LONG LIST PAINTING I DRAWING & PRINTMAKING I SCULPTURE I PHOTOGRAPHY & FILM
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PHOTOGRAPHY & FILM
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ALICJA KOTLAREK Hors Les Murs
About this piece: “The shooting of this special performance was realised by a three-member team of students from French university. We decided to present a person who is different, full of passion, dreams and love. A person who looks for understanding searches for friends and tries to share his colours in a big, grey, cold city. Paris seemed to be the best place to show the effect. Wearing the orange outfit I really felt different, but not interesting or unique.I felt like a strange alien, like nobody could help me, hug or accept. People around seemed to ignore the orange creature.”
Photographic Paper, Matte Finish 42 x 59.4 x 0 cm £360
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AMANDA CANNON Heart of Fashion
About this piece: “I thought that I would have fun with the female gaze, and what the model might want to say to the mannequin, instead of looking directly at the camera. This piece is about the creative process, and the model having a dialogue with the mannequin, as both take on the role of the ‘muse’ in different parts of the creative process. More often than not they can mark the place where the creativity for clothes making in the imagination of the designer or artist starts. It's important to take your creativity seriously as well as have fun with it, and for the viewer to enjoy watching, and thinking about what you have produced. I hope that my art helps to make or brighten someone's day!”
Photographic Print 59.4 x 84.1 x 0 cm £950
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ANDREW DUFFY Good Friday, 2013
About this piece: “This piece was my first real experiment with photography. I photographed significant areas in my hometown that I often visited or in Enfield Street, where I grew up. The title refers to the day on which they were taken and these images remind me of where I have come from to achieve what I have. The photographs hold a sense of nostalgia I often feel when I am looking at them.”
Paper, Foam Board 42 x 29.7 x 0.5 cm £75
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ANNIE OUNSTEAD Dungeness Medium Format
About this piece: “A two piece series of landscapes from Dungeness.”
Hassleblad 500 42 x 42 x 0 cm (x 2) £300
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BEN APPLEGARTH Delta Nebula 0011-0638
About this piece: “This image is composite of macro photographs of oil paint on a plastic slide; the slide is between 2 and 3cm wide and the final composite image file is between 2 and 3 metres wide (at 300ppi) and consists of up to 130 individual images. Only the very centre of each initial macro photograph is used to achieve the sharpest final image, these cropped images are then stitched together using an open source panoramic software. The original photographs are taken using a custom camera rig I designed; it allows the camera to move in all 3 directions so that the camera can occupy any space within its cube enclosure.”
Inkjet Print on Canson Baryta Photographique 100 x 60 x 3.5 £200
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CAROLINA PITEIRA Behind the Red Curtain (Film)
About this piece: “A forgotten ballerina is locked inside of an old Theatre Room, so she dances. Forever. The dimensions include the TV screen with the frame.” Watch here
Film still
Video 54 x 84 x 12 cm £1000
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CHANG SUN Love (Film)
About this piece: “This is a video installation to express the significance of distance in a romantic relationship. It is consisted of two removable tables, two spilt-screen videos about a kissing couple, and meting marshmallow. Viewers can move the installations by the instruction on the floor. When they are close, the TVs would be stuck by the marshmallow and hard to separate; when they get far, the selfresilience would put them together. This is symbolic of love and romantic relationships; it is hard to breathe when couple are too close, but they’re eager to be together when they are separate. Love is full of contradictions: bittersweet, freedom, restraint. The sweet smell of the marshmallow adds another sensory level to this installation.” Watch here
TVs, DVD Players, Removable Tables, Melting Marshmallow 110 x 110 x 45 cm £600
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CHLOE HAYES The Seeing Brain About this piece: “‘The Seeing Brain’ is a photographic representation of visual cognition and the human’s weakness for curiosity. The work depicts an angel with its back to the viewer, initially an ambiguous object. As an audience, we visually understand an image in stages. Once the viewer records the subject as the back of an angel, our brain begins to interpret, fill in the blanks and create an image of what we cannot see. Drawing from past memories and experiences we can use visual manipulation to form a three-dimensional, rotatable object within our imagination. The interference of the sheet behind the subject, take the angels out of context and allows the viewer to concentrate purely on the shape and detail, isolating it from the outside world. Inspired by Pictorialism, the use of dramatic lighting and shading convey an expressive mood between the harshly contrasted subject and the subdued backdrop. Influenced by 19th century photography, the three darkroom prints are framed by arch mounts. These help the viewer to focus on the subject and soften the perimeter, along with a darkened vignette. Shot on 5 x 4 Toyo Field camera, 3 handmade frames.”
Silver- Gelatin Ilford Warmtone Fibre-based Paper, Mountboard, Wood and Glass 25.4cm x 20.32cm x 3cm (x 3) £1000
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CLARE BAYBUTT Now… This (Film)
About this piece: “I have always found an underlining conflict in cinema between the poetic and the factual, between making film attractive and making it true. What if the ornamentation of narrative was removed; leaving only the floating fragments of time, exposing some areas and hiding others until our perceptions of the image reveal as much as they conceal? The beauty of cinema has become reduced to disjointed imagery; brief moments that pass on the side of a bus or within the pages of a magazine, adverts on television that sell time in seconds. It is common to feel a sense of familiarity with a film without ever having the need to experience it. Time becomes of paramount importance over the seductive image, our escapism, and our lives in general. Scenes within films that are longer than a few minutes are seen as arduous by critics, the apparent agitation of those shuffling in their seats are a result of the fast paced consumption of entertainment.
Film still
I produce large scale projections housed in darkened spaces; my current work titled ‘Now...This’ is filmed solely using DSLR cameras. Primarily used for a photographic purpose the DSLR capture is instantaneous, lacking in the tangible tradition of celluloid film. It loses its patience. I make use of near static imagery as a vehicle for questioning the role of time, the nature of the cinematic as a living present and the photographic as that of a fixed past.” Watch here. Password: nowthis
DSLR Camera 125 x125 x 0 cm (Variable) £150
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CORINNE PERRY I Worry #3
About this piece: “'I Worry #3' represents my Signature style, as it explores the very essence behind my photographic practice and conceptual underpinnings. The use of photographic self-portraits signifies great importance, as a form of therapy, driven by constant attempts to rid myself of negative emotions. This piece is part of my confessional series of self–portraits, that explore the notion of worrying, which is the mind-state I have struggled with intensely since childhood. Through this confession, the viewer is offered an insight into my emotional state, with the creation of an expressive mind drawing, drawn upon instinct onto my bedroom wall. The series, 'I Worry', has been influenced by the artist Louise Bourgeois, who gained recognition for her instinctive and emotional visions of her past, a physical portrayal of inner frustration. The very space that is trapped within the frame, my personal space, transcends into an extension of self, a mental space in which I am able to explore this very struggle with worrying in front of the camera's gaze. I have a particular affinity with this piece, because its production provided a particularly strong sense of catharsis, easing a struggle with depression.”
