ISSUE / 03 APRIL SPECIAL INSPIRATION INTERIOR GUIDE
INVESTMENT TIPS: ARTISTS TO WATCH
NEW ART & ARTISTS
RESIDENCIES EXPLORED!!!
INFOCUS
EXQUISITE CORPSE RELAY WITH UNIT 3 PROJECTS
Edited and Designed by Chantelle May Purcell CONTRIBUTORS Elinor Olisa Isobel Beauchamp Anneka Soobhany Phil Davis Sophia Moseley Unit 3 Projects Kate McDermott Michaela Manning Hannah Shakir Norman Miller
COVER: TOTEMS VII By Natalie Tkachuck, 2012, Photography, 101.6 x 76.2 x 0.7 cm, £1,900.00 | CONTENTS PAGE: EMILY by Nick Lord, 2013, Painting, 80 x 100 x 5 cm £3,000.00
COPYRIGHT © DegreeArt 2013
CONTENTS
NEWS
What’s On: ‘Unit 3 Projects: In All Directions’ exhibition. What’s On for the Year Upcoming Residency: Maria Kjartans Signature Art Prize is Now Open Latest Offers Exciting Nick Lord Collaboration
INTERIOR GUIDE
UNIT 3 PROJECTS
Available works Watch Learn & Be Inspired Exquisite Corpse Relay: Delve into this special section where we ask Unit 3 Projects to respond to the word ‘Gesture’
NEW ART
We welcome the artists and see the latest new art works selected by Anneka Soobhany
In this issue we bring you a special interior guide drawing inspiration from the latest design and colour trends.
CURATED
THE TRIBE
ARTIST INSIGHT
We reveal Sophie Derrick’s tribe members completed throughout her residency at DegreeArt
INFOCUS
Chantelle Purcell interviews Sophie out about her residency. Derrick, to Writer Sophia Moseley interviews illustrator Carrie May. Interview with Unit 3 Projects
Writer Norman Miller selects
artworks
Phil Davis’s exploration of Sant Atoni Festival.
COLLECTING ART
Elinor Olisa featured in the Money Maker.
ARTISTS TO WATCH
Isobel Beauchamp picks three collectable artists within her section ‘Ones To Watch’
DegreeART NEWS
DEGREEART STAND C6 BRISTOL AAF 26-28 APRIL 2013
EXHIBITING ARTISTS: ABIGAIL MCDOUGALL ANNA ROTHWELL CARRIE MAY DAVID CHARLES WILLIAMS DAVID RIDLEY KATE MARSHALL LAURA IOSIFESCU LAURA HUNT LEE HERRING LOUISE MCNAUGHT NICK LORD PAZ PERLMAN RAMZI MUSA REBECCA MOLLOY SOPHIE DERRICK WENDY HYDE
DegreeART NEWS
UNIT 3 PROJECTS EXHIBITION IN ALL DIRECTIONS 10 diverse artists from Unit 3 Projects have been working with, beside, around and against one another in DegreeArt’s ‘The Execution Room’ in order to engage themselves and you in an experimental and haphazard creative conversation. Taking ‘gesture’ as its central theme, In All Directions is a celebration of possibility, exchange and risk. EXHIBITION RUNS UNTIL MAY 5TH 2013
Flavius Alagrius, John Appleton, Abigail Box, Henry Byrne, Pamela Carr, Jennifer Farmer, Silvia Krupinska, Hormazd Narielwalla, Samuel Overington and Luis Ignacio Rodriguez will use their DegreeArt residency to explore whether what happens in the margins and on the periphery can be just as bold and just as extraordinary. In All Directions celebrates that there is no one way of working and that inspiration can come from the most unlikely source. The artists of Unit 3 Projects will either collaborate or collide; they might even achieve both. While the artists’ individual practices cover mediums such as painting, video installation, performative drawing and interactive audio, the work to be created during In All the artists to rise to the challenge of trusting each other, themselves and the work. Collaboration. Collision. In all directions.
DegreeART NEWS
ANNUAL PROGRAMME 2013 UNIT 3 PROJECTS IN ALL DIRECTIONS 24TH JUNE – 5TH MAY 2013
First Thursdays: 4th April / 2nd May 6pm - 9pm Pecka Kucha Talk: 23rd April 6pm - 8pm 10 diverse artists from Unit 3 Projects will work with, beside, around and against one another in DegreeArt’s ‘The Execution Room’. Taking gesture as its central theme, In All Directions is a celebration of possibility, exchange and risk.
MARIA KJARTANS SPIRITUAL LANDSCAPES 13TH MAY– 16TH JUNE 2013 First Thursdays: 6th June 6pm - 9pm Artist Talk &‘We Are The Weather’ film premiere 23rd May 6pm - 9pm
LOUISE MCNAUGHT SUPERNATURAL 17TH JUNE – 28TH JULY 2013 First Thursdays: 4th July 2013 6pm - 9pm Artist Talk: 25th July 6pm - 8pm
REPRE IN RESIDENCE 29TH JULY – 9TH SEPTEMBER 2013 First Thursdays: 1st August / 5th September 6pm - 9pm Repre are a group of nine artists that share a common vision to capture and depict reality. From the body to the landscape, each artist is concerned with not only depicting the real, but exploring the boundaries of realism within their practice.
ELLIE YOUNG IN RESIDENCE 10TH - 24TH SEPTEMBER 2013
10TH ANNIVERSARY 1ST – 26TH OCTOBER 2013 First Thursdays: 3rd October 2013 6pm - 9pm To mark their 10th anniversary, DegreeArt celebrates with a retrospective exhibition.
LAURA FISHMAN IN RESIDENCE 28TH OCTOBER – 16TH DECEMBER 2013 First Thursdays: 7th November / 5th December 6pm - 9pm
MARIA KJARTANS SPIRITUAL LANDSCAPES
WATER FORMS by Maria Kjartans, 2012, Photography, 50 x 70 x 0 cm ÂŁ550.00
DegreeART NEWS
UPCOMING RESIDENCY:
MARIA KJARTANS
SPIRITUAL LANDSCAPES
“Icelandic nature is a surprising and exciting place. Anything can happen.”
DegreeArt are proud to announce Maria Kjartan’s artist residency ‘Spiritual Landscapes’. Icelandic born artist Maria graduated with a MFA from Glasgow School of Art in 2007. Since then Maria has exhibited internationally working from London, Paris, Greenland, Granada and Reykjavik. ‘Spiritual Landscapes’ connects the audience directly with the feral aspects of human nature, instinct, passion and curiosity of places that we interact with physically and spiritually. As much an explorer as a photographer, Maria’s fascination and obsession with life cycles and events, across cultures, dominates the subject matter of her pieces and drives her to visit often remote and unusual locations. For this residency, Maria focuses on Icelandic nature; shot in various locations across summer & winter, offering the viewer a window onto the limitless and eternal spaces. The results are bewitching
insights and stories that present the viewer with a captivating sense of discovery and reflection that takes you on a journey across these vast terrains. reality as it is lived is magic. I suppose my curiosity & passion for new places and experiences is what takes me out to explore. . I am a traveller. To get out there and be a part of our world, makes me feel alive. It is never a solitary journey when you are collaborating with the sun.” Maria Kjartans Throughout the residency Kjartans will collaborate with Icelandic musician Biggi Hilmars and multimedia artist Harpa Einarsdottir transforming the gallery into a vibrant and eclectic place that will bring together the distinctive, haunting and provocative music stylings of Biggi Hilmars and Harpa Einarsdottir’s intricate illustrations and patterns to create new and exciting mixed media works that will engulf the space. WHEN: 13th May - 16th June 2013 daily 12-6 pm First Thursdays: 6th June 2013 6-9pm Live Music Performance by Biggi Hilmars & Film Premiere Thursday 23rd May: Artist Talk & “We Are The Weather” - Film Premiere MARÍA KJARTANS: Icelandic born artist María Kjartans graduated
LAND, by Maria Kjartans, 2011, Photography, 70 x 100 x 0 cm £950.00
with her MFA from Glasgow school of Art in 2007. Since then she has been living and working in London, Paris and now most recently Reykjavik, exhibiting her photography and video art all around the world. Alongside being an artist and a director, María work as a co-founder and an artistic director of Vinnslan in Reykjavík. María was rewarded Signature Art Award in London 2011 and the IdeasTap / Magnum Photographic awards for her photography projects and most recently nominated for best Icelandic short
them, trim their claws and braid their tail...”. This is how Harpa Einarsdottir describes her work in general. She has passion for the Icelandic myths, symbolism and magic. She likes to combine her designs with her art, and one of her strengths in fashion is her ability to create amazing prints for the fabrics in her collections. Harpa also worked as a costume designer and stylist after she graduated at Iceland School of Art and Design, along
doing visual art María collaborates with theatres, performers and musicians in UK, France, Iceland and Spain.
