LONG LIST PAINTING I DRAWING & PRINTMAKING I SCULPTURE I PHOTOGRAPHY & FILM
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DRAWING & PRINTMAKING
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ABIGAIL BEATON Sister in Thought
About this piece: “Someone's expression can say so much yet so little. It can reveal much yet can hold back a lot. It can suggest doubt, pensiveness, reflection, insecurity or contentedness. I wanted my piece make the viewer wonder what the subject may be thinking and feeling.”
Pencil and Wax Crayon 21 x 29 x 0 cm £50
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AGNIESZKA BRZOZOWSKA Pioneer
About this piece: “On this linocut is a pioneer of the Yellowstone National Park. I really love making art connected with nature, and this person means for me the protection of natural beauty and recalling how people living in cities will always miss the wildlife. I also like to make precise works with strong contrast to catch the eye. Realistic work gives me satisfaction, especially human faces. I enjoy portraying faces because we can see in them the entire history of life.”
Linoleum, Paper, Burins 23 x 35 x 0 cm £50
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AGNIESZKA STROJNA Mrs E.
About this piece: “The presented work is the result of an earlier experiment with different materials and techniques. My interests have always included the portrait, but in my work I try to move away from the classic depiction. The portrait was created in two phases. The first of them was a direct contact with the model – it was then that I created a sketch. The next phase was to oppose the sketch with memories which reminded in my mind after the previous experience. Models of those portraits were not chosen at random. They are my family, some friends and also people whom I highly value.”
Paper, Ecolina 49.5 x 53.5 x 0.01 cm £300
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ALAKINA MANN Bodies
About this piece: “Ongoing themes in my work include the body, self-scrutiny, the senses and memory. In short; imagining how it feels to be human today. ‘Bodies’ explores the outside influences that shape our bodies and our view of them. I want to establish a positive connection to the body, to see it as a complicated, changeable, fleshy thing, not as a vessel for improvement or punishment. The obsessively detailed pencil drawing mirrors the nature of body culture, how we intensely analyse the body and attempt to sculpt them in ways often out of our control.”
Paper and Pencil 120 x 150 x 0 cm £950
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ALAN BAKER Untitled 70, Trap and Snare Series
About this piece: “In my recent practice I have been exploring the idea of the animal as practitioner and how different species might shape, frame and make space in our everyday urban environments through methods of sculpture and drawing. As human beings we share our urban environments with a variety of different species whether they are domestic, wild or farmed for their produce, most of them contributing to our own survival, but when does a wild animal like a rabbit or a bird for example become domesticated? My practice has aimed on exploring these issues by not only creating sculptures that are works of art but are also spaces for an encounter between species. As a part of this project I came across the term ‘Vermin culture’. This term is given to various species of animal which are considered a nuisance or a ‘pest’. This inspired me to produce a number of sculptures made from a variety of found objects that I placed in a deranged manner to give the illusion of an unstable structure that could trap or snare an animal. From these sculptural spaces, I have used traditional drawing techniques with a contemporary aesthetic to document and record these temporary structural forms. “To consider the boundaries of what it means to be human rather than animal” (O’Reilly,2009,p.149.) is a quote I have used as a guiding principle in my work to address questions about the residual traces left by animals, looking at the spaces animals inhabit and turning them into sculptural forms.”
Graphite Pencil 29 x 42 x 1.5 cm £400
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ALEKSANDRA BURY Semi II
About this piece: “This piece depicts an abstracted human head almost packed into a box. Ambiguous graphic forms reveal to us cares of human everyday life, shyly reveal another layer of ordinary and unusual hopes and dreams and loose thoughts permeating involuntarily in the structure of objects that appear in the production line”
Paper 300g/m, Charbonnel Ink for Etching, Aquatint, Etching 100 x 70 x 0 cm £200
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ALICE DU PORT Everything is Turbulence
About this piece: “The process of printmaking has always intrigued me, as it combines the methodical act of layering colours and line with an element of chance. The inks are merged together with each pass, so the images become uncontrollable, imperfect and dynamic. I take my colour palette from a collection of my own pinhole photographs. The dappled light and abstract washes of colour inspired this ambiguous act of mark making. The three rectangles are clean and minimal, yet within each shape, tiny details give an impression of a landscape awash with colour. The title is taken from 'The Sea Inside' by Philip Hoare; the contradiction of 'turbulence' against the stillness of the straight edges points out the spontaneity of printmaking.”
