck
Essay I am the Sonic Image — Anat Ben-David
Essay Director Dictator — Florence Peake
Essay Granfalloons at Swedenborg House — Oreet Ashery
53 141 45 85 145 119 143 65 25 5 151 111 95 153 55 137 123 57 13 115
KyungMin Cho Avita Yan Guo May Turner I Ting Hung Daniel Nutt Hugo Figueira Brazao Natalia Davis Trilokjit Sengupta Katyayini Gargi Sandra Berghianu Ingrid Pumayalla Parvaneh Rahimi Hyeji Woo Arushee Suri Jacob Flood Samuel Ivan Roberts Sinead Loftus Dana Strango Sophie Alston Marie-Pier Malouin
61 127 41 79 31 69 63 157 75 9 103 155 125 109 71 37 87 161 49 27
If you wish to examine a granfalloon, just remove the skin of a toy balloon. — Bokonon
Concept and project supervision Katy Howe, Dennis Vanderbroeck, Simone Trum, Loes van Esch Assisted by Natalia Davis Contributors Oreet Ashery, Anat Ben-David, Florence Peake, Alex Schady Proof Reading Dennis Vanderbroeck, Katy Howe Graphic design Team Thursday (Loes van Esch and Simone Trum) Published by MA Fine Art Programme Central Saint Martins www.arts.ac.uk/csm/ Š 2015 Central Saint Martins and Artists Printed in an edition of 1006
Devas,
Bonamy
Devas,
Bonamy
MA Photography
www.bonamydevas.com
Feng,
Hanping
Feng,
Hanping
MA Fine Art
f_hanping@hotmail.com www.hanpingfeng.co.uk
I am interested in a kind of overlapped relationship between spaces, because space is an inevitable issue in our life. Human activities and experiences have taken place in and can only occur in space. Spaces can record everything and it is an effective way to reflect developed condition of the human. For example, nowadays, we are kidnapped by ideology of capitalistic consumerism. People daily shuttle into various spaces which is like supermarkets and department stores, fulfilling our consumptive desires and needs, so that we are trapped in there by world of ourselves creation. For this phenomenon, Utopia and Dystopia in literature could provide different ways to understand capitalistic consumerism. Utopian is to create an ideal world. Oppositely, dystopia as a metaphor is often used to describe a nightmare world. On the other hand, Dystopian is to react negative society as well as material civilization is higher than spiritual civilization so that spirit are depended and controlled by substances, Indeed, it is like contemporary society, sometimes humankind is something like the germs, parasitizing into there consumptive places and spaces so that we has forgotten to return into the nature, seeking a kind of spiritual freedom and keeping a balanced relationship between modern civilization and nature because human extremely desire to create a perfect world through development of science and economy so that human lost a kind of ability that control desires and falling in material pursuance. I would like to create a fantasy or eerily numinous space for reflecting this phenomenon with the approach of overlapped spaces.
Qin,
Yuwen
Qin,
Yuwen
MA Art & Science
arwen0419@gmail.com
O’Sullivan,
Róisín
O’Sullivan,
Róisín
MA Fine Art
osullivan_roisin@yahoo.ie www.roisinosullivan.com
Howe,
Katy
Howe,
Katy
MA Fine Art
ktpuss@icloud.com www.katyhowe.com
Kang,
Minji
Kang,
Minji
MA Fine Art
marilucky016@gmail.com
Hu,
Jing
Hu,
Jing
MA Art & Science
www.hujing.org
My interdisciplinary art practice involves biomedicine, cognitive neuroscience, psychology by using art forms of CGI and motion graphics. I like 3D art, animations and cult films. I am also fascinated in digital technology. Most of my art pieces have elaborated plot. I use moving graphics of various types to describe them. My practice has tightly relevance with the concept of “dignity” and “manipulator or manipulated” in science. I research implanted or external devices, such as the prosthesis and various medical apparatus embedded into human body based on the concept of Cyborg. And I also interested in their influences and manipulation on people’s physical and mentality. Meanwhile, based on anatomy and contemporary biomedical technology, I also invent conceptual apparatus that have not yet been invented, but will have potential usage on people’s certain interactivity or just denote the absurd of people’s certain existential aspects. I hope to propose some methods to solve pragmatic problems in people’s life. But these solutions accord with the principle of equivalent exchange, rather than just be offered for free. One person should afford his stuffs to exchange the solution he requires. So these so-call solutions are actually another unobvious way of manipulating people’s behaviour. I believe in the mechanised essence of human body and I am wondering if we can manipulate one’s mentality by manipulating their mechanised body. I believe there were no real dignity and freedom on people. We can create people’s certain peculiarity that meet our demand by doing some sorts of reinforcement continually on them. As a kind of creature, human beings cannot escape the law of nature.
Ransom-Hall,
Morfydd
Ransom-Hall,
Morfydd
MA Art & Science
mransomhall@mac.com www.morfyddransomhall.com
Alnabulsi,
Yasmine
Alnabulsi,
Yasmine
MA Fine Art
yasmine.nabulsi@hotmail.com www.yasminealnabulsi.com
It happens on the paper, on the intimate space between the artist and the surface of the paper. It may begin with a slash of colour, or a collection of blobs, points that develop into lines. I witness a process of metamorphosis, where the mark on the plane transforms from a blob into a floating creature under the sea; iridescent and delicate, soft and illusive yet stinging in self-defense. A point grows into a line that grows into a complex single celled structure in this primordial soup. Structures resembling sea creatures ranging from single celled microscopic carters to jellyfish giants glowing and pulsating like a heart wanting to burst out and splatter its colour all over. On fabric this process becomes more transient, it changes, it unfurls and has many secrets and treasures hidden in its soft caresses. Sequins and embroidery adorn the drawing that is printed and become one with the image. A sense of visual rhythm emerges and I invite you to listen and explore.
Anttinen,
Aava
Anttinen,
Aava
MA Photography
aava.anttinen@gmail.com www.aavanttinen.com
Other times we drift a bit as we think about all the things that are parallel in the universe and all the things which cross across the horizons of those parallel things but we always find ourselves slowing down for a stop sign and drifting, floating below the threshold. Where we’ll be drifting effortlessly down a path into a quiet still place where words can remind your mind of those things needed for you.
Williams,
Tess
Williams,
Tess
MA Fine Art
contact@tessrachelwilliams.com www.tessrachelwilliams.com
Mizusaki,
Miena
Mizusaki,
Miena
MA Art & Science
mienamm@yahoo.com www.mienam.allyou.net
Light is here to enable us to see and give us information about our surroundings. Even after I understood the scientific system of the effect of light on colour perception, the relationship between light and colour remained rather mysterious and precious to me. My artistic practice focuses on the aesthetic of the visible light and seeks ways to express the temporality and ephemeral nature of light and its colour. In Japanese language there are hundreds of words to describe ‘rain’. Taking inspiration from Japanese people’s ability to sense the slight difference in nature, the piece I’m exhibiting in this degree show expresses the ever-changing state of rain that creates different feelings depending on the quality of light throughout the day.