BIGGI HILMARS: Blending classical, electronic, ambient, avant-
HARPA EINARSDOTTIR: (Ziska) was born in Borgarnes, Iceland 1976. As a child she had a fertile imagination and could get lost in her own world in the magical nature surrounding her. Harpas childhood was an adventure and it has After graduation from the Iceland University of art and design, she had numerous creative jobs one was working as a character creator at CCP games. After drawing for three years Harpas skills grew and made her want to dive back into her own world of creation, now focusing on art project Ziska Zun along with other explorations. True creativity arises from a union with the divine, with the mystical and the unknowable. “Mysticism, magic, earth, creatures, love and balance. There has to be evil so there can be good. Accept your
developed a distinctive, haunting, provocative, original music style, which is why he is now one and television. Icelandic by birth, International by nature, he has lived in London, Paris, New York, Los Angeles and Reykjavik. He has enjoyed chart success and notoriety as part of the Iceland Invasion with power indie rockers Ampop and is now embarking on a solo career alongside his include the full feature film ‘Brash Young Turks’ Ash and Naeem Mahmood brothers, Ridley Scott‘s ‘Life in A Day’movie trailer and 'Motorola's Xoom Android Tablet' US Super Bowl ad spot. Follow us: @DegreeArt #SpritualLandscapes #DAresidency
DegreeART NEWS
SIGNATURE ART PRIZE NOW OPEN FOR ENTRIES DegreeArt.com’s Signature Art Prize returns for its 6th year to seek out the ‘signature style’ of emerging artists. A one of a kind international art prize, open only to students & recent graduates, the Signature Art Prize was founded to encourage, discover & promote the signature style of the artists of tomorrow. Artists are invited to apply, by entering ONE piece into ONE of the following categories:
PAINTING – PHOTOGRAPHY – SCULPTURE – DRAWING – PRINTMAKING Semi Finalists, 10 per category, will be exhibited at our Prize Gala evening at which the Winners of each category will be announced. THE PRIZES Category Winners will each receive: £1,000 cash prize A commission, at the sponsor’s discretion, to be agreed between DegreeArt.com and the artist Guaranteed representation with DegreeArt Gifts from our sponsors Inclusion in 1 month exhibition at DegreeArt’s Execution Room March 2014
PEOPLES’ CHOICE AWARD 2013 In addition to the judging process, there are 4 further opportunities to win a cash prize of £250 & participate in the Gala as all entrants are entered into the Peoples;’ Choice Award which invites your friends, family & the public to vote on their favourite entry of the past two months. THE JUDGING PROCESS The Judges are seeking to nominate artists who enter a piece of artwork that makes a statement. It is important that you can explain why your entry is a ‘Signature’ style or piece. ~Please provide further images that show your work hung in situ or from different angles. They will be looking for work that is not only visually powerful but conceptually sound & comprehensible. You must consider your presentation,
both online & offline, ensuring that if selected as a Semi – Finalist or Peoples’ Choice Award winner that the work can be exhibited. Remember that your entry, should you choose for it to be so, will be for sale on the DegreeArt website. Last year over half of the Semi Finalists’ work were purchased & added to DegreeArt’s clients’ collections. All entries are reviewed by our esteemed panel of industry judges, & shortlisted artists will be selected to exhibit at the Central London Gala award night, followed by an extended one-month exhibition at DegreeArt's Execution Room in the cultural hub of Vyner St, East London. OUR PREVIOUS JUDGES Amira Hashish- Assistant Arts Editor of The Evening Standard, Chris Hitchcock - Art Director, The Times Magazine, Chris Pensa- Owner/Founder
of Love Art London, Emmanuel Balogun: Marketing Assistant Haunch of Vension, Fiona Barratt, Founder of Fiona Barratt Interiors, Harry Hardie Luxx Magazine, The Times, Jennifer Francis Head of Press & Marketing Royal Academy of Arts. Jordan Ambler, Manager Cowling & Wilcox, Marissa Cox- Online Arts Editor for Art Wednesday, Mark Westall- Creative Director of Fad website, Nick Galvin - Archive Director of Magnum, Rachel Rogers - AOP Gallery manager HOW TO APPLY The prize opens for entries on April the 15th & will close 30th November 2013. Please ensure you READ FULLY the Term & Conditions of entry. All entries are made through the Prize website
APPLY NOW
DegreeART NEWS
SPECIAL OFFERS
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SPREAD THE COST
DegreeArt offers you the option to purchase artwork using our finance scheme. You can apply for as little as £100 or as much as £2,000 for the purchase of original works of art by living artists in any media including paintings, sculpture, photography, ceramics, glassware, and artist made jewellery and furniture. Loans are repayable in 10 monthly instalments, completely interest free – so you’ll never be paying more than the advertised price. *Terms and Conditions: 0% APR Representative. The credit advertised on this website is provided by one credit provider with whom we have a commercial relationship. Offer subject to age and status. Terms and conditions apply
SPRING CLEAN? NEW ART? £15.00 OFF NEWART2013
£15 OFF
To welcome all new DegreeArt collectors, we are offering you a £15.00 Art Voucher. GET THE DEAL Simply enter: NEWART2013 In the Coupon Code box to receive your discount when checking out with purchases over £50.00. Please note that the £15.00 discount will be applied to your order total once you have completed checkout. *Terms and Conditions: Offer expires Sunday 5th May 2013. Valid on all purchases over £50.00 excluding Postage and Packaging. Only one voucher can be used per purchase.
CAN’T DECIDE ON THE PERFECT GIFT? GIFT VOUCHERS AVAILABLE
GIVE THE GIFT OF ART WITH OUR ART GIFT VOUCHERS Our gift vouchers make for the perfect gift for an art enthusiast. These can be redeemed on any product, of the same or lesser value than your voucher, for sale on the DegreeArt.com website. The vouchers are available in various amounts ranging from £25 to £500. And can be sent direct to the recipient as an online voucher, or for something more special a gift certificate can be posted encased within a frame.
DegreeART NEWS
NICK LORD COLLABORATES WITH SCOTT COLE
LB by Nick Lord, 2013, Acrylic, Spray Paint, Ink, Emusion, Oil Pastel on Canvas, 90 x 120 x 5 cm, ÂŁ3,950.00
DEGREEART ARTIST NICK LORD COLLABORATES WITH PHOTOGRAPHER SCOTT COLE. Nick Lord graduated in 2011 from Kingston University with a BA in fine Arts. Nick a portrait painter explores the possibilities of paint working from iconic figures in the media to create meaningful works that install within the viewer a sense of familiarity. He has painted portriaits of; Amy Winehouse, Maggie Thatcher, Sir Chris Hoy, Mark Cavendish, Queen Elizabeth II. Always
looking for ways to reinvent himself as a painter; Scott Cole is one of the leading photographers in the alternative modelling scene, specialising in photographing tattooed models. They come together in an exciting collaboration that will see painting and phtoography come together to explore the human form. We get the inside scoop into his collaboration with Scott Cole and what he envisages from the union. “We both discussed the idea and the possibility of combining our practises and working with each other. We both have a fascination with the human
DegreeART NEWS
EMILY by Nick Lord 2013, Painting, 80 x 100 x 5 cm £3,000.00
BUBBLES by Nick Lord 2013, Painting, 80 x 100 x 5 cm £3,500.00
WHITE FIRE, 2012, Acrylic, Emulsion, Wood Stain, Oil Pastel on Canvas, 55 x 75 x 4 cm, £2,500.00
form and the figure, which we both want to explore in different and exciting ways. We thought that ‘The Collaboration’ could be the perfect solution for us to develop our creativity and profession. The Collaboration is going to be a series of work focusing on tattooed and alternative models. It’s been inspired by traditional compositions that we’ll be bringing up to date with exciting new models and imagery. We are both interested in the contrast of ink on skin and the effect that has on the subject and perception of the image.
They’re going to be exciting and vibrate images, yet subtle and beautiful. We’re playing with the question of, what would the old masters paint nowadays? It’s going to be an exciting experience and experiment.”