C-type Print from 35mm Colour Negative Film. Printed on Semi-Matt Fuji Crystal Archive Paper. 43 x 33 x 3 cm £300
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DANA ARIEL Untitled (Crash Site)
About this piece: “'Crash site' is part of a project that involved a search for the buried ruins of a plane that crashed in the UK. I explore the way knowing and seeing transforms into print through an experience of witnessing and storytelling. In my practice I use photography, printmaking, video, drawing and text as ways of mark making, as techniques of capturing traces. The making process is for me the opportunity to see again, to re-experience and to remember through visited sites, the darkroom and the exhibited print. Edition of 10.”
C-Print (Hand Printed) 64 x 64 x 0 cm £550
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DANIEL MOUNTFORD Double Exposure Portrait
About this piece: “The series this image is taken from was created with a camera using a technique known as double exposure. Post production work consisted of change in tone, removal of odd blemishes & the addition of some vector.”
265 gsm 100% Cotton. Hahnemühle Smooth Fine Art Archival Quality Paper 60 x 60 x 0 cm £150
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DAVID LANGHAM Illusions < Deceptions About this piece: “’We live in a world where there is more and more information, and less and less meaning.’ - Jean Baudrillard, Simulacra and Simulation, 1981 My most current piece of work deals with the abundance of influential language and imagery in our built environments. Advertising immerses humanity into a consumerist culture, blurring lines between information, meaning and significance whilst also creating distorted, often materialistic, values. When I show people these images, they can almost immediately detail the brands and locations on show, despite there being no text to inform them of such. For example, many recognize the vending machine, or the large banner as "coca cola" which is testament to how familiar a soft drinks company and its colour ways are, that the most minimal of signs can trigger the recognition. Imagine a world without influence from marketing and advertising. Desires and goals would be based on more instinctive and human concerns, rather than being concerned with acquiring assets and owning commodities. This work was awarded the FORMAT Photography Festival award at the University of Derby degree show, and is the most technically competent piece of work I have made to date.”
Large Format Photography, Digital Manipulation, Photo Papers 50x 40 x 5 cm £800
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DENISE ACKERL Heavy Weight About this piece: “’Heavy weight’ is part of a photographic series I carried out during my MA studies at Chelsea College of Art, which is located right next to Tate Britain. The series deals with the (sub) conscious pressure of postgraduate students to start a career in contemporary art after graduating. During my studies and still now, a few months after I finished my course, I keep wondering if I will ever show in a big institution like Tate Britain. Will my name one day be written two-storeys high all across the corner of Tate Modern? The work is an illustration of the paralysis created by these questions and the resulting pressure that is why it is my signature artwork 2015. The title “Heavy weight” refers to British poet Herbert Read who wrote in his book “To Hell with culture”, first published in 1963 by Routledge and Kegan Paul, that “It is simple a historical fact that cultural institutions have imposed on the masses by rulers or private patrons enlightened enough to know that such institutions are neither luxuries nor mere amusements but necessities of civilized life.` I don´t agree with this dictum, I believe that cultural institutions “imposed on the masses are so much deadweight- to hell with such a culture!”
Ink Jet Print on Paper 30x 42 x 0 cm £565
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DENNIS REINMULLER The Life Drawing Class (Film)
About this piece: “’The Life Drawing Class’ is a CGI-only video made by digitally recreating environments using photographs, Google Earth, the memory of the creators childhood homes, the music video for Nirvana's 'Heart Shaped Box' and reminiscing about the videogame DOOM. In the class a computerised version of the artist (made using 3D photography and animation software) will teach you how easy it is to draw, if you follow the artist’s instructions closely. The film is collaboration between Dennis J. Reinmüller and Debbie Moody.” Watch here
Film still
Digital Animation 6:06 minutes £500
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DILARA ARISOY Van
About this piece: “This series is very important to me as an artist. I've conducted this project in 2012 in an eastern city of Turkey, which has just lived through a macro scaled earthquake. It was the first time I became to face with a totally other world which also lead a significant change in my both professional and personal way of seeing things. ‘Van’ is a very clear picture of a third world city and its everyday life. This scene in this picture is so uncivilized, poor, dirty, unhealthy, dangerous and extremely hard but at the same time so sincere, real, blessed and absolutely beautiful. I miss my spent months there every day. I miss the hardship and the happiness in the end when you succeed and share it with the nearest people around you who embrace it more than you even though you just met. I learned how to be happy easily by this treasure project. That's why this project is my signature piece. I was born and been living in Istanbul. I am from the west part of the country. I used to think even life and differences have limits. This city is in the east of Turkey. I saw that even life and differences don't have limits.”
Fuji Crystal Archive Paper, Mounted on 2mm Acid Free, Archival Quality Card 80 × 100 × 0 cm £500
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ELLEN YOUNG Inside Out
About this piece: “This photograph is one out of a series of projections I created for my current studio work which began through the exploration of the theorist Nietzsche; his views on values; the death of God; the dissolution of man. With this as a starting a point the series has then gone on to be influenced by today's consumerism society and also self-destruction. Through the projections the work foreshadows the death of morality and hopes to evoke a sense of unease within its audience through its uncanny connotations of the insides of the human body.”
Acrylic Paint, Clingfilm 29.7 × 42 × 0.1 cm £35
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EMILY NAISH Lost and Found and Lost and Found and Lost
About this piece: â&#x20AC;&#x153;This summer, I became curious about bees again, after collecting them a few years previously, wondering what might happen if one was pitted against the raging waves. Of course the sea would swallow that bee in a moment, but in an animation where anything can happen really, there might be that hope at least that it might not be lost. For the purpose of discovering the bee, and also as a way to link the two animations together, I introduced a lighthouse beam. Amongst all the clamour and terror, the lighthouse stands as a symbol of hope, so it seemed apt that this lost and exhausted bee might find solace in its swinging beam.