Silk Screen Print on Bread and Butter 200gsm paper 26.5 x 37 x 0.05 cm £200
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ALICE FREEMAN Corrosive Stage 11
About this piece: “The Corrosive series focus on diseased cells and malformations in Nature. Allowing the alchemy of etching to overtake my original drawing, the boundaries and restrictions of the plate decompose, leaving behind the appearance of an organic, natural print. The fine line between the beautiful and the grotesque intrigues me; how an image can simultaneously attract and repel.”
Etching on Paper 56 x 75 x 10 cm £500
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ANDY DINH His Momentous Burden (Atlas)
About this piece: “My works often develop into playing with traces of the past, and through this act I celebrate the activities that govern and construct who we are as human beings. In my current works I have ironically drawn internal organs appended with tattoos, which are generally inscribed on the external of the body. I've imprinted internal thoughts, used irony, known text, classic metaphors and subverted specific motifs in Greek mythology to assert my own idiosyncratic visual language. Each organ is selectively chosen to represent a significant character from a Greek myth, that myth then dictates what kinds of images are inscribed onto the organ. This form of body modification becomes an expression or identification of the fictional character. The myth and the imagery of tattoos become the template for expressing my own cultural and linguistic systems. The notion of these expressive tattoos being placed underneath the skin rather than externally suggests deeper thoughts, inner reflection, viewing the internal as a way to understand the external, and the microscopic versus the macroscopic. The use of internal organs is to exaggerate the concept of being human and human beings ("we're all the same inside"). However, by using the unique and intimate qualities of tattoos I have ironically personified these organs that were deemed to be once a component of an individual. The organs also furthers this idea that death and decay is inescapable, and immortality is a fool's dream - flesh is the very death of the body.â€? Pencil on Paper 76.2 x 50.8 x 0 cm ÂŁ449
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ANITA ROZENTALE I Remember, Therefore I Exist
About this piece: “I have always been focusing at memory, nostalgia and what makes us - us. I consider this as my signature piece as I am working with such mediums that have been around for centuries which allow me to further develop my relationship with the ongoing theme in all of my works. I consider my more recent works as turning point in my artistic career as I used to (and still am) using photographs from my family archive, but have expanded my research into cyanotype to push myself further.”
Cyanotype, Watercolour on Plywood 61 x 61 x 1 cm £450
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ANNA IRENA TOMICA Essentia
About this piece: “’Essentia’ was created using acid techniques such as aquatint, aqua fort, soft vanish and split. I wanted to express my relation to the creative process and its connection to my personal feelings. I named the piece ‘Essentia’ to outline the fleeting importance of this work. In this work, I aim to share deeply concealed emotions, over which I want to take control by materialising them. "We fear violence less than our own feelings. Personal, private, solitary pain is more terrifying than what anyone else can inflict." - Jim Morrison
Etching 13 x 13 x 0 cm £45
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ANNETTE FERNANDO It's Changed from Something Comfortable, to Something Else Instead V
About this piece: “I draw from film stills that I carefully select. I can only take these stills after I have absorbed their content. These scenes are always moments that resonate with me. The core of my work is biographical but I draw from appropriated mediated images, sourced primarily from archives, television and film. I believe that relating to these stories exposes the way in which our desires, intimate relationships and the way we behave is all conditioned by culture. By selecting these images I re-expose them, calling them into question. ‘It's Changed from Something Comfortable to Something Else Instead V’ is a lyric from the Pulp song 'Live Bed Show'. I'm making connections between themes in this song and the imagery I select to draw. For anyone who knows the song, it gives a second narrative and way to look at the work.”