INTERIOR GUIDE INSPRIATION FOR YOUR HOME
BLUE LAGOON by David Ridley 2012, Painting 76 x 102 x 4cm £850.00
NAUTICAL
SHALLOW DIVE by Jill Lliffe 2012, Painting 76 x 50 x 4 cm £900.00 FISH & CHIPS by Mengsel 2011, Silkscreen Print 59.5 x 42 x 0.1 cm £75.00
SEA 58N 4W by Paddy Sutton 2006, Lambda print Ed. of 20, 100 x 100 cm £880.00 BEAUTY CONTEST BLUE by Jill Lliffe 2012, Painting 42 x 30 cm £135.00
LOST BRITON 2 by Will Nixon 2009, Lambda print, 54 x 54 cm £425.00
ULTRAMARINE BLUE & VENETIAN RED by Wendy Hyde, 2012, Painting 90x 90x 3.7 cm £895.00
SCILLY BOAT SHED by Christine Bradshaw 2010, Painting 20 x 20 x 4 cm £200.00
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1. MARILYN by Michael English Painting, 72 x 60 x 3 cm £875.00 2. BARONESS THATCHER by Carolina Piteira Painting, 123 x 90 x 2 cm £4,000.00
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3. NO. 1 by Anika Manuel Painting 32 x 22 x 1 cm £275.00 4. AUDREY II by Bobby Patmore Woodcut, Chine-colle Print, 52 x 42 x 3.5 cm £260.00 5. TWIGGY by Dan Pearce, Painting on Steel canvas, 100 x 80 x 4 cm £650.00 6. MARK CAVENDISH by Nick Lord Painting, 150 x 150 x 4 cm £7,000.00 7. I AM THE IDEAL by Anika Manuel Painting, 24 x 20 x 1 cm £275.00 8. CARRY ON SMILING by Anika Manuel Painting, 41 x 31 x 2 cm £450.00
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9. KARL & CAMELLIAS by Mira Birkinovitch Painting, 100x 100 cm £1,500.00
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1. HIBERNAL by Elizabeth Picton Limited Edition Print, 35 x 35 cm £100.00 2. DIAMONDS & RUST 2 by Kostas Georgiou Painting, 100 x 50 x 4 cm £850.00 3. PIXELS PAUSED 6 by Caroline Hall Painting 42 x 57 x 0.3 cm £850.00 4. VERTICAL COLOUR by Molly Behagg Painting, 122 x 22 x 2 cm £1,350.00 5. UNTITLED #5 (Dark Yellow / Light Yellow) by Bryan Lavelle, Painting, 76 x 76 x 2 cm £1,000.00 6. CAMBERWELL by Duncan Brannan Painting, 77 x 77 x 4 cm £2,100.00
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DegreeART inFOCUS 1
MONOCHROMES
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1. BABY RAT SPHERE #8 by Hannah Biscombe, 2010, Photography, 37 x 37 x 5 cm £138.00
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2. ISSHONI: JUSAN by Yuki Aruga 2012, Limited Edition Print, 13.5 x 13.5 x 1 cm £75.00 3.STAGES OF SHAVING by Phil M Davis 2010, Painting, 35 x 25 x 2 cm £1,000.00 4. IF YOU KEEP PRAYING, YOUR KNEES NEVER WILL HEAL by Alan Harding, 2010, Painting 1 x 51 x 41 cm £350.00 5. THE WILD ONES 7 by Nadja McDevitt 2011, Photography, 35 x 28 x 2 cm £620.00 6.HONG KONG, CAGE 58 by Fran Giffard 2011, Drawing, 83 x 63 x 4 cm £710.00 7. THE SPACE BETWEEN US by Kirsty O’LearyLeeson, 2013, Drawing, 32 x 60 x 1 cm £1,000.00 8. WHEN PEOPLE ASK ME WHAT I DO, I TELL THEM I MAKE SCULPTURES by Rebecca Wright 2008, Sculpture, 93 x 34 x 5 cm £1,000.00
METALLIC IRRIDESCANTS
BY THE TIME WE'VE MADE IT, WE'VE HAD IT by Alice Woods, 2012, Sculpture, 12 x 12 x 2.5 cm £2,000.00
I WANT TO LIVE IN A WORLD WHER WITHOUT ITS MOTIVES BEING QUE by Alice Woods, 2012 Installation, 80 x 100 x 4 cm £500.00
ÉTUDE OP.19, by Subash Thebe, 2012, Painting 53 x 63 x 3 cm £999.00
WOODEN ICON - SONG BIRD by Louise McNaught 2013, Painting, 16 x 23 x 1 cm £245.00
RE A CHICKEN CAN CROSS THE ROAD ESTIONED.
PEST UNLIMITED, by Catriona Faulkner 2011, Painting, 25 x 25 x 4.5 cm £1,100.00
GOLDEN GIRL by Ramzi Musa Painting, 150 x 120 x 3 cm £1,200.00
COPPER CRINKLE BANGLE by Alexandra Parkinson Jeweller & Silversmith, 2012 Sculpture, 10 x 12 x 8 cm £110.00
I'M NOT GOING TO THINK OF ANYTHING SUPERFLUOUS by Hans K Clausen 2012, Sculpture, 15 x 38 x 21 cm £2,828.00
DegreeART inFOCUS
JOIN THECLUB Become an Art Collector with DegreeArt DegreeArt.com presents the Collectors Club, founded to support promising, emerging artists by enabling their work to be accessible to a new and wider audience. The Collector’s Club provides unique priveledges and tools to enable members to understand, buy, collect and own contemporary graduate art. Collector Club Membership starts from £500 per annum.
APPLY NOW Debut Membership Event 23rd May 6-9pm 12a Vyner Street, London, E2 9DG
DULCIS, (Soft, Flattering, Delightful) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm, ÂŁ850.00
SOPHIE DERRICK
THE TRIBE HAVE ARRIVED...
DegreeART inFOCUS
CURIOSUS, (Curious) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
BELLATOR, (Warrior) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
DOLO, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
AQUIFOLIA, (Pointy Leaves) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
HERSEE, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
PERSICI, (Peaches) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
AFRO, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
VERBERO, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
DegreeART inFOCUS
OCULIS CERVA (Doe Eye) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
BUCCULA (Little Cheek) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
MITIS (Mild, Meek, Gentle) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
CAELUM CAPUT (Space Head) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
FRIDA, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
SEROTINA, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
SUPPINGO, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
CONVORRO (Sweep) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
DegreeART inFOCUS
VESPERTILIO PUELLA, (Bat Girl) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
INDUMENTUM, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
UNDA, (wave) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
APEX PUER, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
CLAVUS CAPUT, (Spike Head) 2012, Digital print with overlying oil paint and collage, 35 x 26 cm £850.00
PRINCIPISSA, (Princess) 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
OTUS ALFREDI, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
SNUFKIN, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
DegreeART inFOCUS
ASPICIO LONGUS (Long Face), 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
ROMANUS (Roman), 2012, Digital print with over lying oil paint and collage, 35 x 26 x 0.3 cm £850.00
RIO, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
OCULIS CAERULEIS, 2012, Digital print with overlying oil paint and collage, 35 x 26 x 0.3 cm £850.00
DEGREEART STAND E7 GRAND DESIGNS LONDON LIVE 4-27 MAY 2013 COME VISIT US AT GRAND DESIGNS & GET SOME INSPIRATION FOR YOUR HOME. ARTISTS: ABIGAIL MCDOUGALL ANNA ROTHWELL BOBBY PATMORE CARRIE MAY DAVID CHARLES WILLIAMS DAVID RIDLEY KATE MARSHALL LAURA IOSIFESCU LAURA HUNT LEE HERRING LOUISE MCNAUGHT NICK LORD PAZ PERLMAN RAMZI MUSA REBECCA MOLLOY SOPHIE DERRICK WENDY HYDE
DegreeART inFOCUS
BEHIND THE LENS CHANTELLE PURCELL INTERVIEWS SOPHIE DERRRICK
IN THIS INTERVIEW CHANTELLE PURCELL GOES BEHIND THE LENS TO FIND OUT MORE ABOUT SOPHIE DERRICK’S EXPERIENCE OF UNDERTAKING A SIX WEEK RESIDENCY AT DEGREEART... You reference to Catherine Underwood's term 'Total Painting' within your title. Could you describe why you refer to this and how you use paint as an agent of transformation? I went to the show at the Tate: ‘A Bigger Splash, Painting after Performance’ and found it really relevant to my work, and in fact it took me back to the things that interested me when I first started this idea of painting onto myself. There were a lot of artists featured in the show that I had researched and referenced at Uni, so I bought the publication that went with the show. In her piece ‘Painting in the Shape of a House’, Catherine Underwood coins the phrase ‘Total Painting’ and I thought this really summed up what I’m doing with paint; ‘These new forms of what I will term ‘total painting’ were, in general, less to do with either ‘action painting’ or with modernist derived notions of expanded painting […] and more to do with ideas of paint as a specifically material surface that covers, masks and changes things. Such approaches re-cast painting as a transformative medium that claims both the abject and the illusionistic, and a mobile entity.’ I use paint as an agent for transformation by covering my identity, my face with thick, impasto oil paint, masking my features and transforming me into something other than myself. The paint really does cover, mask, and change me. Can you talk about your how you got inspiration for the tribe's 'colour' palette? I generally get my colour inspiration from really
random sources. I always trawl through magazines and get inspiration from images I see, and for the Tribe I did just that. I found a few images that had really great colours in and I took my inspiration from there. I really needed a colour palette that had quite a few different colours in that worked well together, as I wanted the Tribe members to all look different but like they went together and were connected, so by using the same colours throughout the series they hopefully look like a collective group. I actually started off with quite a muted palette but it became really bright by accident really! The initial process within your work is done in a very private way, how would you say you tackled this whilst working within such a public space? And how have you remained to keep an air of mystery within your work? I do really need privacy when I’m painting myself, I definitely couldn’t do it in front of anyone as I need to be alone to fully get into the process and not feel self conscious. The way I tackled this was to build myself a fortress/box to hide myself away in to paint in peace. The room did have some peepholes incorporated in precarious positions around the sides, so people could peep in and see me painting, but the peepholes distorted this view so it seemed as if I was really far away and this I think kept an air of mystery and distance in the work. Despite the peepholes I did feel like this was a really private space, which is strange I think as there was only 6mm of MDF between me and the public.