In situ shot & film still
The visual work that is on show only provides clues to the underlying narrative, and I intend for this to be drawn out rather than instantly discovered. However, there is also a short written piece, a final clue that provides a way in for the audience. With the elements all working together, I hope this is piece draws in an audience, enticing them to sit quietly with it, giving space for quiet reflection as the sea, allencompassing and endlessly expansive, ultimately wins; there is no real fight against it. But perhaps we might wait for a moment with bated breath, just in case. Watch here and here
2 x 1:00 Minute Stop-Motion Animations, Wooden Plinths and Writing (51 x 34 x 122 cm) and (17 x 17 x 122 cm) ÂŁ500
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EMMA MATTHEWS Demulsification
About this piece: “Light is an integral part of our existence, without light we simply can’t see, let alone form colours and see lines that make up an image. It is this act of seeing that affects who we are (as human beings) providing us with different unique and personal experiences and emotions. I’m influenced by light looking at the effects it can have on us and also providing it with tangibility. Within this piece light is used harmoniously with contrasting substances such as oil, water and ink, hence its title ‘Demulsification’. It emits ironic characteristics, featuring light (as a tool that allows us to see) yet it is presented in an abstract form making you question what is actually happening, thus stressing the importance of light. I selected this piece as it truly identifies me and my interests, which is reflective of the word ‘signature’ -as a unique mark or characteristic representing identity.”
Oil, Water and Ink. Photo taken with Nikon D5100 40 x 30 x 0 cm £300
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ESME HORNE Mark Making Through a Lens
About this piece: “The work presented constitutes an ongoing study into the potential of using light on photosensitive paper as a means of mark making. Working with the enlarger necessitates a collaboration between human and machine, whereby the physicality of this relationship (as opposed to the virtual of digital) instigates a greater potential for chance. These chance occurrences or ‘mistakes’ feed the progression of the work, exposing new avenues of exploration. In this way the tools of photography extend beyond their indexical purpose and enable further exploration into the possibility of translating the invisible properties of light into a state of permanence in the form of an image on paper. ‘Mark Making Through a Lens’ is the culmination of an investigation into the alternative methods of distorting the path of light from the enlarger to the paper. Cones, containing materials chosen for their ability to refract and reflect light, were placed under the enlarger so it was possible to direct light from the lens through a specific route. This small aperture of light was exposed onto the paper which in turn recorded the journey of light passing through these materials, solidifying what had previously been transient. Photographically speaking each mark is a separate exposure, therefore each mark is an autonomous image unto itself. Thus one print presents not one but a number of images. Collectively the marks on each sheet combine to make up one whole image, compositionally varied and distinct from one another yet all made through the same process.”
Unique C-Type Print 25.4cm x 30.5 x 0 cm £300
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EVANTHIA AFSTRALOU Fur Elize (Film) About this piece: “This piece was done during my residency in a living museum in North Carolina called Elsewhere. I was always interested in the art of everyday mundane activities that are performed almost mechanically because of a long history of repetition. However, this video was filmed in a museum, and my argument was that, since the museum is an establishment that can validate something as art, anything done in the museum is art, even if it does not look like art. Following ideas about non art , or arts that does not look like art, I choreographed people to perform a simple activity, such as swiping the floor, while 'Fur Elise' was playing in the background and I then tried to synchronize their movements to the music. The music was then removed and people were asked to imitate the sound while they were performing the action again.
Film still
For me, this piece signifies everything I want my artwork to say. As Allan Kaprow once said; “Ordinary life performed as art/not art can charge the everyday with metaphoric power.” Watch here
Film 192 x 108 x 0 cm £550
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GABRIEL ANDREU A Matter of Blood (Film) About this piece: “In this work Gabriel presents the complex mix of emotions that a sibling’s relationship brings. We can share up to fifty per cent of our genes with our siblings but sometimes it does not appear that way. Coming from the same background does not mean we view the world in the same way. Most sibling attachments can be composed of contradiction, which allow no complete resolution. Gabriel works with his niece and nephew to explore the notions of family.
Film still
A Matter of Blood was shortlisted for the Videoakt International VideoArt Biennial 2013 and screened in Barcelona. In 2014, A Matter of Blood has been included in Ambivalent; a curatorial collaboration from The Cass’s MA, Curating the Contemporary taught in conjunction with the Whitechapel Gallery. Gabriel's works Silence 3 and A Matter of Blood have also been selected for Video Art Festival Miden 2014, Kalamata, Greece. Most recently ‘A Matter of Blood’ has been featured in PostDigital? a group show shortlisted in the Top 5 in Time Out First Thursdays.” Watch here
HD Video 10:19 minutes £300
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GIDEON VASS Pale Wall
About this piece: “’Pale Wall’ is a study of a wall and its surrounding space, located in the town of Stretford. People walk passed the wall, they wait next to the wall, they smoke next to the wall, and they check their recently bought items next to the wall. The pale complexion of the wall makes it vulnerable to the change of light. Some days its cream, some days its blue and more often than not its grey. I restricted myself to only making work on overcast days, to keep the images flat and without shadows. The flat light, the limited amount of external information and the faint backdrop means the wall consumes the figure and the figure becomes illuminated. In the main image the depth is deceiving, the light seems to be travelling out of the image, coming from the ladies white, yellow and orange mane as its bold shape is accentuated by the bleak context. Through this project I’m singling out these characters by following specific restrictions that lead to a continuity within the series. Working alongside the figures are images of the empty wall, these images draw attention to the textual activity on the wall, address the inconsistency of the walls colour and explore the vast expanse of the walls surface.”