Ink on Paper 23x 30 x 4 cm £200
ANNIKA REED Southerly Veering South Westerly for a Time, 6 at a time 7
15 About this piece: “I am interested in the question of life’s seeming absurdity. The absurd may make itself known at any moment and this is what I try to describe in my work; those vacant gestures of silliness, which remind us that our days are woven with strands of meaningless events. I record my daily experiences mindful of the idea that life is irrational, incongruous and illogical. I use a combination of drawing, print and stop-frame animation to force unexpected visual dialogues into the same pictorial window, assuming new meanings and narratives through familiar objects and everyday scenarios. The series of uncomplicated line drawings, while suffused with playfulness reference unimportant events and repetitions of everyday life. Installation: The combination of woodcut prints with stop-frame animation generates multiple visual collisions between the time it takes to make the work and the time it takes to see the work. The slowness of the woodcut drawing sits in contrast to the speed of the stop-frame drawing, which is static and in constant flux, both analogue and digital. Sound: The sound of the animation brings a further complexity, they are recorded from life and arranged into a compositional framework tending towards the ephemeral and avoiding the referential. This creates more ambiguity and the feeling of the absurd is not just anchored to the line of sight, the low level noises and murmurs amplifies the multiple contrasts in rhythm and chaos within the work.” Follow this link for supporting video Woodcut on Somerset Satin Paper and Moving Image Projection 350 x 280 x 100 cm £150
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CAROLINE DERVEAUX-BERTÈ Jolly Jolie
About this piece: “’Jolly Jolie’ is about the exuberance of happiness. "What is your most ecstatic childhood/adolescent memory?" From the answers, twenty-five scenes have been created expressing the bipolarity within the work and the artist - the gloomy and doleful black-and-white style of drawing and the euphoric narrative of the installation. The title plays with the dichotomy of the artist's language - French and English - and the same resonance of the word 'Pretty Happy'.”
Black Pen on White Cardboard 625 x 750 x 1 cm £2800
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CHARLIE JAMES The Eclipse: Courtship of the Sun and Moon
About this piece: “This drawing was inspired by a French silent film of the same name, made in 1907 by director Georges Méliès. The drawing began life as a collage and the process of making the piece was inspired by the hand drawn collage ‘Narkissos’ created by San-Francisco based artist Jess between 1976 and 1991. Jess was inspired by the myth of Echo in Ovid’s version of the myth in ‘Metamorphoses’. A curse akin to selective mutism is placed upon the nymph Echo who is doomed to repeat the last words spoken. Jess imposed similar restrictions upon his work by only allowing himself to use only images created by others. Like Echo he overcomes these limitations by only appropriating elements of the whole that can be used to express his own ideas. In my piece I adopted a similar strategy and collaged found images that represented my imagination of the story into my own configuration. I have chosen to enter this piece for the Signature Art Prize as it is the culmination of a month’s work and has inspired a new way of thinking as well as many other works to come. The work is filtered through my own perspective whilst referencing an original idea using other people's imagery. It is therefore a third hand interpretation of an event, emotion or idea and accepting these limitations within my practice felt important. On a practical level, it means I can recycle existing imagery to quickly represent an abstract thought or feeling.” Graphite on Paper 59 x 84 x 0.1 cm £500
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CHARLOTTE LUCY WHITEHEAD Old Man Mick
About this piece: “Old Man Mick was a known wanderer of Brick Lane, London. I befriended him for a couple of hours, where he allowed me to carry out a few sketches and photographs to work from. Aside from his somewhat out of sort appearance amidst the East London hipster scene, I was drawn to him by his choice of head gear. A plastic Viking helmet was tipped jauntily upon his head, he informed me it was made in china, a fact he seemed especially proud of. I never found Old Man Mick again, this piece is a reflection of my strife to create the truest representation of a man I barely knew, but our meeting inspired the way for my current art practise.”
Graphite, Pencil and Charcoal on Paper 64 x 80 x 0.1 cm £600
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CLAIRE LEACH WSA Window View About this piece: “This collective of small drawings was made for my Fine Art MA final exhibition. The drawings are fragmented views from the window of my studio space at Winchester School of Art. I made them in response to the space. I've been interested in trees and woodlands for a long time, when it came time to choose my exhibition space and studio for the final semester of my MA I chose a space that overlooks the River Itchen and trees. The drawings are quite delicate in appearance with almost a lace like quality to them. I draw in a slow and precise way, it's almost like a meditation. The small circles and shapes make up an image, it's a practice in mark making. The six individual drawings are displayed together, the six squares make up segments which mimic a window, taking me back to when I made them. They are not framed but simply pinned up on the wall, when displaying them I didn't want there to be any distraction. The photographs that I have attached show the drawings individually, in my final exhibition they were presented along the wall but would be presented grouped together, two rows of three drawings”. Pen on Paper 60 x 50 x 0 cm £2000
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ELEANOR ANGELINETTA Connected
About this piece: “This is an original dry point etching focusing on the relationship between mother and child in the womb. It is one of a pair. As the child is facing in towards the mother it could be seen that there is a positive connection between the two. This contrasts with the other piece in the pair where the baby is facing away from the mother. I decided to use the medium of etching as it is delicate and precise, almost scientific.”