DegreeART inFOCUS Would you consider the box as a form of masking in itself? And can you describe the various layers of masking you employ to conceal yourself? I definitely think the box is a form of masking in itself. This residency has really made me realise the extent of layering and masking I employ within my work; everything is masked, even the names of the pieces! The box acts as the first stage of concealment, hiding and masking me inside, and putting the first physical barrier up between my body and the viewer. Then I mask myself with the paint, applying it directly on to my skin and photographing this act. This photograph is then printed and more paint is applied over the top, further masking and layering me out. In the residency I experimented with collage, using images of paint either directly from the palette I used, or from the images of paint from the previous tribe members, and this acted as a further layer and mask. Another form of masking I subconsciously created during the residency was the titles of my pieces. I always name my pieces in a really literal way, naming them after whatever they remind me of, but for this collection of portraits I felt that this was a bit random and the names needed to be cohesive. I named all the pieces in my usual literal way and then converted them into Latin so they all had this connection and this also acted like a kind of taxonomy of these strange portraits. The real, silly, names were hidden and masked by this very serious and intellectual language, acting as another layer of masking. However, Within all these different stages of masking, there is always an eerie element that I am always there, hidden in the box, under the paint and collage, and behind the titles. There’s always this presence/absence thing going on. How important would you say your films are to communicating your ideas within your work? How do they work to both reveal and conceal? I think the films are really important as people often don’t get the work straight away, and during the residency the films have really been integral to people’s understanding of my process. I think the film made on the residency of me actually applying the paint allowed people to witness and understand fully the extent of the process; the physical, and sometimes almost painful to watch (when I cover my eye)
masking and use of the paint. None of the films show the whole process, and they’re all distorted in some way, like the newest film zooms into the brush strokes, and it was also filmed in a mirror so you get my real face and the mirror version at the same time, which keeps this aspect of revealing the process but also concealing it through distortion. Watch the new film here You talk of the discarded paint that you scrape of your face, as being a signifier of absence and presence. Can you talk about the juxtaposing dualities of your work? And how does the documentation acts as a memento of the performance? The discarded paint scraped from my face is the physical thing left behind from the process, it is the mask that’s been taken off and is now ‘dead’. It becomes a signifier of absence and presence as it has presence in a literal way of being this physical thing, this real piece of evidence I suppose of the process, but it also holds an element of absence as it is a signifier that something has happened, but there is an absence of this something, the performance of the paint mask. This theme of absence and presence runs throughout the layers and stages of my work, and on the residency it started with the box. The box acted as a barrier
between me and the viewer, creating an element of absence with me hidden away, but also presence as they knew I was in there! Then there’s the painting process which results in the physical paint mask scraped from my face, and the image. The image is printed and painted and collaged over, and this layering pushes out my ‘self’ and uses my body as the starting point of this new image/character/portrait. So again there is this absence/presence thing going on in the final piece, an absence of me as myself, but a presence of my body as the canvas. In the final image there is also the absence of the real, impasto, sculptural paint that is rendered flat through photography, only to be re-instated over the top of the photo, bringing back the presence of the paint. Phew! That’s a lot of absence/presence going on! The final piece, the portrait, is really a documentation of the whole process, a memento of this really drawn out way of creating an image, and the discarded paint mask is also a memento of this process and performance. The only difference is that the scraped off paint is more immediate, closer to the performance itself, and the final image has gone through stage after stage of creation, distancing it from the original act of painting onto my body. Your tribal members have literally evolved across the gallery walls, how has there also
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been an evolution within the tribe itself? Yes, there have been a few revelations throughout the residency that meant the tribe evolved within itself. I started off with this idea of the colours and also the desire to use collage within the work. The colours really evolved to be quite bright, deviating from my initial palette, and the use of collage really changed too. I started collaging over the pieces with images of the discarded paint scraped from my face. I thought this extra layer of photo of paint added a further concealment of the real me and pushed the work further into the realm of fiction. I also liked the idea of using the paint that was involved in the work as my collage material. However, I got a bit bogged down in the collage element, it kind of didn’t feel natural within the work, but then I had a revelation! I started cutting out blobs and strokes of paint from the previous tribe member images I’d made, and sticking these pieces to my head whilst I was painted, so the collage was put back a stage into the actual photograph itself. I think this added an interesting take on the painting/photography element of my work, and the Trompe O’leil aspect of the work. I also liked the fact that the images of paint I was using had come from the previous images, so the tribe was organically building on from one another, growing from the previous pieces. This culminated with my tribe leader where I created a kind of head dress made from all the collage pieces I had used from the smaller tribe members, so she really was built from her ancestors I suppose! What have been the revelations throughout the residency? And what discoveries have you learnt from allowing your work and process to be seen publicly? I’ve learnt that I can let the public see my whole process (from behind a few barriers!) and that this is actually really interesting to see, rather than just the final image. I have definitely become more confident in my work throughout the residency, and feel like I can be a bit more experimental with it and that’s cool. What has been your favourite comment left on the comment wall? Hmmm, there were a lot of strange comments on the wall, but there were a few that made me laugh; ‘I was told there would be cake’, ‘Hope your evolu-
Doing the residency has really re-ignited my motivation and inspiration! tion works well, signed C. Darwin’, ‘I really enjoyed the films about the painting in the face. Maybe try more with the rest of the body as that would be really interesting’ . . . . . no. But my favourites are probably this one saying ‘I want to stroke the faces’ because I really enjoy the picture they’ve drawn! And because that means the work is doing its job of being really tactile and making people want to touch it to work it out. What advice would you offer to artists considering or approaching a residency? I would say just go for it and go with the flow! I was quite nervous and worried about doing this residency at the beginning as I’d never done one before and I was getting all stressed about whether this idea was going to work or if it would be a disaster! But I think I just threw myself into it and yeah, there were a few disasters and a lot of creative problem solving to deal with, but it kind of made it more exciting and rewarding. So I don’t really have much advice other than you’ll get back what you put in! Any tips for the next artist(s) in residence at DegreeArt Gallery? Eeerm, try not to get too much paint on the floor, it’ll take you a day to scrub it off I think as a collective, the next artists in residence will use the space really well and they don’t need any tips! What do you think you will you work on next? Next, I want to explore this collage in the paint idea, and also experiment with the paint pattern backgrounds I started using in some of the last tribe members. I also want to re-visit some ideas I started during my MA that I don’t feel I got to grips with fully, like painting over other objects such as taxidermy! I think the painting/photography element of the work will always be of interest to me so I have some ideas surrounding that too that I want to work on. Doing the residency has really re-ignited my motivation and inspiration.
ARIERA AURIS PUELLA (Banana Ear Girl) 2012, Digital print with overlying oil paint and collage, 133 x 100 x 0.3 cm, £2,800.00
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BANANA EAR GIRL
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SOPHIA MOSELEY
INTERVIEWS CARRIE MAY
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TREE OF HEARTS, 2013, Limited Edition Print 42 x 29 x 0.5 cm £85.00
TORTOISE FRIEND, 2012, Limited Edition Print 42 x 29 x 0.5 cm £85.00
PEACOCK MAJESTY, 2012, Limited Edition Print 42 x 29 x 0.5 cm £85.00
To begin, could you comment on the starting point I really appreciate the collage effect your of your career as an artist, such as where you illustrations take, it reminds me of illustrations studied, if you took a lot away from your course? from children’s books I would read as a little girl, the depth of the almost real life appearance and After completing my foundation course I studied the contrasting textures makes for a engaging Illustration at Brighton. I look back on those three body of works. Did you have this in mind when years fondly as it was for me an enlightening time, creating the illustrations, taking inspiration from earlier book illustrations? If not where do you finding my feet, broadening my language and having my eyes opened wide to a whole host of draw your inspiration? possibilities. The course at Brighton not only permitted, but encouraged a broad range of media I believe it is just what I am drawn too, rather than and experimentation that could still sit under the making a conscious effort to create nostalgia. I umbrella of Illustration because the focus was on have a penchant for finding old paper and a love communication. I left Brighton to study for an MA for texture and in particular colours. I bring these at The Royal College of Art, which allowed me the into my creations because I appreciate their time to harness my way of working and the good quality and authenticity. I take inspiration from fortune to be part of such a unique establishment. many areas, early book illustrations included but also old maps, posters, playing cards, record
sleeves, stamp albums, wallpaper it can be anything, but it’s the textures and colours that attract me.