Photographic Print 84 x 59 x 0 cm £220
GREGORY HAYMAN Watching (Film)
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Film still
The film ends with a contemplation of the loneliness of the watcher. The sentinel stands watch; waiting, but unarmed. The sentinel also has medical implications in the body’s defence mechanism and the reference alludes to the threat of disease brought though the skies like the threat of the Ebola virus following the recent outbreaks in West Africa.” Watch here Film and Music 5:55 minutes £500
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GUIDO LANTERI LAURA Modo Del Abeglia (Film)
About this piece: “A short fictional film depicting an artist called Jean-Piere Lanteri, and his attempts to immortalize the feelings he holds in regards to the land of his ancestry. This is done through his physical acts or ‘performances’, which are then able to be caught up in a part of the atmosphere he calls the ‘Noosphere’.” Watch here
Film still
Digital Film 100 x 200 x 0 cm £2000 (Ltd. Editon of 5)
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HYEYOUNG MAENG Girl with a Shoe, Painting (Film)
About this piece: “My video project explores the boundaries between film and painting, and develops an original approach to the presentation of process. I document the process of Bunche painting, which is a Korean painting technique using powder pigments mixed with water glue on Korean paper in multiple layers, and create an independent video art from the process of creation. This practice makes painting’s invisible work visible, and reveals the normally hidden process of painting, a process which is imperceptible when audiences see only the final paintings. ‘A Girl with a Shoe’ synchronizes with the ‘Dance with Fragrance of Silence’ by Hwang Byungki who is a great Korean Gayagum musician. This digital documentation of the process of Bunche painting is associated with Gills Deleuze’s time-image in relation to pure virtuality, intuition, and the memory of everyday life.” Watch here
Film still Bunche Pigments (Tempera) on Korean Paper 60 x 45 x 4 cm £5000
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IEVA AUSTINSKAITE Passengers
About this piece: “Noticing people, their behaviour and reactions is the core element of this project. Capturing surface, which is human facial expressions, tells their individual stories as well as tendencies of life in the city. Apathy, exhaustion, anonymity, alienation and detachment... Public transport is where these things come across very vividly. Place where time gets distorted, people get carried away with their own matters, even though the environment is always changing and unstable. It is as if every person creates his/her own tiny private space. This project is a collection of private moments in public; spontaneous or still emotions of human beings in the routine of the city.” Watch here
5 Framed Photographic Prints, Film 200 x 50 x 0 cm £3000
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INGA LINEVICIUTE 3 (Film) About this piece: “This piece is one of three animations based on my own experience, analysing social etiquette in public. Each episode enquires a different problem at a different time and place and although they might seem absurd they all have a didactic meaning. This (submitted) hand drawn animation is about a third party interference and anger. It is my interpretation of the situation expressed through the use of symbols such as the horns. The animation is about a man who gets annoyed of a couple making out in public. The horns symbolise his anger and grow larger as the man loses control of himself. The situation raises the question if the man who gets angry and rude or the couple that is expressing their feelings in public is responsible for the conflict. Every animation I make is based on the initial sketch. The scale of the drawings is small (about the size of a postcard) as I want them to be projected to create the illusion of a moving drawing. The animations are sketchy, unfinished stories from my sketchbook.” Film still
Watch here
Pencil on Paper 40 x 30 x 0 cm £500
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JACK CARVOSSO Log Regaining Glory as a Tree About this piece: “'Log Regaining Glory as a Tree' is one of the pieces created during my photographic series 'Sorry I Was Miles Away'. This was the first image created in the series, where I perform solitary acts and create sculptural forms that explore the paradigms of photography. The project disrupts the fabric of the everyday to create short narratives that lie on the boundaries of fact and fiction. From the surface, we are struck by the humour of this log reliving the glory days of being a tree, but as we look closer, the image explores the finitude of our existence, and our psychological experience of it. The precarious balancing act heightens the sentiment of mortality, knowing that it was probably not long after the shot was taken that the sculpture came to its end. The piece contains no assurance of permanence, in which photography introduced a required stability. Photography granted me the ability to engage with notions of time, and to create work that can only exist as a two-dimensional image. I'm interested in using photography as a tool to realise sculpture, and to expand the boundaries of the two mediums.”
Giclée Print Mounted on Dibond with an Ash Wood Frame 72.5 x 59 x 2.5 £600
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JACQUELINE ANDERSON Move Me
About this piece: “In my exploration into recording the body in space I made a piece consisting of series of photographs put together to make one large image. This image was printed on matt photographic paper with matt ink and mounted on MDF board. This piece used movement and documentation to address the movement/visual art dialogue, the development of which led to an abstraction of movement and an altered perception of what the viewer is looking at. Putting the images together in this way further challenged the viewer’s perception of what they might be looking at and consciously tried to capture something about the ephemeral nature of movement.”
Digital Print on Board 60 x 160 x 3 cm £150
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JAKOB ROWLINSON Facial Poetics (Film) About this piece: “My signature piece is one of a series of works that explore ideas of language, expression and identity, using performance and video works. Called 'Facial Poetics', I create intricate graphical scores that act as choreography for manipulating the face. By pulling strings that are attached to my subjects’ face, their expressions are generated by my instructions and are devoid of their usual emotional content; instead they become movements that seem disembodied and open to the interpretation of the viewer. In this way, not only is the viewer required to relate to the graphical scores with the video work, they are invited to decipher and interpret the expressions they see. As such, it becomes a process of writing, translating and re-interpretation between the artist, the subject and the viewer.” Watch here Installation view
HD Video Dimensions dependent on projector screen £1000
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JAKOB TOREL Kisses of Separation
About this piece: “In this body of work I captured famous kiss scenes from famous film noir movies that were shown on television as the camera is clinging to the screen. My primal guiding line is that the length of the kiss will dictate and determine the visibility of each image. In this action I try to address the structured scene kiss and its general idea as an image, but also to create a point of contact between photography and cinema.”
Archival Ink Jet Print 70 x 55 x 0 cm (x 4) £4000
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JAMES ASHLIN In the Midst About this piece: “Fine art based, conceptual photographer, primarily looking at empty space and its correlation to photography. Although this is a constant theme, the theory embedded into the work naturally develops. The work exhibited, titled: “In the midst”, looks at the city of London as an environment in which finding space is near impossible. Walking through the capital can be both a tiring and stressful experience, wherever you are, it is always a challenge to find yourself at peace within a hub of chaos. Finding the freedom and liberty of loneliness can be an unpredictable contest, a constant sense of congestion, causing a natural obstruction to any path you may take. This allows feelings of anxiety and claustrophobia to creep in, creating a need of escapism. ‘In The Midst’, as a body of work, emphasises the search for isolation in this hectic environment. Examining landscapes that are usually related to being over populated, using long exposures to create a mist like essence that represents this feeling of escapism.”