Etching on Somerset Paper 74.5 x 75 x 2 cm £450
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EMMA VIDAL Babel
About this piece: “’Babel’, which references the Biblical story, is a large charcoal made during my stay at the artist residency Paul Artspace in the USA, awarded after my graduation from Central Saint Martins earlier in June. In my practice, I aim to explore the tension between civilization, beliefs and nature. Representing a disintegrating world where humanity had gone awry, I question the vulnerability of humanity and its ultimate quest. As monuments get lost through time, these feral children are left there; aimless, ultimately waiting for a new order to come, lost between chaotic ruins and wild nature. Nurtured from various religious experiences through my childhood in a Catholic family and my travels, I have an obsession for religious symbolism, questioning the reason and primary quest of human beings for faith and transcendence. While there is a sense of fairy utopia nature in my latest body of work, there is also a foreboding horror, like an ominous and everpresent conscience pulling us back from the sublime into the dread reality. I break from the traditional and obliterates selected details of the figures, replacing them with blurry and expressionless gestures. The identity of the figure disappears in crowded compositions, creating a sinister effect of the intimidation of the unknown. The common place is gone and the mystical is revealed.” Charcoal on Paper 152 x 108 x 0 cm £1250
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FLORENCE LOCKWOOD Noeud
About this piece: “’Noeud’ is a line drawing that has been edited in Photoshop. Ambiguities to be supplied by the lines; the decisions that are made become intrinsic to the work and how it looks at the end. How much I want each line to be aligned, or how much emphasis I want to give to certain marks.”
Digitalised Drawing Printed on Gloss Paper 69 x 49 x 0 cm £300
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GARETH BUNTING The Golden Circle
About this piece: “The Golden Circle is a large scale ink drawing, based on a recent road trip around Iceland. It is a sprawling, vast and dreamlike landscape which roughly maps out areas and documents my experience travelling. I drew from life and my own imagination, depicting a detailed, fantastical world, loosely based on reality. The landscape itself is impossible as I play with scale and perspective, disorientating the viewer, but at the same time I allow the viewer to follow repeating and evolving imagery along lines and interpret their own narrative. This piece has been exhibited at the Millennium galleries Sheffield, and the 20-21 Gallery in Scunthorpe.”
Ink on Paper 250 x 150 x 0 cm £7000
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GILL SMITH Synergy (Diamonds)
About this piece: “I am fascinated by visual perception - how the eye and the brain work together either in harmony or to create tension. I have created a series of abstract works called Synergy that question our ideas of reality & illusion. All are created to engage the viewer, making them part of the effect. I have created objects that are real and present where the illusion of movement is transitory and apparent. As the viewer moves around the piece the image appears to change and move. Each work explores a different effect - with this piece, the idea of iridescent colour change and movement. The works are created with a printed back layer (with this piece a digital print created using anaglyph techniques) and a front grid of laser cut Somerset Velvet paper. The images attached are of one work - but show the change in colour when the viewer moves from side to side. The price given is for the work framed with non-reflective art glass.”
Digital Print with Laser Cut Somerset Black Velvet Paper 50 x 50 x 3 cm £700
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HANNAH MCKINLAY Brother
About this piece: “I have always been interested in using the human form in my work. I find nothing more compelling than a portrait, in all forms. An ancient painting, a contemporary sculpture a modern installation. I however almost exclusively use the medium of drawing in my work, as I feel the meticulousness and time spent in creating a pencil portrait is appropriate to the subject matter. A person is a multi-faceted, curious and fascinating creature and taking the time to put every physical feature in place is a process duly fitting to the subject, I feel. But a person is not a perfect beast, and at the end of drawing the piece, I blow tendrils of jet-black ink on the portrait- sometimes completely ruining the work- just to nod to the unpredictability of a human being. I find the process of drawing a face incredibly therapeutic. The tiny details added at certain points can completely define the overall feel of a drawing. An infinitesimal patch of shading around the mouth can change the face from a smile to a grimace or a frown to a look of concern- and this completely absorbs me. Creating complete characters from a few patches of graphite pencil on paper. Showing a captured moment in time from a person’s life just from a couple of carefully placed lines. I often become very attached to the pieces I generate, and this care is something I want to emulate through the drawings. People are precious, they are loved, and every human being in this world is important, regardless of age, sex, gender, religion or race. It is this value for life that I wish to show in my work, and this project has always been grounded in human significance.” Pencil, Charcoal, Ink on Paper 29 x 42 x 0 cm £150
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HARRIET HORNER Expansion II
About this piece: “This piece was developed over a series of months working with the simple object of a piece of paper. Through destroying it, crumpling and transforming its shape into something three dimensional, it was then flattened again through the screen print. The paper has been expanded into an object in and of itself, creating movement and depth, tension and release. There is a juxtaposition between the fragmentation of the image and the order it demands from the methodical technique of silk screenprinting.”