Kim,
Sooyon
Kim,
Sooyon
MA Fine Art
piperpie@hotmail.com
Charikiopoulou,
Amalia
Charikiopoulou,
Amalia
MA Fine Art
camelia.charikiopoulou @gmail.com
As part of the art practice activities, rituals and objects from everyday life are involved. When these are borrowed they are engaged in a long process of experimentation, through which the purpose, function and utility are challenged. In the meantime, insights for art-making are drawn. It is part of the process to think of everyday practices or objects as materials that constantly are addressed for their traces, textures, and shapes. Through the durational engagement thoughts about the materiality and form occur. As a consequence, form and color are ‘either working together or against each other’.
Srbic,
Dario
Srbic,
Dario
MA Photography
dariosrbic@me.com www.dariosrbic.com
A copy of a copy of a copy of a copy of a copy... A cup after a cup after a cup after a cup... A line after a line after a line after a line... A face after a face after a face after a face... A difference between them a mediation, a theme obsessively repeated with its variations and improvisations, a theme itself a variation on all that photography can be...
Sedacca,
Miriam
Sedacca,
Miriam
MA Fine Art
msedacca@hotmail.com www.miriamsedacca.com
Mahmoud,
Karim
Mahmoud,
Karim
MA Fine Art
karimmurtada@gmail.com
Bobrakova,
Zhanna
Bobrakova,
Zhanna
MA Photography
zhannna@gmail.com
Merging philosophy and art, I’m interested the carnivalesque concept by Bakhtin. My work explores an opportunity of the other life and liberation from prevailing awe. Using methods taken from carnival such as masking, ie that which conceals and reveals at the same time, I take the repetition and replication from the concept of simulacrum from Deleuze. Repetition creates a certain rhythm, evolves difference and produces the new entity. There is a correlation between these notions and my practice. Artworks I create are a kind of simulation. There are no single objects that have their identity and single stories – the artwork is a cloud. The movement and multiplicity holds power and force.
Osman,
Dahlia
Osman,
Dahlia
MA Fine Art
emaildahliaosman@gmail.com www.dahliaosman.com
Szu-Ying Chen,
Jasmine
Szu-Ying Chen,
Jasmine
MA Art & Science
info@jazzchen.com www.jazzchen.com
I am interested in beauty and the grotesque within the field of anatomy, specifically medical wax models from the 16th century, such as Clemente Susini’s and Gaetano Giuio Zummo’s wax models. I manipulate the dissected anatomical imageries and create tableaus with unlikely characteristics such as Flemish floral/fruit details, French ornaments, East Asian illustrative symbolic elements, and Japanese anime. I use the tableaus to tell a story about the clash between Eastern and Western cultural conventions, and they also function as social commentaries on contemporary society.
My thoughts concerning sound-image and how it affects the mind in generating vivid impressions, is driven by the tendency of sound to resonate with a given environment, a place where the physical body might be, or might be transported to. When sound is presented in a three-dimensional space, it considers the viewer/listener’s physical position and aims to imitate and address that position in relationship to the sonic space. When recording a scene in a movie, the microphone’s position in relation to the subject, will affect how we perceive that sound when we hear it in the cinema, thus determining a physical space that affects our mental perception of it. Image: Anat Ben-David
I write text for performance, text that is going to be audio and will be communicated through the body: the voice as ‘image’. I use the term ‘image’ to describe a vision/feeling that guides the work towards its ‘exhibition’. The evolving fluctuation of interactions between sonic structures and language provoke image-association, I am the Sonic Image
signifying a visual scene, locating the text in time and space. The text that had no linguistic logical intention to begin with becomes clear through its performative qualities, i.e. context, sound, colour, and vocal character. I distinguish between the visual image and the sonic image. The sonic image is not only a visual experience, but a set of fluctuating dimensions that progress within the work itself as a vivid experience of space, colour, physical movement and gesture, which combine to engage the senses in a coherent flux. The sonic image is flexible and can contain a number of visual images. The sonic image resonates the environment it originates from. I write texts that make sonic sense, not, conventional semantic sense. I try not to anticipate the ‘meaning’ of what I am about to write or its grammatical sense. I focus on an image or a feeling, using rhythm and timing: the sounds that letters, vowels and phonemes create in the mouth and throat. The word combination does not need to convey a formal meaning. The word combination occurring from the meeting of the Anat Ben-David
literal meaning of words and their sonic character accidentally creates metaphors that in turn influence the progression of the text. ‘Text for Performance’ is text that embodies its meaning through the way it sounds. Words accumulate sense through their performance rather by adhering to their accepted semantic meaning. The process starts predominantly with text in combination with sound, which develops into a sonic image meaning is provoked by performance, not illustrated through it. In performance, the body carries meaning through the sound it produces. Interpretation of words and actions is relative to the sonicimage and the visual image combined. The sonic-image in performance brings into consciousness parts of a broken language of images and sound into life and makes clear new images, which explains the world.
I am the Sonic Image
Rossi,
Italia
Rossi,
Italia
MA Fine Art
linfasonora@gmail.com www.italiarossi.com
//////////////////////////////////////// N-visioning the elusive (t)here . / A nervous fluttering between space dichotomies / / / / / / / / / / / / / / / / / / / / / / / / / / / / //////////////////////////////////////// The words HERE and THERE define fundamental features of the space: “in, at, or to this (or that) place or position”. The first referring to the nearby, the second to the remote – the two words indicate specific positions in space by evaluating the more or less proximity to our body. Truly, when defining ‘where’ places/things are in space, these words express ‘relative’ positions (relative in fact to us) rather than absolute ones. By contrast (but exactly for the same reason), the concepts of HERE and THERE reveal concerns about our own presence and placement. As to say that by measuring our own distance from things, sites, events we are in reality operating a self-detection, seeking where WE are in space. As a fact, the world THERE indicates a rather utopian site, a place that we can only experience in distance, a concept/site that vanishes the more we approach it, as it progressively becomes HERE. Clearly, there must be a place ‘in between’, a switch between HERE and THERE, a point of inflection in the progressing space-curvature. A (T)HERE must exist, a place that constantly oscillates between proximity and distance, a flickering condition where opposites coexist in vibrating ambiguity and co-presence; where conditions are in the process of changing from a real tangible place (HERE) into an impalpable elsewhere. ////////////////////////////////////////
Alves Moreira,
Jean Paul
Alves Moreira,
Jean Paul
MA Fine Art
jaopalo@hotmail.co.uk
Li,
Li,
Hengxi
MA Photography
spongelhx@gmail.com www.hengxili.com
sleepless airplanes breathless suitcases hopeless balloons homeless signals reckless dust bins relentless mirrors a thousand time inappropriate
Heaney,
Libby
Heaney,
Libby
MA Art & Science
libby@libbyheaney.co.uk www.libbyheaney.co.uk
Libby Heaney is a multimedia artist who has recently exhibited at The Old Truman Brewery in London and Point B in New York. Libby is interested in the blurring of physical and digital spaces and makes both passive and active interactive installations that allow viewers to explore the post-digital world. Working in both natural materials like paper, wood and linen and with digital elements including projection and coded spaces, she draws inspiration from her background in quantum physics as well as post-structuralist theory, a wide array of artists and writing and the New Aesthetic. In making her installations, Libby works both intuitively with physical materials using laborious, repetitive making techniques and in a pre-determined way with mathematical techniques and computer code that integrates the digital and coordinates with the physical and the viewers.