A1 Photographic Lightboxes 59.4 x 84.1 x 0 cm (x 4) £300
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JAMES QUINN Sky Waterfall (Film)
About this piece: “The work attempts to challenge the traditional perception of the viewing screen by using it as a material. The image of the work attempts to emphasise this concept through use of sublime, surreal imagery.” Watch here
Installation view
Video Projection/ Wooden Screen Sculpture 255 x 230 x 147 cm £600
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JANIE KIDSTON Glacial Flows Come From Fields Many Miles Long
About this piece: “My work explores the way we visualize unfamiliar landscape through the medium of photography. This piece which is part of a larger body of work, entitled ‘A landscape of private mythologies’, explores imaginary journeys and representations of an Arcadian Arctic. It has focused on recreating a world that is born out of idealized settings and significant places long held in personal memory – a landscape of reworked photographic data from magazines, the web, travel brochures and personal archives etc. Using found photographs, collage, scan, digital intervention and print the process of a creating a constructed landscape became more than just a means to an end. In exploring landscape as a mental construct, I wanted to realise the ideas behind nature that were endowed with notion of archetype as well as the foreign and the enigmatic. By manipulating printed-paper, reflective light and disrupting scale the table top studio sets offer a place to explore unrealized spaces and the subject of scale through the medium of photography. With the model, we are left momentarily disconnected from and physical or mental sense of space. The miniature becomes the grand; microscopic abstractions become rough mountains or deep crevices. The infinite within the miniature is revealed. The impermanence of the printed tissue as a medium lends to the impermanent references in the images, questioning their content as unstable and vulnerable to deterioration.”
Transfer and Photopolymer Printed Object as a Digital Giclee Print 150cms x 118 x 0 cms £940
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JESS COWLEY Formation 1
About this piece: “Highly influenced by cinema, my main interest is the use of light and how it affects the mood and atmosphere of a photograph. I love exploring the ways in which light can change the appearance of a place or the representation of a person. Formation’ is a photographic series based on the form and structure of the caves in Cheddar Gorge, Somerset.”
Photographic Giclee Print on Canson Baryta paper 40.64 x 30.48 x 0 cm £200
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JOONKI KIM No Friends
About this piece: “Humanity is the existence of loneliness. Our own fear about existence and loneliness is present from the moment we are born until the unpredictable time of our death. In my opinion, the desire to belong, whether to organisations or within co-dependent relationships originates from this psychological state. For many people the persistence of loneliness is a huge problem, although they seek out relationships, as mentioned above, to allow them to forget the loneliness for a while. However, it is my belief that loneliness is human’s destiny that cannot be avoided. Where is the source of the loneliness? Why do we have to be lonely? It might be from the moment that we become aware of the concept of ‘ME’, and the basic selfishness of human nature.”
Digital Printing 118.9 x 84.1 x 0 cm £2000
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JORDAN RODGERS Sense and Sustainability (Film)
About this piece: “’Sense and Sustainability’ is an immersive theatre installation experience that explores ideas of environmental sustainability.
Film still
This is my 2015 signature piece because in 2014 I joined Hope Street Ltd as part of the internationally renowned Emerging Artists Programme 2014 taking on the role of Digital Artist/ Animator, EAP 2014 has provided me with multiple collaborative opportunities with artists from various disciplines. To date I have participated in five theatrical productions - Sense and Sustainability, Spring Heeled Jack, Race Against Time, This Must Be The Place and Control 25, allowing me to develop animation for non-traditional digital art viewers. Taking me out of my comfort zone of the gallery setting and into the public sphere of theatre, I have developed valuable site-specific skills on the programme. Passionate about working within various aspects of theatre, I seek to offer a unique innovation to challenge the relationship between audience and experience.” Watch here
IPad Drawing and Animation 5:25 minutes £250
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JULIA KEENAN For the Sake of the Species
About this piece: â&#x20AC;&#x153;Within my practice I position myself as a time travelling anthropologist, I create objects in the studio from everyday things, which are then presented in the form of an archive using a museum aesthetic through photography and drawing. In a broader sense it is the intention that these objects, from a civilization that no longer exists, could be seen as a commentary on current global issues. The transformation of everyday items which facilitate the mundane and everyday interests me. The inference intended when I constructed the piece that it should be viewed as some sort of sexual relic or artefact from a past or future civilization. It is intended as a comment on declining sperm counts which are occurring across the world. The positioning of the materials alludes to the scientific interventions that aid conception. It was difficult to position this work in the categories as I do not see myself as a photographer - as such, however the final outcome is a photograph and so that is where I have placed the work. I feel that this work represents my Signature piece as it was during the thought process and realization of the finished work that my method and approach to making formalized in my mind. It was my 'eureka' moment.â&#x20AC;?
Digital Print and Pencil on Arches Paper 84 cm x 118.9 x 0 cm ÂŁ300
42
KAREN RANGELEY Personal Space
About this piece: “’Personal Space’ is a photographic exploration of the ways in which employees at a Yorkshire textiles factory interact with and adapt their environment. The images expose traces of the people who work at the factory through the objects they use and the places they inhabit, yet their identities are not revealed – a form of forensic architecture that invites the viewer to interpret what they see before them.”
Printed Photographs 59.4 x 84.1 x 1 cm (x 4) £175
43
KATE BUCKLEY
About this piece:
Clockless Nowever (Film) “‘The essential content of the political program of contemporary art: maintaining the world in a precarious state’ - Nicholas Bourriaud The paradoxical nature of affirmative precarity underpins much of my current research. It is collaboration, ethics, politics and virtualites that drive the activities and I am involved with generating adaptive entities that engage with the messiness of the experiential; motion, instability and in-betweenness. The work is often restless, oscillating between the intentional and the incidental; in the midst of incompleteness and non-resolve. The process of unmaking and remaking acts as a form of continuity, countering an otherwise straggled approach towards performance, assemblage, sound work and video.