Acrylic and Screen Print Medium 84 x 119 x 0 cm £150
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HENRY HUSSEY The Guardian
About this piece: “The artwork was made in response to my grandfather almost dying, I wanted to capture this point in his life and have him face his own sudden fragility. I was inspired by the story of Constantine The Great who had a 40ft statue in Rome, which was destroyed when the city was pillaged. The only remnant of this once colossal figure is his head. This sense of a noble man brought to his knees is what I identified with and how I wanted to portray my grandfather, it is both a fragmentation of his self and memories.”
Textiles 150 x 200 x 1 cm £5000
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JESSICA SMITH A Parliament of Owls
About this piece: “Painting, printing, drawing, embroidery and sculpture; for me this piece is all of the above. My language is the thread, this is my medium. The stitches become the narrative. I have inscribed eyes, eyes that I was drawn to when looking at a parliament of owls. I am inspired by all things tangible, the loose thread insinuates an incompleteness but to me it represents ambiguity. The history of embroidery and the feminine is recurrent within my studio work this year, and this work was produced for my painting elective, where we investigated the concept of a painting, paint, and painter. The oil paint was applied to a board and then printed by rolling over the fabric with a roller, and then it was stitched into. Originally the work began on the opposite side but I was more enthralled by the back where the paint had bled through as it was much more subtle and offered more space to embroider the many eyes into the Muslin sheets. I am very happy with this piece and think it looks best attached directly onto a wall, it shouldn't be framed because then it becomes a piece similar to what girls were made to produce many decades ago to keep them busy. I am completing these embroidered pieces for my own pleasure of keeping busy, no one has forced me to make this, and I think there is a beauty in that, of wanting to stitch, and not worrying about tying off ends and framing the piece produced.�
Muslin, Cotton Thread, Oil Paint 73 x 92 x 0.2 cm ÂŁ75
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JULIA MENZIES 3 Minutes
About this piece: “This piece was made in response to the listed WW2 hangar situated at Brooklands Museum in Weybridge Surrey. It depicts the connection between places and people. There was a fine balance between entrapment and security within the buildings. The work carried out by the young women on the Wellington Bomber involved danger but also lionheartedness. Unfortunately, many of the women were often oblivious to their contribution or worth in the war effort. The work uses the original canvas used in the restoration of the Wellington Bomber, only two of its kind left in the world that saw active service. “3 minutes” signifies the amount of time it took for Brooklands to be bombed during the war when 83 people died. This is one of four pieces, which was displayed earlier this year in the actual war bunker next to the hangar. This piece signifies the fragility of connections.”
Archived Photograph, String, Canvas 29 x 24 x 2 cm £350
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KATE FAHEY Seeing is Believing
About this piece: “This is a laser cut wood cut on birch plywood. Is has its origins in a small graphite powder drawing that was a response to a found satellite image of the lost Malaysian Airlines Flight last March. The image resonated with me as it was pixelated and obscure, yet it claimed strongly to identify the wreckage, which appeared as a few white and grey marks on a vast dark ocean. However, the plane has never been found, nor have traces of the wreckage. The vague drawing was entirely fabricated and invented by me. The fact that something could disappear without trace, and defy today's satellite and scanning technology impacted on me deeply. This piece is my 2015 Signature piece as it marks a turning point in my practice. I have used scanning and the modern technology of the laser cut to create an entirely fabricated image which sits in many realms, an object in the night sky, an ultrasound scan, a satellite image. It is searching and grasping both conceptually and formally. The dialogue of using a non-traditional woodcut technique on the traditional medium of birch plywood has opened up a wealth of possibilities for me. This presented me with challenges both in the cutting and printing from which I have learned new ways of making which tie in conceptually with my ideas. It marks a way forward as I begin to think about my final show at the Royal College of Art in June 2015. It has inspired and changed my practice while sitting comfortably within my way of making and conceptual interests.”