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How do you source your materials? From everywhere and anywhere really; second hand bookshops, flea markets, eBay even. I’m a bit of a rustic magpie with a built in aged papers spotting device. How do you make your prints, do you incorporate a lot of digital applications and how do you start them? I always start the old fashioned way with my box of old papers and a good old pencil and paper. It depends on what I am setting out to do but I will hold off until I need to call upon the wonders of Photoshop. Sometimes I will need to move things around and enhance the vibrancy, change the colours and so on, so piecing elements together in Photoshop means I can be a lot more flexible, it also preserves my paper archive!
BEACH HUTS, 2012, Limited Edition Print 29 x 42 x 0.5 cm £85.00
What would you say are your proudest achievements, could you tell me a little about them and why you are so proud of them? Goodness, I had to come back to this question. I think probably making the leap to move to London and completely devoting myself to my Illustration with not much of a plan B makes me feel proud. Also my first book jacket commission was a proud moment.
CITY VIEW, 2010, Limited Edition Print 21 x 29.5 x 0.5 cm £55.00
What have your favourite commissions been? I was very happy to be asked to do a couple of covers for Waitrose as well as when I was asked to do some Illustrations for Strutt & Parker. I also loved doing the card ranges for Lagom, a Boutique Design & Stationery company, to get to see them on the shelves of certain shops every now and again is a rewarding feeling. TOUCAN TOO, 2012, Limited Edition Print 29 x 42 x 0.5 cm £85.00
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TEA PARTY, 2012 Limited Edition Print 42 x 29.7 x 0.5 cm £85.00
SEASCAPE, 2011, Limited Edition Print 50.8 x 50.8 x 2.5 cm £650.00
RUGGED EARTH, 2012, Limited Edition Print 29.2 x 29.2 x 5 cm £400.00
For the benefit of young and emerging artists Your painting work has a very different style and could you expand on how you achieved them and feel to that of your illustrations, is there a reason if you have any advice to offer artists approaching for this? a commission? No. I still think both are concerned with colour and Make work that is true to you first and foremost. texture and perhaps its how I relate to the different Work hard, keep working hard and show your work. mediums. Seek out the people you want to show your work to and be polite and persistent in your approach. Do you enjoy working in two separate mediums, and do you have a favourite? How do you personally work to commission, do you find that you ever have to compromise your I enjoy both for different reasons and actually I am work to secure a commission for the sake of keen to explore the combining of the two so perfinancial purposes? haps they wont always be so separate. I don’t feel like I’ve ever really compromised my work. Maybe on occasion I might have preferred the other version that had a bit more red or where the trees are darker or something, a minute detail but not to the extent that I am disgruntled, no never. I think working to a commission is a partnership between the Illustrator and Art Director or Designer, and at times I have appreciated how they have led my work down an avenue that perhaps I wouldn’t have explored ordinarily, that’s one of the interesting aspects.
Could you tell me about your involvement in Nick That Charity? Yes absolutely. Late last year, I was commissioned by the NickThat Charity through DegreeArt.com. Nick That is an online company that partners with various restaurants around London and presents various offers. Their revenue depends on if these offers are used when shoppers dine and use the coupons, and if they bring enough customers to the restaurants. I was asked to create an Illustration with the main concept being that ‘food unites
us all.’ I was asked if the piece could illustrate the fact that, food is a common denominator in this world and binds us together, regardless. So the idea was to promote the concept of the charity and how it operates. It was a fun piece to do and was exhibited at the Digital Dining event held at DegreeArt.com. Finally, do you have any plans for new pieces you would like to share? I have a few works in progress at the moment and you may see more paintings before long, but they will draw more on my Illustrative approach so it will be exciting new ground.
SHIP TO SEA, 2013 Limited Edition Print 29 x 42 x 0.5 cm ÂŁ85.00
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INTERVIEW WITH UNIT 3 ARTISTS DegreeArt interview Unit 3 Project artists; Flavius Alagrius, John Appleton, Abigail Box, Henry Byrne, Pamela Carr, Jennifer Farmer, Silvia Krupinska, Hormazd Narielwalla, Samuel Overington and Luis Ignacio Rodriguez. To find out more about their current residency ‘In All Directions’ and how creativity thrives from community. Can you tell us a bit more about Unit 3 projects? Unit 3 is an old printing works in Bow. When we first moved in our studio floors needed to be scrubbed free of gunk before we could start work, and this got us all talking. Within a year we had collaborated together on a really successful open studio event and had a few BBQ’s in the car park as the cement lorries thundered past. Several collaborations grew out of this energy and ASC provided us with the Unit 3 project space because they believed we had the collaborative energy to organise and use the space well. It is this joint energy that we bring to the Degree Art residency. It will be exciting to see the positive and negative energy moving between us and our different ways of working. - PC What projects have you previously worked on within the Unit 3 project space? Earlier this year Samuel and I did a show together where we simply planned to use it as an opportunity to exhibit some of our recent work, but one conversation lead to another and before we knew it we had drawn parallels between lots of our ideas. At the time I was painting from video footage of explosions, reinventing that energetic imagery in painting and Samuel had been drawing from live dancers, documenting movement
through mark making. We felt we were both working with translating one sort of gesture into another and decided to curate the exhibition so that it put emphasis on some of those ideas. One of the biggest reasons that the Unit 3 Project Space is important to us is that it is something we run together and it’s encouraging in terms of getting us to consider taking on things like joint projects. The whole experience, in collaborating, took us both in some unexpected directions, in fact that is where the title has come from, ‘In All Directions’. - AB ‘A beaten path to...’ which was an interactive installation 4m long. Earth for the path was collected from Bethnal Green and Bow and the pathway was made from the vegetable and fruit trays which are sent to the East End markets from around the world. By walking this path people joined the subtle traces of their energy and intention with other people’s and ‘A Beaten Path to...’