Film still
‘Clockless Nowever’ forms part of a series of video work that pose questions of orientation around ideas of contempt and homage - a liminal place of shifting perspectives. This piece draws on the writing of Peter Lamborn Wilson, it re-voices his work 'Chaos' as female automaton (via TTS software) which bleeds into the ambiguous, androgynous imagery of Butoh performances from Sankai Juku, whose work maintains a "dialogue with gravity...sympathising or synchronising" with it. The work acts as a formless overarching narrative which pulls the other video and sculptural pieces into semi-coherence.” Watch here
Back Projection Variable £2500
44
KATIE CYFENW The Mask (Film)
About this piece: “‘This piece was presented as part of my final degree show in June 2013. My work is concerned with emotional and psychological states, using the personal as a means of exploring a more universal human experience, creating visceral and unnerving ‘psychological selfportraits’. I capture through actions and articulate through images that which cannot be expressed in words, examining the disparity between the internal and the external ‘self’ and exposing that which lies beneath the façade.” Watch here
Film still
Digital Video 2:05 minutes £500
45
KORNELIA DZIKOWSKA Measure/ Dimension (Film)
About this piece: “This large format projection refers to the canon of sculpture in the history of art. Revitalized, showed in new context, it raises anxiety and puts the viewer in readiness for something to happen. Although apparently nothing happens, the hypnotising sight of Pieta holds the viewer focused and alert.” Watch here
Film still
Multimedia Projector 200 x 355 x 0 cm £1500
46
LAURA STEVENSON 49 Boxes (Film) About this piece: “This piece is about exploring minimalism, and how an everyday object fits into our artistic world. This piece and others were inspired by Barry LeVa and Zimoun. Zimoun's usage of cardboard boxes to create incredible hive like sculptures expressing how the cardboard box is not a material we should ignore, but consider to be a powerful asset to our work. For this work I placed forty-nine cardboard boxes on a path where I allowed the public to react in any way they felt fit. My work shows how members of the public ignore the mundane every day, and give a pile of cardboard boxes no consideration. Even if they're blocking their path: as their lives take focus of what's happening in the world. Only a few stop and break out of their bubble to acknowledge the boxes; showing how we as a society have become very selfish. Film still
Many people walked through gaps made by other people therefore making a bottle neck effect. This is showing that society very rarely thinks for itself, and will happily follow the crowd to make their lives easier.” Watch here
Digital Video 8:59 minutes £50
47
LONGWEN WEI 1 second / 200,000 years
About this piece: “’Form is no different from Emptiness. Emptiness is no different from Form. Form itself is Emptiness. Emptiness itself is Form.’- The Heart Sutra It came from the word “timeless”. A fleeting moment, once existed, becomes eternal. It transcends time. Some moments are noticed, recorded, remembered; more are not. But this doesn’t matter. A moment will persist, from one second, to 200,000 years, to eternity. About 200,000 years ago, the anatomically modern humans came into being. They started leaving all sorts of traces upon this world. These traces might have been formed in a matter of seconds, but could also take thousands of years. They might disappear soon after, but could also last for centuries. But whichever the possibility, a human trace, once recorded, becomes a moment of eternity.”
Mirror, Mirror Card 59.4 x 42 x 2 cm £1000
48
MARGAUX-ALIX GARDET Untitled
About this piece: “The desensitization of the pornographic industry, the objectification of the fashion industry or the sexualisation of the advertising industry, has brought up a generation on brutal, violent imagery of women. I attempt to create a complex, visually literate body of work both in terms of technical execution and multi-layered exploration of ideas. Through the art historical references, I aim to playfully seduce the viewer with familiarity of style, while subverting his expectation of traditional narrative. The digital handling of these images are created with care and specificity, while exploring different aspects of the tortured female body, the degradation of her image, providing a counterfoil to the conscious theatrical staging of the composition. By combining two images, I create a third one. I am layering my own contemporary portraits of staged modern women with nudes from old master Renaissance paintings. The juxtaposition of classical and contemporary elements aims to prevent the audience from getting too comfortable, while enigmatically focusing on a scene beyond the frame. I create a visual dialogue between the past and the present, celebrating and emphasizing the unclothed human figure, which to me represents a timeless ideal of humanity. I give you no answers, but raise questions about the loss and search for identity in a difficult modern world.”
Photographic Paper and Condensed Wood 100 x 200 x 3 cm £5000
49
MARIA ABBOTT Stay Tuned (Film)
About this piece: "… and we'll be back after a short commercial break, so stay tuned" 'Stay tuned' sets out to critique modern TV commercials that manipulate female insecurities, and enforce the Western World’s unobtainable vision of beauty, in an attempt to sell products to women. ‘Stay tuned’ comprises of four, fake commercials that advertise a beauty product, custom made by the artist, which promises to enhance a woman’s life. The bizarre products being promoted include a sinister spin on the modern corset to control the waist, and a drink holding belt which is used to attract male interest in social situations. The restricting objects are shown using the hypnotic editing style of mainstream commercials with their close up perfection, repeated statements and glistening potential. This has an ominous and thought-provoking effect on the viewer.” Watch here Film still
Video 6:09 minutes £10000
50
MARIA TERESA ORTOLEVA Housing Memory - Amphis
About this piece: “‘There is no perception that is not full of memory’; ‘Memory is just an intersection of mind and matter. [...] The office of material reality is to give body to memory.' - Henri Bergson. Challenging the meaning of these sentences, ‘Housing Memory’ explores how the occurrence of images in the subjective mind is integral to the experience of physical places and objects. By installing digital projections of photographic images into specific places, the projects aims at offering to the experience of the viewers a situation in which virtual elusive images – equating those of memory – grasp onto present materiality and dwell into it. Questioning the advantages of its own mechanism, the work shows how, by finding a physical body, the virtual mnemonic image penetrates beyond nostalgia, reaching to influence subjective awareness of the present and the individual’s capacity to act upon it. The experience of each installation survives crystallised in one representative photographic shot. Within the ‘Housing Memory’ series, the most significant piece is the double projection on Amphis, realised at Wysing Arts Centre, Cambridge, in the summer 2013. Happening in parallel outdoor and indoor, it embraced the contingent aspects of the weather and had a span of life of its own, variating continuously its pulsating ungraspable substance with the changes in the evening light.”
Inkjet Print on Hahnemuhle 190gsm Cotton Paper, Mounted on MDF 80 x 60 + 95 x 60 cm £1200
51
MARTHA BEAUMONT Concrete Jungle
About this piece: “It is a documentary photograph of a set constructed in the space that was about to be demolished. It was taking influence from Donald Judd's minimal concrete sculptures in Marfa, Texas where he lived and worked. There is a strong Mexican influence on the culture there, being close to the Mexican border and I was interested in that blending of cultures, as well as the coming together of cowboy culture and the arts.”