Folerou,
Irini
Folerou,
Irini
MA Fine Art
ifolerou@gmail.com www.irinifolerou.com
Dillon-Parkin,
Crow
Dillon-Parkin,
Crow
MA Art & Science
crow.dillonparkin@gmail.com www.crowdillonparkin.com
Embodying energy, performing embodiment, engaging intention. Performance as littĂŠrature engagĂŠe, participation as performance, performance as practice, practice as performance. Engagement completes the process, the process is the engagement. The process is the process. Permission to engage, permission not to engage, permission to disengage. Engage with embodiment, perform embodiment, process embodiment, embody the process. Perform the process. Practice the process. Process the practice. Re-process. Disembody. Break the engagement. Break the process. Break the body. Take the body. Make the body. Make the work. Make the body work. Make the body make the work. Make the work work. Take the work. Let the body speak. Let the work speak. Embody. Engage. Perform.
Meng,
Chao
Meng,
Chao
MA Fine Art
mengchao.cafa@gmail.com www.chaomengarts.com
The influence of digital technology for the contemporary art showed an inevitable trend. It is undeniable that art activities are strongly basis for high technology, image refection and wide produce. Everything has indicated that we have entered a digital age. Nowadays, when people go to stores, open the newspaper, magazines or television, it seems everywhere were advertising new designed lap-tops, cell phones, in addition, the tradition media that people used to read is changing as well, to some extend, digital images have replaced paper advertisements. Everything is going to display by each kind of screens, for example, we usually read a paper book, but today people have an amazon kindle reader, more and more people prefer to read this world through screens. The tradition Realistic painters more or less wanted to catch the “real� sense of object world, however the interest of contemporary artist is virtual, scientific and technological. Which means to discover the boundaries between the real and non-real. Obviously, screen is the physical boundary between real and digital world.
Du,
Vivienne
Du,
Vivienne
MA Art & Science
viviennewendu@gmail.com www.vivienne-Âdu.com
Vivienne Du explores the relationship between physical space and psychological behaviour. She investigates the balance between finite physics and indeterminate psychology, and observes instances where body and mind perform in both divergence and tandem. Du believes space to be tenuous, formless and in flux, subject to mental interpretation and suggestion. She considers the human condition within architecture and its relational impact and perception of space; when altered and manipulated. Through a series of site-specific installations, she reconfigures existing spatial constructs and invites the spectator to take an active engagement into the habitual customs and notions of space. Uniting the variables of situation, environment and spectator, Du’s practice seeks to enable an understanding of mental space and self-locus.
Turner,
Rikki
Turner,
Rikki
MA Fine Art
mail.rikkileigh@gmail.com www.rikkiturner.co.uk
Yu,
Mengjiao
Yu,
Mengjiao
MA Photography
effyymj@gmail.com www.mengjiaoyu.com
The pointless is the point, and the emptiness is the story.
Loyeva,
Inga
Loyeva,
Inga
MA Fine Art
loyeva@gmail.com www.inga-Âloyeva.com
I am interested in painting not only because of its versatility as a medium but also because of its rich historical repository of representation and ideas. By tracing the history of the figure in art I have learned and understood better the history of political events, shifts in spiritual beliefs and the tides of intellectual thought. Over the years of working with the body in painting, investigating the accidents and revelations that arise, I have begun to understand myself and my place in society as a woman, immigrant, itinerant and artist. “Flesh is the reason why oil painting was invented� were the words of Willem De Kooning. To me, flesh is intrinsically human therefore to explore painting flesh is to explore humanity. My current paintings investigate means of representation in depicting historically significant events of the present. I have been interested in the transnational waves of civil disobedience and unrest as represented by TV and journalistic news media for some time. In January 2014, I impulsively flew to Kiev to witness the revolution of my birth country first hand. Events unfolded rapidly since my time on the barricades and my key sources of information transformed from primary source experience to social media posts and discussions, live news media coverage and various talk shows and forums attempting to analyze the events. Work that followed reflects on my personal experience in contrast to information coming through from news media conglomerates. Consequently my paintings grew to deal with themes such as control, resistance, sacrifice, instrimentalization of nationalism and militarization of civil communities.
Yoo,
SeiHee
Yoo,
SeiHee
MA Fine Art
ohlaa@hanmail.net
Eagle,
Emma
Eagle,
Emma
MA Art & Science
emma_eagle@hotmail.co.uk
Vojáčková,
Hana
Vojáčková,
Hana
MA Photography
hanavojackova@me.com www.hanavojackova.com
Image / A flow of images creates a choreography of movement that no one danced. Dance / A moving image dances through frame, cut and tone. Rhythm / Rhythm comes from the body. In unison, reiteration or counterpoint, the images are pulsing through the veins.
Barakat,
Tracy
Barakat,
Tracy
MA Art & Science
www.tracybarakat.com
Constantly inspired by nature, I create paintings, environments, photographs, installations, knit, crocheted and woven products. I use different materials: oil paints, cardboard, ribbon, wool and fabric to name a few. My art interacts with the viewer on multiple levels trying to engage multiple senses. I am interested in the constantly changing world and the way the viewer manages to reconcile these changes. Each person has their own experience with the world – I am fascinated how much they are the same yet different. I create environments that challenge the viewers’ own perception. As with the redwood tree installation, from the exterior the tree looked solid, when the viewer stepped into the interior the fabric and tree becomes.
Wan,
Jou-Yin
Wan,
Jou-Yin
MA Fine Art
dodo9000009@yahoo.com.tw
Altmann,
Kyra
Altmann,
Kyra
MA Art & Science
kyra@altmann.com.br www.kyraaltmann.com
My thoughts, mere words, can hardly encompass the dimension of my ideas. An intonation of the voice pronouncing them, perhaps... whispering a scream of distress. Affliction rises. I find myself fragmented. Through my pores brief aspects of a whole transpire, from within pressure builds up to the point of explosion. A neverending struggle between internal and external. Help! Substances out-pours... Every (aspect) is.
Kremer,
Rachel C
Kremer,
Rachel C
MA Photography
archipelagraphy@gmail.com www.rachelckremer.co.uk
Despite feeling apprehension for the inevitable absorption of our environment into a digitised, mechanised network, I seek not to oppose it, but to forge similar corporeal connections with land and place through repetitive and flâneuristic acts of long-distance walking. Selvedge, an historical 16th century amalgamation of self + edge, is a word for both a geological zone of altered clay rock, and a seam which prevents an edge of fabric from unravelling. I also want to consider that it denotes that one’s union with and embodiment of a place is not fixed and ingrained definitively; rather it is a rhythmic, meandering line that is continually formed and deformed through walking on edges, through reaching limits; through re- or deterritorialising space. The walk becomes a photographic gesture; one which bears reference to repetition and multiplicity, yet prioritises the margins and the peripherals: what lies neither inside or outside of the ‘frame,’ but along it. Just as Mandelbrot considered that there are infinite calculations by which to measure the coastline of Britain, so the fractal and transitional nature of the walk allows for one to embody a space in multiply-layered iterations. Walking lacks the stable reference points of a computationally controlled network; the walker, as both self + edge, movement + line, has developed the capacity to construct a map for every occasion – a map of a [psycho]geography in perpetual, paradoxical change.