Japanese Paper, Deep Space Ink. AP (Artist Proof) 162 x 117 x 0 cm £1600
KRISTINA CHAN Topographics
31 About this piece: “Maps hold power, or inherit it rather. Taken as truth, it lays out a city in a plain, comprehensive system of streets names and crossroads. The holder of the map adopts expansive dominion over an area with a moment’s glance. It indulges the viewer and lifts him up: Cartography is synonymous with voyeurism. And yet despite this authority we imbue, these lines began as mere conjecture etched in by explorers as wind patterns and inappropriately scaled kingdoms bordered by large expanses of unexplained unfamiliar “Bavaria,” and a whole world comprised only of two continents. This project was an exploration into the abstraction and de-familiarization of cartography. I am interested in this modified topography of space: The fractured momentary outlines that repeat and run a city. The urban has become synonymous with the continuous and shifting, and thus the rules we construct to navigate such impossible borders. ‘Topographics’ is composed from blind contours derived from elevation maps of different city borderlands—Florence, London, Hong Kong, Vancouver, and Paris—transferred onto lino cut plates, moulded and finally cast in bronze as reliefs. These plaques can be rearranged at will, allowing for new cities, borders, and landscapes to be discovered. The piece was then created into an edition of 10 by digitally scanning the plaques and 3D Rapid Form printing each piece which were then electroplated in bronze. The material transformation within this piece represents my attempt to chart such boundaries.”
Lino Cut, Bronze 73 x 110 x 2 cm £3000
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LAUREN HELLIER Tarot About this piece: “This was the piece I exhibited at my first solo exhibition during the summer in Berlin. The piece is a personal interpretation of the major arcana picture cards from the classic Tarot playing card deck. The imagery takes inspiration from occultism and 18th century mysticism with a twist of Memento Mori motifs such as skulls and bones. Each image has been laser etched into a cherry wood panel reminiscent of the etched wood blocks used to print illustrations in early forms of printing. The cards are designed to be functional in tarot card readings with symbolic elements directly relating to the original meanings of tarot used for divinatory purposes. The cards work aesthetically in union with each other. Themes and motifs are repeated throughout the deck and when exhibited together they combine various illustrative techniques to produce beautiful textures through laser etching. I encourage people to touch them which is often a faux pas in gallery exhibitions. As tarot cards are meant to be handled I want the same for my cards, I want a sensory response to the texture of the wood, not just the symbolic imagery. For this reason I chose wood instead thick card or paper illustrations.”
Copic Multi-liner Illustration Laser Etched into Cherry Wood 187 x 17.2 x 0.3 cm £2500
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NINA SCHULZE Abasement of Morality
About this piece: “Nowadays fashion is much more than just clothes. Fashion designers are able to create fantasy worlds with their works to escape the drab monotony of everyday life. Through this they serve the humans craving for escapism but convey as well a dangerous, idealised idea of beauty. Nevertheless the fashion industry works with euphemistic marketing and obscures its frequently tough, slavedriven aspects. My submission illustrates the abasement of morality in our today’s society in regard to abusing the desperation of less privileged populations. We are aware of the circumstances some of the low cost fashion is produced in but accepting this exploitation of labour for the benefit of cheap clothes. In my image the spoilage of the oranges and its vanitas symbolism illustrates this topic – beginning with the orange blossom symbolising innocence and ending with the by maggots infested orange symbolising the loss of that innocence.”
Giclee Print on Hahnemühle Photorag Fineart Paper, Digital Collage of Mixed Media Drawing and Painting 58 x 76 x 0.1 cm £120
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OLIVIA BETTS-DAWSON Dreaming for Peace
About this piece: “The idea which came to me whilst dreaming, reflects the concept of childhood and the imagination. All things are possible to a child, until an adult tells them is isn't. This illustration represents belief beyond human understanding. Faith beyond human logic.”
Watercolour, Pen 29.7 x 42 x 0 cm £650
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PAUL MITCHELL An Illegal Urban – Taipei City
About this piece: “My work incorporates spaces which can be viewed as potential sites of an event that has happened, or is just about to happen. This signature piece reflects my interests in uncanny resonance – perhaps both abject and beautiful at the same time. I’m concerned with the ambiguity of communication; what we choose to say and not say, choose to remember and to forget – leave out, turn a blind eye to, and events we imagine, embellish and invent. I use both self-generated and found images. I have used three selfgenerated images in my signature piece. I manipulate pictures manually and digitally, working with overlapping textures, marks and colours, resulting in an enigmatic, timeless quality.”