(For Installation- Wall Paint, Found Objects, Carpet, Lighting) C-Type Print 109 x 180 x 3 £4500
52
MATTHEW PICKERING Failure to Reach a Locus of Division (Film) About this piece:
"Often my work emerges out of an eclectic codex of symbols, gestures and narratives that I develop in response to my interest in psychological processes. It is my interest in psychology that drives me to create work, as an attempt to understand how the mind functions on my own terms. My works act as microcosms to engage with these concerns, using often surreal juxtapositions and imagery to create narratives which explore different psychological experiences.
Film still
‘Failure to Reach a Locus of Division’ is an attempt to come to terms with my own infertility, set against the Norwegian fjords and the barren landscape which surrounds them. Sculptural forms were developed for the video, anthropomorphic objects wrestling to become whole against their fragmented forms. The mountains divide, but nothing new is created. The sediment that forms as these giants collide is washed away.” Watch here
Two-screen HD Video Projection with Sound. 200 x 56 x 1 £3450
53
MONIKA SCHODOWSKA Stone Flower (Film)
About this piece: “My work functions as a form of architectural history and analysis. I explore architectural structures and specific sites from the point of view of their failures, engaging with places that stand for the physical aspect of political ideology, power and utopian ideals. The work often draws on former sites of the Cold Era, especially Social-Realist and Modernist architecture. Playing with scale, language and physicality of architecture the work explores the aesthetics and politics of space. Creating sculptural forms in response to specific sites and blending them with fractured images of existing built environment alters viewer’s perception of space and questions the means in which its organization and production might form our understanding of the world. The title Stone Flower refers to one of Stalin’s post-war skyscrapers The Palace of Culture and Science in Warsaw. The Palace, presented by the Soviet people to Polish nation in 1952, has become a powerful symbol of the communist order and Soviet takeover in the Polish collective and individual memory, and since it has stood for the physical aspect of Stalin’s ideology, power and actual violence.” Watch here
Installation view MDF, Concrete, Projection 200 x 155 x 100 cm £7000
54
NAKEYA BROWN The Art of Sealing Ends Pt. II
About this piece: “Each photograph I compose is a reflection of my African American female identity positioned within hair politics, hair rituals, and black culture. The scope of my work reconstructs racialized beauty standards and defines the bountiful actualities of African American women. I am inspired by personal girlhood memories and experiences of adulthood— most of which are situated at the center of each photographic piece. I employ my own body or the bodies of others to stage striking and analytical representations of women of color. Paired with formal qualities such as balance, color, and simplicity I design each portrait and still life into a harmonious rendering of black femininity. I source previously owned objects associated with home life, such as vinyl records, house plants, and dinner utensils, along with beautification devices, such as the hot comb, shower cap, and hair dryer to create comely spaces of black womanhood.”
Inkjet Lustre Print 48.26 x 73.66 x 0 cm £3000
55
NATALIE TKACHUK Posted A Little Frisky
About this piece: “‘Posted’ are images of old letters explore concepts of the lost and the forgotten, what a stranger leaves behind, traces of time, memory, and presence. These wartime love letters are retracing the life and love of Maude and Frank. The letters are all written by Frank to Maude whilst he was ‘Posted’ at different places all over England during the war. These large format images shot on an old 5x4 camera depict oversized letters and have carefully had individual lines selected from over one hundred letters to narrate short passages and inform us of the life and love between this couple. Their secret, private correspondence becomes public, revealing their strong intimacy and the distance between them. These personal letters are like a visual poem, the scrawl of the handwriting, dusty smell, texture and old stamps are like a biography of someone’s life, some more warn than others, have been read and re-read.”
Digital C-type, Durospec Reverse Perspex Mounted 76.2 x 101.6 x 0.7 cm £1900
56
RAMONA GUNTERT Die Fremde
About this piece: “’Die Fremde (Unfamiliar/Strange)’: The photographed objects oscillate between a human and brutish appearance. With an interest in things that are elusive, there are found objects and surfaces that are combined with fictional or staged images. Traces in nature, like scratches or hair are appearing and disappearing in the dark without revealing any further details about their origin,. Instead it remains hidden. Inspired by German myths like carnival or fables, the idea of masks or costumes is used as transformation from a human being into an animal, which is represented symbolically in the photographs. The mask or the costume can be compared to skin: it is a border like a surface of a rock, hair, or feathers that separates or protects the inside from the outside. Becoming something else can provoke a feeling of displacement that represents the idea of a boundary between the self and other, but also combines the past with the present. The chosen objects become visible with our own imagination and is depending on what we believe to see. It is like being a child again: Seeing creatures appearing on folded blankets or wondering if there is a person behind the mask can be compared to looking at the photographs. The unfamiliar is not in the photographs. It exists outside of them.”
C type Print on Aluminium 152 x 80 x 0 cm £700
57
REBECCA FARR
About this piece:
Cinema’s Child (Film) “So here we are, forced into this unfathomable position of participants rather than spectators in Farr’s Cinema, involved emotionally and psychologically. For a moment we question this gaze, is there a possibility of a gaze at the viewer by the film? We can understand the conventions of narrative film which deny the looks of the camera as it records and the audiences look at the image, which leave us only with the characters exchange within diegesis, allowing for such voyeurism. However the woman’s confrontational manner and intensity of the look, leaves us with this almost chilling feeling that she is watching. The narrative itself that unfolds throughout the film plays upon this very notion. The slightly fragmented text is centred around a de-humanised subject, always referred to as she until it becomes apparent that the woman on screen is talking about her mother. She speaks of her eventful and sorrow filled life, with strings from parents, religion and education pulling her in every direction. She speaks of her unusual talent to imagine stories in cinematic detail, of meeting him (who I believe is her partner), and even her own birth. All the while, we are pulled back and forth between emotional identity and pleasurable looking, and what I believe is an illustration of subconscious (the woman on screen) and unconscious imagery (the full screen glimpses of the same woman enacting scopophilia).” Installation view
Watch here Film Installation, Projector, Speakers, 8 Chairs, Theatre Curtain and Carpet Dimensions Variable £800
58
REBECCA JANE JOHNSTON Untitled (Twelve)
About this piece: “I see myself as a visual alchemist. My process transmutes the ordinary, pulling the souls from the subjects of my portraits and spreading them across the page, smearing the skies over ethereal landscapes and illuminating melancholic figures in dark forests. Born of a photographic history when chemicals dripped from glass plates and photos were dodged and burned by hand, my images are at once both archaic and au courant- analogue and digital – utilising contemporary tools to blur the lines between photography and drawing, and pulling us away from our pin sharp, resolution orientated destiny and back into the realm of the experimental. An emotional landscape created using an amalgamation of traditional, analogue and digital techniques.”