Cazenave,
Alice
Cazenave,
Alice
MA Art & Science
alice_cazenave@hotmail.co.uk www.alice.cazenave.co.uk
My interest in camera-less photography stems from its purity as a practice; one which focuses solely on light, shadow and photosensitivity. Created as a trace of the subject’s shadow, the photogram is a direct translation of the relationship between light and subject, undiluted by the lens. For this reason it cannot bid to offer a visual reality that we are comfortable with; we do not have the capacity to see as a photogram ‘sees’. This photographic practice also permits the invention of images that resemble something which has never been seen before. By using camera-less techniques, I aim to not only escape the banality of the camera-made image but also outmanoeuvre and reject the technology which facilitates its tiring ubiquity. The materiality of the photograph holds significance in contemporary times where digitalisation has rendered photography a medium which is everywhere and nowhere in the same instance. I work closely with organic materials to exploit their natural photosynthetic properties, and have used the Pelargonium leaf as a natural canvas from which to create photographs. The portraits emerge slowly, and gradually fade away again unless fixed with heat. The departure of the image visualises the leaf’s biochemical activity which is other wise concealed, and reminds us of the scope of the photosynthetic process. These images are created as part of a cyclic process which, when interrupted, can provide an offering in the form of a temporary photograph. This element of secrecy is important; it recalls the intimacy of long hours spent trying to develop the process. These are artworks inspired by a romantic view of nature, which function to observe and record the magic of nature with Darwinian exactitude and honesty.
Picci,
Andy
Picci,
Andy
MA Fine Art
andypicci@gmail.com www.andypicci.com
My work is about appropriation. “Appropriation” means taking the property of something. In theoretical texts about art, the word appropriation is used as a general way to mention the use of borrowed elements within an artistic practice. Those elements can be images, shapes or popular culture styles, but also techniques or mediums, which aren’t part of an artistic context. There are plenty of reasons why the use of borrowed elements got into artistic processes. Differences between the original and the “appropriation” work can be none, subtle or obvious. It can be the fruit of the re-interpretation of a subject within a performance, reproduction through photography, reproduction through drawing or painting; appropriations can have as a target images, but also objects, styles, ideas or techniques. By working with borrowed elements I explore, expose, extend, criticize and analyze the qualities, meanings, ideas and value associated to the different suitable objects or images. I am mostly interested in society’s approach to globalization and idolatry. I work with mass-culture images and transform them in order to obtain an original artwork. This work of transformation and appropriation allows me to modernize an existing work, change the aesthetic of it, give it a different meaning, or questioning the real value of it. I’m interested in “borrowing” artworks, as paintings, concepts, or any other support in order to play with it and re-appropriate it in a way that seems more critical through my eyes. This allows me to keep questioning the audience about the meaning of art and life. It also allows me to make art more accessible: because of the use of popular work, the audience will feel closer to the artwork and will understand it easily. There’s no limit to this process as everything can be re-interpreted, even the people themselves.
Instructions for a movement score. Materials: Dance studio, 10 bodies. The voice of the director instructs the cast. The voice instructs the cast with layers of information. The task: specific conditions and tightly bound ideas are dictated for spontaneous noncerebral choices to occur. Start with the feet. Awareness of surface. Yield and give. Already you might find softening into, a loosening and merging. Use the whole space, use the periphery. Go somewhere, change your mind, change direction. The concern here is time not space. All together as one, one entity, find a synchronised pace. Thinking as one mind, all of you. One slows, all slow, one runs, all run. No, you have to fuse together, more together as one speed from stillness, the whole spectrum to as fast as you can run. Fuse. Listening to the pace, blend in your rapidity. One, and… Now test the rhythm, how attuned are you, are you listening, are you tight together. There could be more listening and musicality in the changes of speed at the moment it’s a bit, Director Dictator
dadadadadadum, dadadadadadum, dadadadadadum, dadadadadadum, break up, interrupt the steadiness, as one. Wake it up! Da da, di dum di dadadadadadum, daaaaaaa, da da stop. Now play with the pauses; the lengths of the pauses. All 10 so tight you can’t see who is initiating the changes of pace. The pauses notice the composition, see feel the spaces but they are not your focus, the spatial composition is arbitrary. This is not imitation! This isn’t unison, this is melding into the consensus, the totality of the mass. BOND Add this layer to complicate. Continue with that score and add the opposite. Add periphery. Levels, speeds, qualities. Join or rebel. Join but not copy, join but not imitation. Off/out. What are you more comfortable with? Sensitive to what is needed, do you offer contrast. To pull out and against, what would be the exact opposite, what would sit just on the curb and send the timing out/off. Or join, there Florence Peake
is the freedom to always join. The counter point: separate, you can’t help but be concerned about space now and shift the musicality, the over, the under. Push the leaning-out-to-the-edge, all synchronise and then out. Sync off, sync off, sync on, off, on out now in. THIS IS INTUITIVE. Follow it. Be confident in your position, where you are following or where you are contrasting. I said be confident. Not lazy, full commitment. Go! What is your choice? Now! Stillness, there it is, be in it. BOND Now all at once return to original score, the climax is building, tune in again. All at the same time: pace merge pace, rapidity and stillness, all of you.
Director Dictator
Belingy,
Siobhan
Belingy,
Siobhan
MA Fine Art
siobhanbelingy@hotmail.co.uk www.siobhanbelingy.com
Driscoll,
Valerie
Driscoll,
Valerie
MA Photography
valeriedriscoll22@hotmail.com www.valeriedriscoll.com
My research reflects photography as process and its context within the study of cybernetics. By focusing on the material qualities of the photographic machine rather than on visual images my work explores the co-dependent relationship between living bodies and machines. The merging of human information and mess with machinic precision is played out in bulbous, greasy shapes. Embodying the everyday experience of human and cybernetic fusion, my work reflects Deleuze’s assertion that “machines don’t explain anything” and calls into question the attributes and function of the ‘precise’ machine. Creating immersive installations and working with sculpture, film and online environments my work explores the very act of seeing to devise strategies for the interlacing of visual culture and political philosophy.
Ahmed,
Maha
Ahmed,
Maha
MA Fine Art
maha.ahmed.q@gmail.com www.mahaahmed.com
Li,
Yi Fung
Li,
Yi Fung
MA Fine Art
liyifung@gmail.com cargocollective.com/yifung
Knight,
Benjamin
Knight,
Benjamin
MA Photography
profilebenjaminknight @facebook.com www.benjaminknight.name
Wang,
Su
Wang,
Su
MA Fine Art
s.wang1@arts.ac.uk
Her work is mainly concentrate on the relationship between traditional Chinese spirit and the Western art forms, she pays her great interested in the macroscopic nature and aim to express the power of our motherland, which is exactly the basic inspiration of Chinese traditional culture, and let people understand the spirit of syncretism between heaven and man, between nature and human being, she is inspired about being harmony with nature – a basic concept with ancient roots in Chinese Buddhist or Taoist, and keep on searching the truth of communion with nature as the basis of man’s inner peace. At the same time using Western abstraction to show the common thinking perspective.