was formed. Then Jennifer Farmer and I collaborated on a short film: terra firma. ‘A beaten path to...’ formed the background for this split screen, real-time film exploring the point when innocence becomes knowledge and every experience leads to a new unknown. - PC I am yet to do my project in the Unit 3 Projects which is conveniently planned straight after our ‘In All Directions’ residency. I’ve four weeks of making and experimenting planned for Unit 3 space, which I’m very pleased about, as I believe it will flow nicely from residency to project. I can link up my work produced and take it even further. At the same time, I’ve another series of sculptures and 2D works I’m working on for an exhibition in Slovakia. I’m planning to put on an event to share my making, of course all are welcome. - SK Your exhibition seems very much concerned with the dynamics and possibilities that occur on
the periphery of working collaboratively. What do you think will occur from this conversation? And what do you hope to achieve though out the residency? Never has there been a time like now, where hybrid practices have been able to creatively speak to each other. The boundaries are slowly diminishing between strict constructed mediums. I’m primarily a collage artist but I’m making a sculptural piece for this exhibition challenging the norms of traditional sense of collage – I guess what I’m trying to say is that projects like Unit 3 encourage me to start thinking outside the box, by seeing the methodologies and process of other practitioners. This is a great opportunity to step outside a comfort zone. - HN I think it’s partly the not knowing which is most exciting. We’re all curious as to what will come from working in the space together - how much
DegreeART inFOCUS the conversation surrounding the work that we are planning on making will collide and inspire us towards unexpected work that we might begin to make because of that collaborative atmosphere. AB Exciting part for me is that we will be having this conversation. Things are done and said, artists exchange ideas and thoughts. I find this action itself rewarding and thought provoking each time. I’m confident, that sharing of the Execution Room between us (virtually and physically), while we’re making will enrich and inspire us all. - SK I hope to form a new selection of art making process’s from this experience, working alongside and around each other. Letting each artist infiltrate my production and the outcome to be revealed.-JA Your practices are very diverse. Can you give us an idea of your individual practices and how each of you will intend to approach the central theme of the residency, ‘Gesture’? My work is about the subtle energies of the intermediate space, the space between the foot and the ground , the space between the need and the fulfilment. Energies that are only seen out of ther corner of the eye, how they form and reform continually. Gesture is about energy and intent which are central to my work. - PC I’m planning to explore two different pathways during my residency with the theme of ‘Gesture’ written all over them. First one based on exploring (revisiting) of my identity and my roots. I’ll be using maps and working with those as shapes appear. Furthermore, I’ll be setting in in the mapped out shapes, to me precious (but crushed) recycled Abalone shells with their strong gestures behind them. Secondly, I’ll be reconnecting with the nature, revisiting some of the Margate beaches where I’d done a number of installations before. I’ll make a series of photographs including some of my From the Bottom of the Sea sculptures, all set in tune with their surroundings. But one never knows how ideas progress, when the conversation of our residency begins. Follow us on the social media or pop by in the gallery and you’ll be first to know! – SK
I make collages out of bespoke Savile Row tailoring patterns of customers now deceased. I divorce them from their tailoring context and view them as abstracted shapes of humans, which become the primary source material and canvas in my artworks. The circles of life and death, procreation and sex are core raw actions – gestures that make us humans. This is the primary notion that I will be working on. The catacombs of Europe, the preservation and reminder of death are the inspiration of a sculpture I will work on, where I will make skulls out of the brown paper patterns. On the flip the act of procreation will be depicted through the cut and paste of the tailors patterns to make impressions of female and male anatomy. - HN I’m currently interested in how our understanding of one thing might affect the way that we see or perceive another . Transcending between gestures. I’m so often on a computer that I feel as though I should be able to perform actions like ‘copy and paste’ in life outside of the screen. On
Photoshop I am able to easily stretch and contort imagery into impossible directions and I go into auto drive when working with multiple layers. The new craze for making .gifs is a whole new mind set in terms of how I think about constructing the images that I paint from. I’d like to explore the possibility/impossibly of making those gestures in making paintings, looking at painting as both a surface and as an limitlessly inventive space. - AB I am engrossed in the techniques and influences of Old master painting juxtaposed with contemporary backdrops. The anamorphic and the Gothic are very relative to the concepts and compostions I make. My idea of gesture is interpreted as a rhetorical stance, something inferred but not explained- JA How will the artists who are working offsite and externally from the DegreeArt space contribute to the residency? I will remain in the mother battleship – our studios in Bow. The important aspect of this residency is to nurture a conversation through which work evolves. This conversation doesn’t need to be faceto-face or in close intimate contact. It can be had
through various other ways – the internet and social media, along with visiting the space. We also plan to update each other on new discoveries and things we might uncover. – HN Working in the studio at the Unit 3 Spaces , will give a reflective response to the works made throughout the residency. Instead of working directly alongside someone in a shared space, I can flit in and out taking cues from the works creating going back then ,to the studio and reassembling the ideas and information. Hopefully this process will show a common thread through the works made in the degree art space -JA Would you say that this residency is a celebration of the possibilities and ways of working for artists? When Isobel and Chantelle first suggested to us the idea of doing a group residency I straight away thought back to how much I had enjoyed painting in the project space with Samuel in the lead up to our joint exhibition. Despite all working in the same building we mostly work in our own individu-
als studios by ourselves and it can be very solitary. It was a nice change to work with someone else in the room, especially late at night when the studios are very calm. We worked with the radio on, quietly focusing on our own pieces and having a chat every so often about what we were thinking. That kind of atmosphere would be a nice thing to share with anyone interested in not just art but the business of making it and what it’s like to practice at being an artist. - AB What can the public and community get involved with? Can you tell us more about the array of events / workshops you have planned across the residency? I’m excited for the discussion titled ‘But What Kind Of Art’ (4 May) I think this is going to be very relevant in terms of what the exhibition title ‘In All Directions’ stands for. We’re going to be asking questions about what it means to practice between genres and consider the interesting things can come out of blurring the lines between creating paintings and writing scripts. - AB
What is next for Unit 3? I think we’re planning an Open Studios weekend for in September. So that will be a chance for people to come see our usual studio spaces …and the Jim’ll Mix It cement lorries. - AB
UNIT 3 ARTWORKS
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'THE BIG BLUE' by Henry Byrne, 2012 Painting, 100 x 100 x 0 cm £2,000.00 CONTACT IMPROVISATION by Samuel Overington, 2013, Drawing, 60 x 84 x 3 cm £220.00
NECROMANCER 1 by John Appleton, 2013, Painting, 76 x 76 x 2.5 cm £1,150.00
DEAD MAN'S PATTERNS - SKULL TOWER By Hormazd Narielwalla 2013, Sculpture, 140 x 46 x 46 cm £3,600.00
DIPS & HOLLOWS: DARK SEPIA RED WITH ORANGE FLASH by Pamela Car, 2013, Painting 125 x 110 x 3 cm £1,500.00
PLAYING TO THE CROWD - from the LOVE NEST series By Hormazd Narielwalla 2013, Limited Edition Print 29.7 x 21 x 0.1 cm £85.00
3/8TH INCHES from the LOVE NEST series By Hormazd Narielwalla 2013, Limited Edition Print, 29.7 x 21 x 0.1 cm £85.00
LOUD LIGHT by Abigail Box 2013, Painting, 152 x 109 x 3 cm £3,450.00
ORIGINS by Silvia Krupinska 2010, Sculpture, 23 x 18 x 14 cm £325.00
Green Origins by Silvia Krupinska 2010, Sculpture, 56 x 58 x 3.5 cm £365.00
UNIT 3 ARTWORKS
ORANGE - By Luis Ignacio Rodriguez 2013, Sculpture, 22 x 25 x 22 cm £479
.GIF by Abigail Box 2013, Painting, 162 x 125 x 3 cm £3,450.00
"OH DEER" by John Appleton, 20
THE LITTLE RED by Henry Byrne 2013, Painting, 100 x 100 x 3 cm £2,000.00
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012, Painting, 18 x 21 x 2 cm £450.00
"ANGELS EGG" by John Appleton 2013, Painting, 40 x 29 x 2 cm £1,000.00
SHOTGUN by Abigail Box, 2013, Painting, 114 x 165 x 3.5 cm £3,950.00
DEAD MAN'S PATTERNS MEMENTO MORI SKULL By Hormazd Narielwalla 2012, Sculpture, 20 x 16 x 15 cm £695.00
SAMUEL OVERINGTON
HOR
UNIT 3 PROJECTS DO
HENRY BYRNE
SILVIA KRUPINSKA
JOHN APPLETON
RMAZD NARIELWALLA
ABIGAIL BOX
OCUMENTARY SERIES
JENNIFER FARMER
PAMELA CARR
LUIS IGNACIO RODRIGUEZ
THE LITTLE RED by Henry Byrne, 2013, Painting, 100 x 100 x 3 cm £2,000.00
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EXQUISITE CORPSE
TEN ARTISTS IN COVERSATION ON ‘GESTURE’ DegreeArt invited Unit 3 Projects to take part in an Exquisite Corpse also known as ‘exquisite cadaver’... The technique invented by Surrealists is similar to the old parlour game called Consequences in which players write in turn on a sheet of paper, fold it to conceal part of the writing, and then pass it to the next player for a further contribution. Each of the ten artists were asked to respond to the word ‘Gesture’ by looking at the previous participants image only each artist had to respond with an image and text and pass the image onto the next player in the sequence. The following pages are a collective assemble of words and images captured within a sequential relay of ideas surrounding the residency ‘In All Directions’.
ARTISTS IN ORDER OF PARTICIPATING:
1. Abigail Box 2. Pamela Carr 3. Jennifer Farmer 4. Silvia Kuprinska 5. Hormazd Nariella 6. Luis Rodriguez Ignacio 7. Samuel Overington 8. Flavius Alagrius 9. John Appleton 10. Henry Bryne
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MISTRANSLATION AND INTUITION, INTERRUPTING ACCURACY AND BEING VISUALLY INVENTIVE
1. ABIGAIL BOX
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LALE TULIP, 2012, sculpture, 14 x 8 x 8 cm, £72.00
MOVEMENT - ENERGY
2. PAMILA CARR
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SETTING A MOMENT INTO MOTION; A MOMENT FOR SAYING ‘YES’ , SAYING ‘NO’, SAYING SOMETHING.
3. JENNIFER FARMER
FEEL FREE AND ALIVE.
4. SILVIA KRUPINSKA
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DREAM
5. HORMAZD NARIELLA
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REALLY? I GUESS WE’LL NEVER KNOW, SUCH FUN!