Giclee Ink Jet Print on Hahnemuhle 310 GSM Paper 60 x 84 x 0 cm £400
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SALIHA EL HOUSSAINI Flux Waves 1
About this piece: “Instead of using computer generated compositions, I use my own intuitive algorithms to explore and stretch the limits of the mind. There comes a point in Flux Waves where I being human could no longer see the path, as a result I let the line take charge and guide me, therefore allowing the lines to merge with each other in a synchronistical manner. It was as if the Line defined its own path.”
Indian Ink on Mount Board 86.5 x 117 x 4 cm £1950
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SAMUEL TURPIN Apocalypse: 16.05.14?
About this piece: “Water and paint colliding, creating chemical reactions and chance happenings, where pools, stains, marks, harmonies and conflicts share the same surface. Lines of graphite, ink and acrylic emerge from the chaos, serving to define and form the space on the picture plane. A drawn black outline resembling a tiger is seen, wraith-like, through skeins of paint, its totality fading, covered by the bright colours that resonate around it. From afar the abstract marks can appear to follow natural forms as if a landscape, where the planes of washes blend together. In some instances contour lines have been drawn beneath the sedimentary manifestations, relating material relationships to the natural world. Other detailed images, often digitally abstracted and hand copied in carbon or graphite from media sources, can be seen when close to the picture-plane. These are connected through varying lines, glances and actions and situated based on their hypothetical ties and the material surface of which they interact. The connections can be hard to follow, the images frequently obfuscated by the dominant flat paint. The monumental scale of the paper creating an embodied experience; a vast field of tension between flatness and illusion where close-up the details of the picture escape the periphery, engulfing the viewer with a bombardment of information. My practice stems from a strong interest in the over-saturation of images in contemporary society, including their circulation and the influence this has on creating pictures. I use a multi-disciplinary approach to image making to investigate my interest in different ways. My current focus has been on my drawing practice which has recently blended into the realm of painting; exploring mark-making, when line becomes splash becomes spill.â€? Mixed Media on Paper 370 x 240 x 0.1cm ÂŁ10000
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SANJA FERATOVIĆ Wire This, Tesla!
About this piece: “The main drawing is one of the sixty drawings I presented as part of my graduate work at Academy of Fine Arts, where the passion and love for theatre and drawing were merged in one. There are no boundaries in the theatre, as well as drawing. The paper becomes a stage moulded by the actors of lines and shapes and it is a living tissue. Drawings become some stolen moments and stopped time. Some drawings represent my dreams that are my personal performance of which only one small piece is materialized and placed on the paper. They are the sketches of my dreams. I do not interfere more in it, I do not try to transfer it on a larger format or test it how will the drawing look like in other techniques. I don't add anything. This scene is over. Here, a so called production B, becomes what is most important and original. It carries an aura because it is the first and authentic. The words or sentences I use are generally determined before or during the process of drawing and they are treated as a part of the drawing. The base in my art are children's drawings and prehistoric drawings which are deprived of any academic training and without affecting an adult, already shaped mind. Therefore I draw with my left, primitive hand instead my right hand with which I usually write. As I let my thoughts to flow where they want, I also let my left hand to make all the 'errors' which have added more spontaneity to my drawing. The hand is free from accuracy, security and supervision. I tend to always accentuate the drawing, the basis of everything that is slowly vanishing because of accessibility and popularity of new media and new options provided with them.” Paper, Pencils, Ink, Watercolours 46.5 x 32 x 0 cm £52
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SHIVANGI LADHA Unending Scroll About this piece:
“What interests me is the complex relationship which Nature has with the ever expanding technologically advanced lifestyle and urban landscape and the way they coexist. Currently I am interrogating some extreme scenarios where humans are controlling and violating nature to a point of reduced diversity and extinction. Thus my art raises various political and social concerns in terms of wanting to preserve nature. I challenge drawing at every step in my practice and thus it has become an essential medium to convey a message. I try to push the boundaries of drawing by using it in a form of installation which enables the viewer to experience my artwork while sharing a common physical space. My drawings often are in the form of a narrative .Also the intricate details in my drawings invites the viewer to come closer to the subject, thus creating an intimacy between the viewer and the work. Repetitiveness at this scale makes my work extremely laborious and time consuming. This style of working helps me to meditate in my own ways and helps lower down my anxiety, which I usually suffer from.”