Goñi Alonso,
Helena
Go単i Alonso,
Helena
MA Photography
contact@helenagoni.com www.helenagoni.com
Doherty,
Paul
Doherty,
Paul
MA Fine Art
paulanthonydohertyis @gmail.com pauldohertyartist.wordpress.com
Lavie,
Sivan
Lavie,
Sivan
MA Art & Science
laviesivan@gmail.com www.sivanlavie.com
YES, this is it. I totally get it. I feel the world, I am the world. I am swimming through it and drinking it and soaking it in. My art flows out of my hand, my mind, my feelings; all are one. It makes perfect sense. I can do anything. I will achieve anything I want. I am invincible. What is going on? Why am I so stressed? Why does everything hurt – and at the same time there is no feeling at all? I fucking suck. Who am I meant to be, and, why am I spinning? Why are there all these options? Which should I choose? Should I delete my Facebook? Where is the art world? Who do they all think they are? Why do we all think we’re so fucking special if we’re not? Are we all grandiose? Who decides who’s special and who’s not? Are special people famous or are famous people special? I want to go to the Venice Biennale. I’m tired. Art sucks. I give up. I’m going back to bed. YES, this is it. I totally get it. I feel the world, I am the world. I am swimming through it and drinking it and soaking it in. My art flows out of my hand, my mind, my feelings; all are one. It makes perfect sense. I can do anything. I will achieve anything I want. I am invincible. What is going on? Why am I so stressed? Who am I meant to be and why am I spinning? I’m tired. Art sucks. I suck. I give up. Shut up brain, shut up brain, shut up. I’m going back to bed.
Ayat,
Daniel
Ayat,
Daniel
MA Art & Science
daniel.ayat@gmail.com www.danielayat.com
LATHER / Directions: Wet hair. Apply Shampoo. Rinse out. Repeat. Dermatologically tested. Improved Scent. Anti-dandruff formula. Now with Aloe Vera. For MEN. Work through the lengths of your hair, right to the tips, then rinse. In case of contact with eyes, rinse them immediately. Vitamin E. Skin feels comfortable and smooth. The skin is intensively moisturized and refreshed, looking healthy and beautiful. Your 2-in-1 shower and shampoo will leave you refreshed and ready to take on the day. If you get some shower gel in your eyes, rinse immediately with clean water. If you get some shampoo in your eyes, rinse immediately with clean water. RINSE / For men. Reduces plaque. Maintains healthy gums. KEEP OUT OF THE REACH OF CHILDREN. Not suitable for use in children under 6 years. Do not use if bottle seal is broken when purchased. Provides lasting fresh breath confidence. Hypoallergenic. No Perfume. 100% Fragrance Free. Ophthalmologist Tested. To use: Shake well. Apply with a cotton ball. Wipe off. Rinse. Sensitive Skin. Water-Resistant. Non-perfumed. Paraben-free. Suitable for normal to oily skin. WARNING! Keep out of reach of children. REPEAT / Leaves you feeling clean, fresh, and beautiful. Scientifically proven protection against wetness. Wraps you in a rich, creamy lather, cleaning and caring for all the family. Anti-perspirant. Wet soap with warm water and work into a lather. Avoid direct contact with eyes. Follow with a moisturising cream. Dermatologically tested. Experts in sensitive skin. Deep cleanse and purify your skin. New! Rinse out with warm water. Avoid direct contact with eyes. Do not spray into the eyes. Original. Outdoor scent. Eliminates odours. For all hair types. For oily hair. Silicone-Free. Paraben-Free. Suitable for all hair types.
Martinova,
Albena
Martinova,
Albena
MA Photography
albena@albenamartinova.com www.albenamartinova.com
Money... second cup cake. Pure and material, bread and water, faith and destiny. Irony, body without organs, multiplicity. White or black? Or just blank? Paradox... Rhizome, non linear time. Optical illusion... Distinction between life and death, time and space, fiction and reality, nature and culture. “The rule is jam tomorrow and jam yesterday – but never jam today.” – Lewis Carroll, Alice’s Adventures in Wonderland
Theo,
Kyle
Theo,
Kyle
MA Fine Art
westarnightmeet@hotmail.com www.kyletheo.com
Norouzi,
Malihe
Norouzi,
Malihe
MA Fine Art
norouzi_malihe@yahoo.com www.malihenorouzi.com
Look at me at this moment, naked, free in body and mind, having suffered oppression only by myself. I give in my body and soul, like a virgin I collapse. I am going into a mess. My DNA scattered for ever, I join the dance. Escaping from myself my art will be to play so that I would be your flesh in your dreams. I would make the fine words vibrate like fruits on my tongue, I give you my skin stained with blood, with scents and, overwhelmed. I will stop your breathing with tears and laughter. I want to get drunk with cries, lights and crowds. You won’t admit the impossible. Come what may, the cold, the fear, the uncertain hours, I’ll remain deaf to the sellers of nothing. I believe. I dive. At this moment, naked, free in body and mind , look at me... Look at me! The road is free.
Marques,
Laura
Marques,
Laura
MA Photography
laurapmarques@gmail.com www.laura-marques.com
Limits of place, infinite bodies. Limits of body, infinite spaces. There is something about the skin between nature and body that makes the world turn. Aroused by perception, through longing and desire, space-body become whole, separated. Sensuality and materiality bound and part in the desiring grasp of space, fitting and clashing in between differences and likenesses, making body and place infinite in their finality. Huge in their insignificance, insignificant in their immensity.
Bernal-Arevalo,
Javier
Bernal-Arevalo,
Javier
MA Fine Art
jjavierbernal@gmail.com www.bernalarevalo.com
I am interested in how our perceptions determine the way we construct realities and create myths, affecting the form in which we relate as a society with the world. My current work deals with the thin line that divides the true nature of a private event, from how it is perceived and dislocated from reality through the lens of the mass media, when it becomes public. For a long time I have been pondering on the connection between two worlds; the old structure of popular and religious iconography, (in my case deeply rooted in catholic colonialist imagery), and its inconspicuous nexus with something so universal and revolutionary as web technology and its intricate influence in our modern day lives. From material collected from the internet, or any popular story that has made it through the media, I construct works that defy our capacity to distinguish reality from fiction.
Crew,
Sarah
Crew,
Sarah
MA Photography
mail@sarahcrew.com www.sarahcrew.com
CAPTAIN / Hello, and a very warm welcome aboard flight HA618 to... The destination remains unknown, at least for the moment. Firstly, can I ask that you remain seated at all times with your seatbelt securely fastened. Now, I would like to pass you over to our Cabin Crew to give you more information about this flight. CABIN CREW 1 / Welcome aboard ladies and gentlemen... And a warm handshake to any cyborgs, replica plastic animals, urban planners, virtual characters, land surveyors, or technologically indifferent individuals flying with us today. CABIN CREW 2 / Before we commence the safety briefing, I would like to introduce the resident artist on-board. Whilst the visual experience of the Earth is changing and our engagement with technology increases, what it means to be ‘human’ as we exist between the virtual and physical domain is explored through her work. Shortly, you will have a unique opportunity to view her films. PASSENGER 1 / Excuse me; it appears I’ve made a mistake! PASSENGER 2 / It’s ok, just look around, you are in the right place... Plus, dinner will be served soon and I’ve heard it’s worth waiting for. CABIN CREW 1 / Thank you all for your attention so far. Cabin Crew - please start preparing for departure. CO-PILOT / Should you wish to exit the aircraft, you may do so now by leaving to the right of this page. Otherwise, sit back, relax and enjoy your flight. CAPTAIN / Thank you for flying with #Hilang Airways.