6. LUIS RODRIGUEZ IGNACIO
RIP 7. SAMUEL OVERINGTON
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8. FLAVIUS ALAGRIUS
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NECROMANCER
9. JOHN APPLETON
I JUST WISH THE WORLD WAS TWICE AS BIG AND HALF OF IT WAS STILL UNEXPOLRED. DAVID ATTENBOROUGH
10. HENRY BYRNE
NEW ART WE PRESENT NEW ARTIST AND NEW ARTWORK HANDPICKED BY ISOBEL BEAUCHAMP & ELINOR OLISA
BLUES AND ROYALS by Carolina Piteira 2012, Painting, 125 x 170 x 2 cm £6,000.00
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NEW ARTISTS MEET THE RECENTLY JOINED NEW ARTISTS
ANNA ELIZABETH, BEN BUCKLEY, DAVID CHARLES WILLIAMS, EIRINI GEORGOPOULOU, EVE POWER, JENNIFER MAIDMENT, JO SCALES, LEE HERRING, LOUISE HOWARD, MAREK HOSPODARSKY MATHEW VIEIRA, MERLIN RAMOS, MICHAEL LEE & PAZ PERLMAN
EVE POWER
UNTITLED #2 by Eirini Georgopoulou , 2012, Installation, 100 x 100 x 3 cm £6,000.00
LIGHT & GEOMETRY: I by Jo Scales, 2013, Photography, 15 x 20 x 0.1 cm £115.00
SIDE OF THE TRACKS by Merlin Ramos 2012, Painting, 100 x 100 x 8 cm £1,800.00
MY PLANET by Marek Hospodarsky, 2013, Paintng, 95 x 95 x 2 cm £850.00
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UNTITLED #2, by Michael Lee, 2012, Painting, 53 x 80 x 2.8 cm £800.00
AFTER CAMELOT, by Jennifer Maidment 2013, Painting, 68 x 122 x 0.5 cm £1,400.00
APPLEPIE ‘09 by Eve Power 2012, Photography, 41.91 x 59.4 x 2 cm £650.00
DYPTICH by Louise Howard, 2012 Painting, 122 x 153 x 4 cm £2,400.00
CHAMBERS by Paz Perlman, 2011 Iron resin, 135 x 56 x 57 cm £3,250.00
BAND OF WOLVES by Ben Buckley, 2012, Limited Edition Print, 42 x 29.7 x 0 cm £20.00
ANDRE WATCHING YOUTUBE by Mathew Vieira 2011, Painting, 50 x 30 x 5 cm £300.00
DARK HILL TOPS by Lee Herring 2012, Painting, 6 x 60 x 60 cm £400.00 AKIRA by Anna Elizabeth 2012, Painting, 91.5 x 61 x 1 cm £550.00
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FAR LEFT: CENTRED PAINTING: ‘Now, Now Forever’ by David Charles Williams, 2012, Paintng, 110 x 110 x 6 cm £1,500.00
DegreeART NEW ART
NEW ART
OLYMPIA AS COLOMBINE, by Zoe Bergerac 2012, Limited Edition Print, 32 x 38 x 0 cm £39.00
SPACEMAN, by Andrew Newton, 2012, Painting, 78 x 100 x 2 cm, £1,250.00
TOTEMS V by Natalie Tkachuk 2012, Limited Edition Print, 59.4 x 42 cm £400.00
LINDSEY WIXON, by Jennifer Maidment 2013, Painting, 25 x 20 x 0.5 cm £400.00
DegreeART NEW ART
LE SUE MANI, by Giulia Quaresima 2007, Painting, 80 x 80 x 4 cm ÂŁ1,200.00
ENOUGH by Marek Hospodarsky, 2013 Painting,100 x 70 x 2 cm £900.00
THE ASSUMPTION OF POPE PIUS III, by Helen Gorrill 2013, Limited Edition Print, 80 x 50 x 0 cm £250.00
DegreeART NEW ART 1
1. THE WATER PARK by Jennifer Maidment 2013,Painting 68 x 80 x 0.5 cm £1,200.00 2. GIRLS IN TAXI by Andrew Newton 2013, Painting 100 x 120 x 4 cm £2,000.00 3. RESIN DEER by Dan Pearce 2013, Painting 70 x 100 x 4 cm £300.00 4. JUPITER by Zoe Bergerac 2010, Limited Edition Print 31 x 40 x 0 cm £39.00
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DegreeART CURATED
CURATED: WRITER NORMAN MILLER SELECTS FROM DEGREEART IN THIS COLLECTION WRITER NORMAN MILLER SELECTS SOME OF HIS FAVOURITE ART PIECES FROM DEGREEART. Norman Miller is a writer and photographer, based in UK covering travel, food & drink, arts & design, property & interiors plus health & science. His work has appeared in a wide range of major British titles. Newspapers include; The Times and Sunday Times, The Guardian, Daily Telegraph and Sunday Telegraph, Independent, Daily Mail and Mail On Sunday, Daily Express and Sunday Express, Evening Standard, The
UNTITLED00310, by Peter Matyasi 2011, Painting, 84 x 119 x 2 cm ÂŁ1,200.00
Scotsman and Scotland On Sunday. Magazines include; Sunday Times Travel, National Geographic Traveller, Imbibe, Time Out, Olive, Restaurant, The Spectator, FRANCE, Food & Travel, Discover Britain, Wanderlust, Geographical and Bella. Norman has also spend several years working on BBC Online covering arts and entertainment subjects, plus work for BA, Waitrose and Marks & Spencer.
THERE YOU AREN'T, by William Roberts, 2008, Sanded Emulsion Paint on Wood Panel, 172 x 120 x 4 cm, ÂŁ2,500.00
DegreeART CURATED 1. BLACK EYED GEEK by Sophie Derrick 2011, Painting, 75 x 75 x 0.3 cm £1,100.00
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2. ATTEMPT TO CAPTURE MOVING PIXELS NO 34 by Caroline Hall 2010, Painting 95 x 114 x 0.2 cm £2,200.00 3. PERFORMANCE NUMBER 2 by Alice Woods 2012, Sculpture 50 x 40 x 10 cm £245.00
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DegreeART ARTIST INSIGHT
SANT ANTONI & FACES OF MALLORCA PHIL DAVIS
@ Copyright of Phil Davis
14th January 2013. The drive out of the airport is silent and calm; I'm on the road at about 7.00pm. I hit the highway and see planes coming and going in the distance. Street lights, petrol stations, hotels and shopping complexes illuminate the night along the corkscrewing overpasses that filter in and out of Palma Airport on the island of Mallorca, pulsating a vibrant orange glow that tints the tarmac. The warmth and vibrancy contrasts with the bleakness I've left behind in snowy England. The illumination here is pop-art garish, almost a parody of the bright primary colours of '80s Hollywood. Soon I leave the highway behind and head towards the Tramuntana mountains that run from the south to Mallorca’s northern coast. Driving past the mountains at night is an uncanny experience. The temperature drops, followed by the aroma of fig trees and pine needles wafting on the cool breeze. Street lights all but vanish and the full moon reveals every gnarled detail of the Mediterranean
countryside, making it glow blue-grey and twisting it into shapes of fantastical creatures, the rough rocky slopes like the ancient skin of giant sleeping dragons. Every now and then a neon Coca Cola sign points to a dimly lit roadside bar, presumed empty. These isolated buildings are relics of a forgotten era, a time before the highways when these roads used to get some action. They simultaneously entice and unsettle, but hardly anyone sees them anymore. Its nocturnal aura is an Edward Hopper painting brought to life. I’ve come to Mallorca to photograph the annual festival of Sant Antoni, which takes place on the 16th and 17th of January. It commemorates Saint Antoni, the patron saint of farm animals, and almost all Mallorcan towns hold some kind of celebration. In the towns of Muro and Llucmajor, local churches bless any animals brought to them, typically horses, sheep, dogs, ferrets and birds. The residents of Arta in the northeast wear a white shirt and red
@ Copyright of Phil Davis
@ Copyright of Phil Davis
DegreeART ARTIST INSIGHT
@ Copyright of Phil Davis
DegreeART ARTIST INSIGHT scarf and visit their local church to sing songs. In Sa Pobla, musicians perform gloses, Mallorca's answer to flamenco singing. I have based myself in the northern town of Pollensa and its coastal sister Puerto Pollensa, both of which I photographed sparingly back in 2007. There is a sense of unfinished business. Pollensa, 16th January. Evening sees the beginning of the festivities. Bonfires and barbecues line the streets. People waiting for the fires to be lit grill food bought from market stalls lining the town square, mostly black pudding and a local sausage called sobrasada, which is soft and heavy on the paprika. Stacks of logs ready for the burning ceremony are adorned with elaborate sculptures of devil heads, wicker animals and other homemade creations. A churro stand peddles bunuellos (donuts) along with ghoul masks and pitchforks. A huge bonfire by the main steps of the church features an elaborate installation of monstrous creatures sitting at a dinner table. At one end stands the figure of a holy man - the figure of Saint Antoni - his hand raised in pious resistance against devilish temptation. A procession of locals in devil costume performs a symbolic dance before the fires are finally lit. They will burn through the night. The 17th of January is the day of the Pujada Del Pi - the Climbing of the Pine. Each year, people gather by the beach in the village of Formentor to watch as a 20 metre pine tree is cut down, stripped, tied to a boat and taken back to Puerto Pollensa. I make my way to the docks, where the wood cutters are binding the tree with ropes and harnesses. Reporters stand in front of the crowds, and people pose for the cameras, cheering, blowing kisses and tipping drinks all over each other. The boat comes into view and chugs slowly towards the docks. Guardia Civil (civil guards) clear the area and heave the tree onto the stern of the boat. There is thunder and buckets of rain. I zoom off and head back, hoping to be first in line (or at least near the front) when the boat arrives. Back in Puerto Pollensa the tree is unloaded and
@ Copyright of Phil Davis
@ Copyright of Phil Davis
DegreeART ARTIST INSIGHT
@ Copyright of Phil Davis
dragged through the streets to the town square, accompanied by xeremiers, small groups of musicians playing xeremias (bagpipes), flutes and drums. Firecrackers blast left, right and centre, a necessary boost of adrenaline for any inebriated crowd attempting to lug a huge tree all the way across a town. Varying grades of gunpowder are detonated throughout the day, inexplicably failing to cause serious injury. When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church. The aim is to climb to the top, the winner awarded a bottle of wine and bragging rights for the week. It is an unchoreographed scrum from the start. Men and women push past and scramble over each other, climbers claw at the trunk, slip down and are propped up again by the crowd. Reaching the top of a greasy sixty foot pole is self-evidently difficult. Of those who attempt it most will not get beyond a third of the way up, and it can take hours to crown a winner, leading to lulls in the drama, which the crowd solves by drinking more mescat, a local absinthe-like
concoction only somehow even worse. This year the victor is 19 year old Sergi Gomez, who also won in 2011. When he reaches the top he rips open a large bag of confetti, which floats onto the cheering crowds below. With the main event over, people head into bars to continue the celebrations. While I wait for my drink, someone lights a dynamite-sized firecracker and drops it through the bar window, a final deafening reminder of the day's drama. In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one. In winter, resort towns like Puerto Pollensa are quiet and largely empty. Chairs are stacked outside shuttered restaurants, old men watch the sea. There is less work and consequently much less money. An economy based around tourism and agriculture doesn't have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests. It feels strange and lonely and Hopperesque, a neon roadside
@ Copyright of Phil Davis
Coca Cola sign writ large. To outsiders it is a town in hibernation, but for locals there is a concentration of old traditions and festivities at this time, of which Sant Antoni is only one. There is joy and optimism here, along with a dignity and community spirit that deserves to be documented. People get through the dark and silent months as best they can, with parties, liquor and firecrackers, and wait for the summer days of plenty to return.