Permanent Ink and Watercolour on Gateway Paper 70 x 305 x 0 cm £4000
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SONYA WHITE Trail About this piece: “We all share the same spaces, past and present.” My inspirations come from the mysteries of the universe, our incredible world and origins of life. I question the scientific and spiritual elements of our existence. I am interested in the passing of time, journeys of life and memories that we pass on through our cultural traditions. I use various materials to create my work including dye, ink, bleach, water, ice, vinegar, metal (rusty objects), cyanotype (light sensitive chemicals) and pyrography (writing with fire). I primarily use cotton cloth as a support. I usually create my work outdoors, which engages me with the natural elements; the scientific aspect of the climate is significant to the outcome of the work. The sunshine, ice, rain and temperature all play a part in how the work develops. I feel that I am connecting to a source of power, touching on alchemy in my work. When I am creating I am on a journey, I allow my impulses to guide my experiments. I am moving forward and learning, I am captivated by the biological elements that contribute to my work but also I am intertwined with the unknown which feeds my curiosity and helps me to understand my spirituality, our past and the sacred in our cultural traditions.
Rust Print, Pyrography and Dye on Vintage Cotton Cloth with Metallic Textile Backing. 40 x 40 x 3 cm £250
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STEPHANIE HADINGHAM With or Without Aura 2
About this piece: “This piece is a continuation of experimentation from my practise at university. My art is based on medical conditions that intrude and alter our experience of the external world. The need to capture or translate a purely sensory experience is an impossible task. One of the main reasons for this ‘impossibility’ is that each experience is subjective, no one experience to a sensory trigger be it a piece of music, colour or imagery will have the same effect to everyone’s experience and reaction. This is because we are constantly recalling on an unconscious level similar situations and experiences to help us approach the trigger of the sensation in the same way. This ‘impossibility’ is important in my work because my subject matter has been trying to translate the visual obstructions that manifest during the medical condition - the migraine. This is mainly collected from my own experiences of this condition, at the start is was driven from my own understanding of what the experience I was having felt like and the impossibility of finding the right descriptive words to relate it to others to truly understand. I fully understand this type of experience is truly subjective as the experience is internal and something only I can see. I fully believe that I can never create a ‘true’ translation of this experience but my drawings act as a type of archive of shapes and patterns that appear in my vision which help to try and capture a close replacer of the essence of the movement and nature of the visual obstructions.”
Pen and Paper 42 x 59.4 x 0 cm £400
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SUSAN EYRE Paradise HP2
About this piece: “My practice explores ideas of paradise in relation to landscape, reward and transformation. I have been visiting locations called Paradise to take photographs which I then respond to in my work. This work responds to the Chapel of Rest found in Paradise Industrial Estate, Hemel Hempstead. It is a soulless building in an unprepossessing area. I used etching to add history and iridescent interference pigment on the windows to give an otherworldly quality to a place for souls to rest.”
Soft Ground Etching with Chine Colle and Interferance Pigment on Pescia Grey Paper 42 x 59.4 x 0 cm £400
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THOMAS FOWLER Quantum Flux String Vibration Field
About this piece: “A drawing intended to show motion and also the idea that time is not necessarily real; there is no past or future, just the moment you’re in. I like to think of this drawing as representing quantum entanglement in some way.”
Graphite and Various Rubbers 50 x 69 x 0 cm £1000
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TIM KLOEUD Discord
About this piece: “Artists' block is a big factor within every creative’s practice. This piece was the beginnings of a project documenting my frustration with this, developing into an exploration within the everyday emotions we go through as people within society. This was one of the first pieces where I felt I truly embraced my method of working in a strong contextual sense.”
Pencil 30 x 40 x 1 cm £330
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TREVOR ABBOTT Niagara Falls VII (a)
About this piece: “This piece comes from a larger series of works concerned with the use of photography by tourists and the effect this has on the destination or event and the images that proceed it. More broadly, these are technical images being images extracted from the system or program within which all such images now circulate. I use print to recover or fix these images as they circulate endlessly in an inchoate state, always available but never resolved being subject to distortion, fragmentation and recombination.”
Screen Print on Paper 71 x 71 x 2 cm £475