Windhorst,
Jessica
Windhorst,
Jessica
MA Fine Art
jessiwindhorst@gmail.com www.jessicawindhorst.com
Memory: a personal endeavour of mine that focuses on the past, dwells on loss and longing. I create paintings by investigating old family photographs and my memory of the house I grew up in. In the process, I try to remember certain furniture we had or the interior of a room from my childhood home, as well as the places that I saw while growing up in Berlin. I try to capture the moments and rooms, which remain permanently impressed in my mind. Objects and furniture tell something about the people that bought and occupied them. They tell about their era and give a look at the fashion, social trends and the circumstances in which they lived. By painting my family’s furniture, I try to discover their essence, their personality and their history “as if style of furniture, the manner of décor and arrangement, were some language to be interpreted” (Maurice Halbwachs, Space and the Collective Memory).
Butler,
Pamela
Butler,
Pamela
MA Fine Art
pamela-butler@live.co.uk www.pamelabutlerart.com
“...empathy and a feeling of solidarity in moments of misfortune. Slapstick as a sudden jolt in a smooth sequence, an absurd attack of hiccoughs in everyday life and world events, allowing us to catch a glimpse of the truth about ourselves and our relations with others. There’s something liberating about this, and something moving.” — Jorge Heiser
Davis,
Jared
Davis,
Jared
MA Art & Science
jvdavis.beijing@gmail.com www.artbacchanalia.com
Oscillations... between a modern enthusiasm and a postmodern irony. Between reason and romanticism, exoticism and provincialism, hope and melancholy, naïveté and awareness. Between empathy and apathy, unity and plurality, totality and fragmentation, purity and ambiguity. Dialectic... between art and science, between science and religion, between religion and philosophy, between philosophy and art. Between subject and object, order and disorder, sanctification and abomination. Between reductionism and enchantment, the utopian and the paradigmatic, the functional and dysfunctional, between cognition and culture. “It shows an excessive tenderness for the world to remove contradiction from it and then to transfer the contradiction to reason, where it is allowed to remain unresolved.” — George Wilhelm Friedrich Hegel (1812)
Vanderbroeck,
Dennis
Vanderbroeck,
Dennis
MA Fine Art
dennisvanderbroeck@gmail.com www.dennisvanderbroeck.com
Image: Sofie Middernacht & Maarten Alexander
This text was originally written as a script for the auction-performance 21st Century Carpet Sale! A Legendary Collection and has been modified for the purposes of this catalogue. The performance took place at the hall in Swedenborg House, Bloomsbury, London, on Thursday 16 October 2014, to coincide with Frieze art fair. 10 carpets were auctioned to the public. The carpets were cut out of the one large wall-towall carpet that was laid at the hall prior to the renovations. On each carpet a name of a society or an association that met at Swedenborg House was scripted in Dada font, one example is Mothers at Home Matter. Each carpet was finished with a blue tape to protect the edges. Bidding for one of the carpets, is in fact bidding for one’s favorite society. Performers running the auction in order of appearance: Edd Hobbs (wearing mustard cords tucked in socks) Owen G Parry (wearing a transparent blue plastic poncho) Granfalloons at Swedenborg House
Leah Borromeo (auctioneer on stilts) Other performers in no particular order: 1. 10 performers who responded to an open-x and were cast as Piggish (wearing pink gowns and rolled in carpets, later taking an active part in all the proceedings of the auction) 2. Alice MacKenzie — queenbeemaster, piggy dancer/choreographer 3. The Noise-Punk band WOOLF 4. 9 performers from my previous performance at Tate Modern Turbine Hall The World is Flooding (arriving from community groups: Freedom from Torture, UK Lesbian and Gay Immigration Group, Portugal Prints and individually) 5. Technical staff 6. The public (taking part in the auction or not) THE PERFORMANCE BEGINS Introduction to the carpet auction — Owen speaks to the microphone in a slow drooling manner whilst Edd illustrates the Oreet Ashery
delivery through hand gestures akin to a flight attendant —
something away when you can increase its value?
Owen: Dear animals, apples, viruses and dust mites, Clean and Unclean, WELCOME to the Swedenborg Society for the 21st Century Carpet Sale! A Legendary Collection!!
The carpet was laid in 1963, bought from Maples, the furniture retailer on Tottenham Court Road. An Extra Super Sultana Axminster carpet, it has been a wonderful asset to the Society we are told, a particularly resilient and durable pur-chase that has lasted until the present day. For the past 50 years many famous people have graced this carpet with their presence — Princess Micheal of Kent is just such one — but we don’t care much for royalties tonight. Countless other dignitaries, academics, poets and writers have walked the surface of this carpet; they ruminated, spat, danced and smoked, leaving their bio-remnants embedded in its fibers.
Please do not take your clothes off at any point. This is a spirito-religious space. Please make sure that your mobile phone is switched on at all times and that you are constantly checking what else is going on in town, you never know — you might be lucky — and there might be something marginally worse happening elsewhere. This summer, Swedenborg neoclassical Hall (Edd gestures to the hall) had undergone major refurbishments that included the replacement of the carpet, marking the end of an era for the Swedenborg Society! And we — ladies, are kicking off this new era with a shine. We, needless to say, would not want to see such an historical carpet go to waste. Would we? Why throw Granfalloons at Swedenborg House
Courtesy of Waterside Contemporary
But tonight, Ladies, tonight, we shall celebrate and dedicate the carpet, not to individuals, but rather! — to those eccentric societies who have used the hall in the past 50 years. Only here Oreet Ashery
could one find such a unique legendary collection of niche, obscure societies, each caters for the ultra specific social, cultural, spiritual, mental and romantic needs of individuals coming together. Let’s mention a few for the poetic pleasures of naming and collecting: Fellowship of the Isis Goddess Gathering, The Toast Master International Division B, The Ghost Club Society, Basket Makers Association, Morbid Anatomy. In this historical collection you too could find your own visionary legend. And lastly we wouldn’t wish to omit those societies who are deemed troublemakers! Those ladies are blacklisted (ink on paper) in the books of the property manager of the Swedenborg. Those bad societies have been noted for general bad behavior and lack of respect for house rules. Such one is Pony Express Speakers Club — record shows that they have booked the hall for a speaking event alas repeatedly played loud music and danced all round the hall. Or — Co-Dependents Anonymous who, we read, tore down all the Fire-Exit signs. Now why would Co-Dependents Anonymous do that?? Think about it for a minute, why would they do that? Granfalloons at Swedenborg House
But we are not here to judge, we are here merely to relay, collect and trade. The carpet auction will take place later on tonight with your wonderful one and only actioner — the legendary Leah. Owen to Leah: What kind of society would you bid on Leah? Leah to Owen: The Big Society off course Owen! Owen to Edd: Edd? Edd to audience: There is no such thing as society! Owen to audience: Now Edd, this is not an original sentence! This is a Margaret Thatcher’s quote! You have just made your carpet Edd worth a hell of a lot more! Auction starts
Oreet Ashery
— Edd speaks persuasively at high speed like a sales person in Oxford Street. He does not stop to take a breath, it is not possible to hear or understand all the words and he gets red as he shouts: Remember this is not simply a discarded carpet, with you this carpet can have a second life. If you live in one of those extortionate 3 square feet London accommodations in Earls Court, it could be your wall to wall carpet. It can be used as a mouse pad, a mouse trap with the right kind of glue, a sleeping bag, you can kidnap someone and roll them in it, you can hide your pig under it, but most importantly, if you haven’t figured this one out already, it is art! Is it art? What you are looking at is a ready-made, a costume-made and a one-off; all in one, one of a series and an individual piece, a collage, an assemblage and a painting, it combines architecture and design, a transdisciplinary carpet, at once historical and contemporary, performative and material, temporal and timeless, conceptual and trashy, didactic and minimal, political and formal, pop & high, functional and dysfunctional, text and image, form and content, Granfalloons at Swedenborg House
art & language, what more can you ask from a fucking piece of carpet?? And they are huge! No, they do not come in easy-to-frame practical size, what we have for you here are fucking impractically huge piece of carpets! There is tons of carpet in each carpet! Tons. You will need a friend to help you carry it home, a taxi or an Addison Lee van, you will need to get an all mighty strong pair of scissors to cut it to a smaller manageable size, you will sweat and cough over it and you will never understand why did you bring this 51 years old monster home! You will get worried that it carries TB virus, or some other incurable disease or that some fascist speaker stood just right there on your piece. Like most things it will seem like a good idea at the time, but at home, it just does not feel the same. What were you thinking?? But rest assured, with time you will fall in love with your chosen piece and you will try to find out more about it, you will get attached and it will be one of your party topics. Dear guests, all those experiences can be yours. What more can you ask from a fucking piece of carpet??