DegreeART ARTIST INSIGHT
@ Copyright of Phil Davis
DegreeART ADVICE
A CLASSICAL PAINTING FOR THE DIGITAL AGE A 21st Century Approach to Art Collecting First published in The Money Maker Magazine Issue Feb/March 2013
Investing in art has always been considered a realm ital era creating more platforms to showcase art and encourage more artist exposure, collecting art has now become a more accessible and tangible investment. In 2003 Elinor Olisa and Isobel Beauchamp created online art galleries, the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online. Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future, and therefore the opportunity to create a unique art collecting opportunity. bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the careers. It seemed obvious to us that the missing link
was a combination of business training, a community of support and marketing. This was all something we felt we could offer by harnessing the growing power of the Internet.� Over the past 10 years DegreeArt.com has established itself as the market leader in UK student and graduate art sales, hand picking and promoting the most promising artistic talent, with the idea thatclients invest in art that has the potential to become highly valuable. Elinor explains how DegreeArt has grown and changed over the space of a decade; “Isobel and I ran DegreeArt single handedly, until 2010 when we chose to raise investment to allow us grow the business further. This brought on board three new Directors from varied backgrounds. Before this we had run the gallery from a live work space, travelling around the UK holding Pop Up exhibitions and then from our Taking the business from strength to strength, Dean ever growing client base. Taking an active inter-
Elinor explains, “DegreeArt’s mission is to make original art affordable and accessible to all and in doing so securing careers for our artists and viable investments for our clients. We recruit from a unique sector of the art market, universities, and provide a vital platform for these artists to promote themselves from.” On the investment potential of art, Elinor comments, collector, has the power to own original art at affordable prices. Clients of the online gallery have witnessed a growth in value of their artwork of an average of 40% but as much as 83% in the past three years.” Holding regular exhibitions at their Vyner St gallery, DegreeArt also invite clients to visit the gallery for viewings, warding off the blindness of buying online. From 1st April 2013, DegreeArt will be launching the Collectors’ Club. The Collectors’ Club has been founded to support new emerging artists by enabling their work to be accessible to a new and wider audience. Through The Collectors’ Club members are able to come together to understand and appreciate owning contemporary art. As art becomes an increasingly popular choice to add to the traditional mix of equities, commodities and bonds, the Club will be of interest to a variety of art enthusiasts ranging from those who want to start purchasing art and investing in emerging artists, to established art collectors. Amongst carrying the most up and coming artwork, DegreeArt also provide art and interior design consultancy, art valuation, gallery hire, artwork hire, art insurance and framing services. Elinor sumarises “With the assistance of DegreeArt. com, becoming an art collector doesn’t require insider knowledge, or luck. By sourcing and working with only the most talented emerging artists, DegreeArt.com allows the novice well as invest in. You could discover the next Damien Hirst or Tracy Emin by simply logging on.” www.degreeart.com
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est in its artists, and recruiting new talent, DegreeArt has been responsible for hosting the Signature Art Prize, which is now in its sixth year, has become a staple on the art critics calendar and an aspirational goal for emerging artists.
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DegreeART ADVICE
ONES TO WATCH IN THIS ISSUE OF THE MAGAZINE, ISOBEL BEAUCHAMP SELECTS THREE ARTISTS TO WATCH. SHOWCASING THE BEST IN EMERGING, CONTEMPORARY ART.
JO SCALES Jo Scales- about to graduate, Jo Scales is already showing signs of being a leader among her contemporaries by arranging an exhibition, post graduation for her and a selection of other graduating artists in her year group. Her works are an investigation into the relationship between geometry, light and scale and how the three can be morphed by technology altering our perceptions of the generated forms. The resulting, intriguing photographs are intentionally misleading in their representation and Scales’ use of light and colour provide a striking result that make this artist one of my ones to watch.
ALICE WOODS Alice Woods- a finalist in DegreeArt's Signature Art Prize last year with one of her awesome (and heavy!) penny sculptures, Alice Woods has just returned from a term at the Ecole Nationale Superieure Des Beaux-Arts in Paris, where she created a series of beautiful book sculptures, which were an exploration into the remodelling of 'the book' from a transmitter of knowledge, to reveal the book also as an object with complex form and structure. 'The final structure is presented in a flexible form, which can be
URBAN SUBLIME by Jo Scales 2013, Photography, 20 x 26 x 0.01 cm £150.00
PERFORMANCE NUMBER 1 by Alice Woods 2012, Sculpture, 12.5 x 58 x 30 cm £245.00
UNTITLED (PERFORMANCE NUMBER 1) by Alice Woods, 2012, Etching print, 28 x 37.5 cm £40.00
displayed in an infinite number of ways'. Woods' other works examine performance. In particular her role as a flutist and the visual representation of the sounds she creates while performing, these pieces comprise of a series of unique etchings detailing the patterns of her playing. Her decisive investigations as a route to her creative processes is fascinating, highly skilled and impeccably finished. Not yet graduated and already part of a number of collections, I don't hesitate in suggesting you keep Alice Woods on your art-dar!
HORMAZD NARIELWALLA Hormazd Narielwalla revitalises Savile Row tailoring patterns using them as source material for exquisite sculptural collages. His fascination of tailoring archive earned him the only International Rector’s Scholarship from the University of Arts London at London College of Fashion where he is undertaking a phd. His research focuses on exploring a new value for the pattern by looking at them as historical documents and beautiful drawings in their own right, the British Raj being the context. During his residency at Dege & Skinner Savile Row, he wrote The Savile Row Cutter, the tailoring biography of Master Tailor Michael Skinner published by Bene-factum Publishers. London 2011, and in 2008 produced a limited edition artist book Dead Man’s Patterns, a design story inspired by bespoke patterns belonging to deceased customers. The book was acquired by several art collections around the world including the Rare British Modern Collection at the British Library. He has exhibited in London, Melbourne, Stockholm, Athens and the eminent Scope Art Fair in New York and is a participating artist, one of 11 for Project Space at Collect 2013, produced by the Crafts Council England, and hosted by Saatchi Gallery, London This is definitely an artist to watch not only is Hormazd skillfully exploring the intricacy of the materials he uses but he also interweaves a historical narrative that strenthens the context of the work. To see his works visit our latest exhibition ‘In All Directions’.
DEAD MAN'S PATTERNS - SKULL TOWER By Hormazd Narielwalla 2013, Sculpture, 140 x 46 x 46 cm £3,600.00
Totems X - Large Perspex, by Natalie Tkachuk, 2012, Photography, 101.6 x 76.2 x 0.7 cm, ÂŁ1,900.00