Matte Photographic Print 30 x 30 x 0.1 cm £95
59
REBECCA WILD Fluid Smoke
About this piece: “I specialise in the technique of scanography, resulting in work that is both experimental and spontaneous. With my childhood passion lying in painting, I have been combining these two elements to create work outside of the social normality. Using the scanner as both a camera and a canvas, I question the way art is formed and approach the idea of creating art in a new light. My use of the scanner in this way is unique in this area and it helps me to stand out from other artists in this medium. My current practice is exploring the nature of fluids, examining the reactions that occur when different fluids combine, but also the dynamic and vibrant patterns that naturally form. This piece for me is my signature piece for 2015. It is the perfection of my recent experiments into using saliva as a base fluid and combining this with various household fluids to generate chemical reactions. This particular fluid combination creates a variety of smoky layers, combining the aesthetic beauty of natural forming patterns with the vibrancy of man-made colours. The circular framing of the piece draws in the eye but is reflective of the microscopic nature of my work, examining these tiny reactions and enlarging them to a larger scale. My work has previous been referred to as having a cosmic element and the circle also plays upon this element making the pieces appear planetary and toying with the ideas of microcosm vs. macrocosm.”
Scanography: Saliva and Other Fluids 38.1 x 38.1 x 0.3 cm £200
60
REI MATSUSHIMA Mentaiko (Cod Roe)
About this piece: “This work is one of my degree show pieces at Royal College of Art. For my MA dissertation at the RCA, I wrote about whether universal humour exists or not. Overall, I found that humour which is based on neither culture nor language can be universal. In order to reflect this theory, I started to find ‘visual pun’ and make a series of photomontage from the beginning of this year. Visual memory reflects the sense of having seen something before so I then try to express that sense by literally putting these things that resemble each other next to each other. The images are found almost in the same period but come from very different places, historical times and cultures. I do this because I want to escape and sometimes explore stereotypes and a tendency for cultures to exoticise each other. I like to combine very different qualities in an image because this allows me to combine aspects of reality with imagined events.”
Digital C-Type 90 x 95 x 0 cm £840
61
SARAH SMITH Elsewhere
About this piece: “’We do not see it [daydreaming] start, and yet it always starts the same way... it flees the object nearby and right away it is far off, elsewhere, in the space of elsewhere.’ - Gaston Bachelard 1958 It is within this infinite space of elsewhere that this series is located. The implicit silence o experiencing such immensity, through an endless sea or a vast landscape, captures our imagination and fuels our fantasy, allowing us to contemplate our own fleeting mortality.”
Photograph 90 x 95 x 0 cm £800
62
SEREN RADLEY Private Property
About this piece: “This project is called ‘Private Property’ taken inside a sex worker’s house & garden, looking at the banality of the situation sex workers are in opposed to the perception of the dark brothel for example. The work explores the representation of the female and the question of empowerment.”
Photograph, Frame 30 x 40 x 3 cm £400
63
STACEY GUTHRIE Good Girls Don’t Wear Trousers (Film)
About this piece: “I was asked to be part of an exhibition exploring fairy tales. The exhibition didn't happen but I'd become intrigued about working in response to a fairy tale so I carried on. The starting point for this video is the Celtic fairy tale "The Horned Women" about twelve horned witches who descend upon the house of a rich woman before being tricked into returning to their home, Slievanamon. Slievenamon is a real place in Ireland, also being known by the name, 'The Mountain of Women. It struck me that most fairy tales about women are just morality tales about what happens if you aren't a 'good girl'.” Film still
Watch here
Video Dimensions Variable £1000
64
TOBIAS SEYMOUR John Travolta is a Rhombus About this piece: “The piece involves the film ‘Pulp Fiction’, displayed on a monitor, and being paused at a certain point when John Travolta is dancing. The concept of the piece is a coming together of film and song, the song being 'Smoke Again' by Chance The Rapper. A line from the song goes "Lean on a square, that's a rhombus" in the scene preceding the one shown in the piece Uma Thurman persuades John to go into the restaurant by telling him not to be boring, not to be a square. He succumbs to peer pressure and therefore becomes a rhombus. I chose to pause the film at this point because at that moment in the dance as he sweeps V's across his eyes his body is positioned in such a way that it actually suggests a rhombus. The decision to show the film paused rather than just use a still image and present it on a wall was based around viewer engagement. At no point is the film un-paused or played but its presentation on a television suggests that something will happen and thus I think the viewer will give it more time than if it was just an image. The bringing together of seemingly unrelated items and the time based aspect of the presentation are themes that feature heavily in my work.”
DVD, Monitor Dimensions Variable £8000
65
TOM CARON DELION A Dead Man in Deptford
About this piece: “This image pits the exotic against the mundane. Guarab’s Nepalese back tattoo, which for him is homage to his place of origin, stands out under the grey skies of South London, the place he currently calls home.”
Resin Coated 260gsm Multi-grade Paper 29.7 x 42 x 0.3 cm £250
66
YAZ NORRIS Enduring Light
About this piece: “’Who would believe that so small a space could contain the image of all the universe? O, mighty process! What talent can avail to penetrate a nature such as these? What tongue will it be that can unfold so great a wonder? […] Here the figures, here the colours, here all the images of every part of the universe are contracted to a point. O what a point is so marvellous!’ - Leonardo Da Vinci Light is a sensory form that we all rely on: it has an energy whose presence provides us with the sense of sight. The partial obstruction of light casts a silhouette illustrating where light cannot reach, otherwise known as a shadow. It is only when these behavioural patterns are interrupted, that we question our surroundings. It personally came to me when I discovered the happenstance of a projection that mimicked the result of a camera obscura. While the wind sucked the blind into the window, the light hit a specific angle causing it to bend, with the result that the buildings opposite were delicately illuminated across the wall. The refraction was blurry and moving, but it occurred completely naturally and completely by accident. It was with this intimation of changing object into light, to be arrested ephemerally balanced on a surface, that I posed the question – is the importance of light in photography being forgotten?”
Prints from a Scanned 5 x 4 Negative 84.1 x 59.4 x 2 £420