Oreet Ashery
The societies who did not make it to our legendary collection: Poetry Society Oriental Rug and Textile Society Recorded Vocal Arts Society Bureau of Engineer Surveyors Shearsman Books The National Association of Decorative & Fine Arts Societies (NADFAS) The Poultry Club of Great Britain Society for Theatre Research Ecology and Conservation Studies Society Charles Lamb Society The Great Britain - Russia Society Antiquarian Booksellers Association Egypt Exploration Society Wagner Society The Lodge Order Temple Orientis in the Valley of London Japan Society Lute Society Antiquarian Horological Society Penguin Books Friends of JosĂŠ Carreras London College of Spirituality Granfalloons at Swedenborg House
UK Friends of Czech Historic Buildings, Gardens and Parks Russian Blue Breeders’ Association Richard Strauss Society Italian Medical [and other Graduate] Society of Great Britain Society of Young Publishers African Bird Club The Ballet Association The Dickens Fellowship Anthony Powell Society Heraldry Society British - Bulgarian Friendship Society London Enneagram Society Royal Town Planning Institute The Martinsey Isle Trust Institute of Art and Law Albanian Society Tibet Foundation Amici di Verdi Norwich Union Action Group 1890s Society Architecture Society London Natural History Society Music Club of London National Society for Epilepsy Oreet Ashery
Natural Medicines Society Institute of Linguists Historical Association The Twentieth Century Society Association of Chief Executives of Voluntary Organisations The Gustav Mahler Society Society of Operations Engineers General Conference of the New Church Friends of the Alexander Technique Centre for Research in Modern European Philosophy Toastmasters International: Division B The Ghost Club Society School Library Association Basketmakers Association League of Jewish Women William Roberts Society Society of Fractal Brain Theory THE AUCTION BEGINS
Granfalloons at Swedenborg House
Cho,
KyungMin
Cho,
KyungMin
MA Fine Art
ckyungm@gmail.com
Yan Guo,
Avita
Yan Guo,
Avita
MA Fine Art
sevenmomoko@gmail.com avitasashaguo.tumblr.com
The discussion of the relationship between violence/fear and humanity/society is the main topic of my research. I am trying to present the connection between violence and image, and ultimately, to explain violence and fear. my project could be considered as a voluminous narrative fiction on a realistic level. This narration was inspired by oriental strange tales and myth. The entirety of my work is a purely imaginary empire that reflects the reality. A variety of mediums are used such as painting, drawing, installation, light & sound art and film. What I am showing now is part of my project and also still a goingon process. Mysterious images and landscapes are the historical record of an ‘inner world’. In Paul Virilio’s theory, he mentioned that “If humans lose their souls they will win the whole world.” The concept of ‘losing souls’ is endowed to everyone that lives in this world and being constrained by the gravity of this planet. I add the ‘losing souls’ as main element in my small landscape paintings, each small landscape presents a segment of this ‘inner empire’, from the inner empire citizens point of view.
Turner,
May
Turner,
May
MA Art & Science
mayrturner@icloud.com
A new lens changed the way I see natural forms: focussing my gaze, revealing details, sharpening and blurring my eyes and challenging my observations. The microscope transports me to a hidden world of unseen activity, often thriving with organic forms whose botanical structures and patterns are akin to a being immersed in an alien landscape. I am drawing ‘capillary thread moss’, commonly found in the garden clinging to bricks, little dense clumps that have red shoots and pear shaped buds filled with ripening spores. I am interested in challenging my visual perception and visual representation through drawing in relation to the use of microscopy and photo microscopy. I have explored the shared roots of botanical art and botanical scientific illustration, and from this study I have questioned how botanical art can be expressed within contemporary art through science and art processes. I am now exploring the medium of colour pencil and glass engraving to depict layered translucent cellular structures found in capillary thread moss.
Hung,
I Ting
Hung,
I Ting
MA Fine Art
i.hung1@arts.ac.uk
“...all your life, all your love, all your hate, all your memories, all your pain, it was all the same thing. It was all the same dream, a dream that you had inside a locked room, a dream about being a person. And like a lot of dreams, there’s a monster at the end of it.” – True Detective (2014) I create a room by fabrics of painting and quilting, that visualizes feelings, associated with the security and insecurity, reveal from memories. Specific feelings including comfort, intimacy, and love; also the back side of it: fear of losing love, and the suffocation of loneliness. I treat this space as a container, and hanging fabrics act as rootless pieces of memories/ feelings in my mind. An appliqué in space - Dream & Memory Memories are layered without clear boundary between time, we remember the highlights or specific moment from a certain period. Each memory also contains gap (empty spaces) between episodes in life. Appliqué is defined as “a smaller ornament or device applied to another surface. An appliqué is usually one piece. In the context of ceramics, for example, an appliqué is a separate piece of clay added to the primary work.” I take the idea of its method, and expend it into three dimension. It’s an appliqué in space. Images - The distant guardian/ Lack of gravity Insecurities, yearning for love, and loneliness, are emotions behind the paintings. The women figures are still, spacing out, or pondering with a slight curiosity glitters in their eyes. The emotions are suppressed underneath, seducing viewers with mystery. They look fragile and distant, emotionally disconnected with the outer world. I choose bright colors as contrast to their stillness, in order to represent activities going on in their mind, which is vigorous and free.
Nutt,
Daniel
Nutt,
Daniel
MA Art & Science
danielnutt@live.com
The only workable plan of action, in a world where no one really understands what is going on, is to be interested in all the ways in which people explore and describe the universe, and try to work out some way of coming to terms with all of these different expressions and observations. Art and Science provides an unconstrained base from which to practice in this predicament. My focus recently has been on the brain as a machine which embodies relationships between neural events over time, a view in which dynamic physical relationships between neurons are foundational in constructing conscious experience.
Figueira Brazao,
Hugo
Figueira Brazao,
Hugo
MA Fine Art
hfbrazao@netmadeira.com www.hugobrazao.com
In 2010 an image spotted by NASA’s Spirit rover on Mars revealed a gorilla in a small detail of a picture that the space agency shared. Due to the poor quality of the widely shared detail of this image, a huge online community became obsessed with the notion that a gorilla was in fact living on Mars. The human eye is naturally inclined to anthropomorphize. We assemble disconnected patches of light and dark and unconsciously recognize faces or figures in rocks, trees or clouds. I am interested in how this phenomenon, that is thought to be linked to the survival skills of our ancestors, still plays a roll within a highly image mediated world and how it blurs the borders between real and fictional. This is evident in low quality images that are dispersed through the Internet and is accentuated by the opportunity one has to zoom in and out of any data at a whim with our smartphones, tablets and computers. By collecting images from different sources and singling out and magnifying details in their backgrounds, we loose information. The objects represented are now transformed in an ambiguous, almost abstract, anomalous representation of its original form. These images become raw material that can be reshaped into new fixed states and after existing as data, which has been widely dispersed across the globe, they become tangible again and can exist together in the same physical space. When this translation is made, they become alive again and seem to suggest an action or a function, as if they were on a stage where a performance could well happen. A trap, a game, a battle.
Davis,
Natalia
Davis,
Natalia
MA Fine Art
mail@nataliadavis.co.uk www.nataliadavis.co.uk
A barrier island of fabled beaches Material deposits here. Agitates sediment as it trains along the sea floor. Currents are lessened by underwater terracing. The waves retreat and the beach is redistributed; finer materials are reclaimed by the sea. A hierarchy in place. The image is rotated. A vast arid region; everything is bleached and brittle and overworked. Sea-weathered gravel is replaced by great rock facets, cut from past land movement. All surfaces flash white. The desert dust kicks up at the feet of glacial erratics. And settles again. The rocks lose their scale. Plain paper fed through a printer. The print heads sit down on the paper surface with each pass. Distributes the ink generously; and the paper is pulled through, too quickly. Lining the surface in clumsy magenta.
Sengupta,
Trilokjit
Sengupta,
Trilokjit
MA Photography
trilokjit@gmail.com www.trilokjit.com
Pornography & The Desirable Network / The abundant network is not just an exemplary vehicle for the transference of desire. It is desire. A self-producing machine that works relentlessly to be true to its own function, a continuous production of more. It’s revelation is nothing short of voyeuristic wherein it imposes a peeping through a window or a screen, which retains as much as it perhaps allows to sieve through. My work explores the encounters of the two desirous bodies and their ability to affect, and be affected through this frequent digital copulation. Through a series of experiments, both digital and material, it is my attempt to reveal the intrinsicality of desire and pornography in the current socio-political landscape. Data Poeisis / The work explores the pornographic apparatus and its dependence on technical machines for the distribution of a desirable image. As two machines negotiate through a connected pathway, the information is distorted, squashed, broken and transferred along the lines to create a coherent visual manifestation of desire. However, when the said data is deterritorialised it is freed from its trajectory and there is an emergence of an alternate possibility. This crunching and breaking down of data can have multiple manifestations through this data poeisis. My work imagines visually this ‘deterritoralisation’ of data caused by a break in the machinic process. It explores the multiple ways in which data can be made unstable and still remain pornographic as it transgresses the rules and laws of screen based technologies that are not equipped to exhibit this state of unrest.
Gargi,
Katyayini
Gargi,
Katyayini
MA Fine Art
katyayini26@gmail.com cargocollective.com/ katyayinigargi
Berghianu,
Sandra
Berghianu,
Sandra
MA Art & Science
sandra.berghianu@gmail.com www.sandraberghianu.com
Measuring time using chemical processes, highlighting reactions, working with colour and change.
Pumayalla,
Ingrid
Pumayalla,
Ingrid
MA Fine Art
ingridpumayalla@gmail.com ingridpumayalla.tumblr.com
I have been working within the subjects of loss, mourning and the rituals that help to transform those feeling of fear and grieving in some cultures. How nature and its symbolic contents and meanings are read within capitalism society. What is the importance of it in order to relate with the internal and external world and therefore the hybrid between the city landscape and nature. The ritual as a performance where emerges a dialogue between the body, the spaces and photography, and this relation creates a place for a transformation through the act of photography. Because of the exploration of different spaces I have collected objects from these places in order to create sculptures in which integrate these elements and build bodies as part of the experience of change. In regards to making sense of complex emotional situations where it situates a person in vulnerable position, like the loss of a place, home, memory or a person, the rituals became a primitive act, which allowed us to give meaning to things. Is it possible to transform fear, death, loss, anxiety? To embrace a desire to live, in order to lose the fear of being here, far from home and without a tongue to communicate.
Rahimi,
Parvaneh
Rahimi,
Parvaneh
MA Photography
contact@parvanehrahimi.com www.parvanehrahimi.com
Woo,
Hyeji
Woo,
Hyeji
MA Fine Art
wooh87@gmail.com www.hyejiwoo.com
Suri,
Arushee
Suri,
Arushee
MA Fine Art
arusheesuri@gmail.com www.arusheesuri.com
Flood,
Jacob
Flood,
Jacob
MA Fine Art
jacobchristopherflood @gmail.com
Am I original? Am I the only one? Am I sexual? Am I everything you need?
Roberts,
Samuel Ivan
Roberts,
Samuel Ivan
MA Art & Science
samuel@samuelivanroberts.com www.samuelivanroberts.com
Loftus,
Sinead
Loftus,
Sinead
MA Fine Art
sinead.c.loftus@gmail.com www.sineadloftus.com
We’ll clamber And hover Take root in marsh And pink mountain, Sea and salt. Here and There Here and here. We’ll hide and take cover, fly and float to Craggy islands And coral estates, With paper fans And paper plates.
Strango,
Dana
Strango,
Dana
MA Photography
dana_strango@yahoo.com
Alston,
Sophie
Alston,
Sophie
MA Fine Art
sophie.alston@gmail.com www.sophiealstonstudio.com
Chair / There is a chair that is a very particular chair. It is a Bauhaus chair, or specifically it is a reproduction Bauhaus chair. Or even more specifically, it is a reproduction of the B3 chair designed by Marcel Breuer. It’s an armchair with no stuffing. It’s a bloody uncomfortable armchair. This chair is not even at it’s most glorious. In fact, it’s rusty. No-one sits in it. Guests don’t even sit in it. It sits where it is, making it’s point. Right there. Jumper / This jumper is one of many more previous jumpers. These were made by machine. Not just any machine though, a knitting machine. A big, old heavy knitting machine with lots of parts and no digital screens or components. The patterns weren’t programmed in anywhere. They were made and designed by hand. They were crafted. These jumpers were many colours and textures with repeat patterns that were raised by pushing needles forward and back. Rug / The rug came later. It wasn’t an afterthought. It just wasn’t the original thought. It came from other original thoughts. It was made by hand, last year, with tapestry needles. To give it strength it is made of at least 3 layers of canvas, wool and felt. It used at least 6 different coloured balls of wool. It is now on the floor and walked over every day.
Malouin,
Marie-Pier
Malouin,
Marie-Pier
MA Art & Science
mp.malouin@gmail.com www.mariepiermalouin.com
I am interested in the permeability of semantic borders; by the way language and culture influence the way we look at the world but also how culture and language are constantly redefining themselves. My work explores the limits of organization and classification in the relation between visual and linguistic language. I have a particular interest in the underlying structure behind the transformation and the way our linguistic identity influences the way we read the image. I put the emphasis on the contrast between the constant flow of exchange between cultural groups and the taxonomic systems used to define them.