Edge 6 Moving

EDGE 6. Moving

Welcome

to Edge 6!

It is been five months already since we put together our last issue, and life has been busy as ever! In an effort to maintain some balance I have made the decision to step down as editor after this issue is published.

It’s been a great opportunity to learn new skills both in terms of curatorial choices, layout and researching different sharing platforms available. If anyone is interesting in taking the helm, then please feel free to contact me via hollymbenham@gmail.com.

Moving on, and the challenge of portraying movement in a magazine format - we again present a variety of works based on our theme word ‘Moving’.

A Changing Scene

Mixed media on paper with digital alteration

Arlene Sharp

(In)Voluntary Out early in the morning, thinking I would have the road to myself, I set up my tripod in the middle of the street, to make a long exposure. Suddenly a car whipped around the corner and I whipped up my tripod. This is the result. I love it.

Nuala Mahon

In the same assignment I had to shelter, in my rented garage, from a fairly aggressive group of young people. I was a little ruffled but set up my tripod, inside the cracked window, for another long exposure. I forgot to tighten the head so while I was composing myself it slowly bent its head downwards. I love the moving result.

But one can control this moving lens to create all sorts of effects. On the following page is an example.

Nuala Mahon

Nuala Mahon

Nuala Mahon

Living On The Edge

Gwenyth Wilson Rudstrรถm

They’re moving They’re moving house They’re moving house in Kiruna They’re moving houses in Kiruna They’re moving the church in Kiruna They’re moving Kiruna!

Sweden’s northernmost city was founded more than 100 years ago because of the rich iron ore deposits in the ground.

Today, mining is the main source of income for the city. In fact, the iron ore mine is so important that Kiruna is moving the whole city centre to allow mining activities to continue and expand.

Around 6,000 people will need to move over the course of the next 20 years. Also, some 3,000 homes will be demolished and rebuilt or relocated in the move that is estimated to cost a total of €1.3 billion.

While Kiruna is facing a significant challenge, the move is also an opportunity – to create a new, modern and sustainable city for the community.

Source: http://tunnels-infrastructures.com/second-episodemegaproject-kiruna/ [accessed December 19, 2017] See also: http://www.bbc.com/news/magazine-26447507

Gwenyth Wilson Rudström

Broken Homemaker

Casualties of a move out of the marital home, repaired with UHU and gold acrylic.

Displayed in my new home, not as a reminder of what was lost, but a symbol of moving forwards with positivity.

Holly Norris

The Creative Process Moving: the word takes its roots, it is supposed, from the Proto-Indo-European root ‘meue’ meaning ‘to push away’.

In my creative work (and quite probably in my everyday life) I strive to push away from stasis; with this in mind, I wanted to create a piece that represented this dynamic.

Lottie Ellis

I have always loathed making collage. I have considered it a grown-up (-ish) version of ‘cut and stick’ in my hands. Yet, the piece I have produced for Edge involved me creating a piece, tearing out the parts that worked, separating these from sections that didn’t, creating again pushing the work further, more tearing, reassembling, uniting, tearing away and so on.

I found myself repeatedly pushing the composition through reduction and then expansion, like the movement of a tide ebbing and flowing. Quite a different process to my blinkered ‘cut and stick’ prejudice. I had to admit that I have been wrong in my anti-collage standpoint.

When I came to a pause with the physical piece, when I felt it had finished moving, I’d pushed it to where it wanted to go, I realised the composition was not static. Photographing endlessly to find the right rotation, angle, focus, the piece was still telling me something. It took a while. The piece did not want to be finished as a static single shot. It was still pushing away, still moving. The final shot had to be a collage of various angles and rotations, leaving the reader’s eye moving around the images making and losing their own map of connections.

Lottie Ellis

Fencing

Patricia Howe

Stereocilia

The air that we hear.

If it wasn’t for movement there would be silence.

Sue Parr

Sue Parr

Who are we?

Holly Norris Having studied Textiles with OCA, I am a printmaker and mixed media textiles artist based in Portland, Dorset. I regularly exhibit around the county and have just returned from an art residency in Australia. www.hollynorris.org

Sue Parr

I live in West Dorset and am currently studying for a BA in Painting through the OCA. Contact: sueparr000@gmail.com

Arlene Sharp 2nd year student completing the Investigating Drawing module. I am interested in themes of urban dereliction and cityscapes, particularly London. I like to mix painting, drawing and collage to create layers and ambiguity and to use digital tools to create audio-visual works.

Website: myorangepencil.wordpress.com

Nuala Mahon Sharing my time between the Luberon mountain foothills and an island in the SW of Ireland, I have worked and travelled in many countries. I work part time in a craft shop and exhibit my work in local galleries in both Ireland and France.

Gwenyth Wilson Rudstrรถm Retired engineer and fine arts student with OCA. Born in New Zealand, I have lived in Sweden since 1975. Living beside a lake and surrounded by forests and fields influences my choice of subjects in my paintings. I like to depict nature, its light, colors and moods in both a small and large scale.

Lottie Ellis

Lottie wears many hats, but desires not to be defined by any of them. She remains curious and seek always for things to wonder about.

She baffles both herself and those around her at times, but finds great solace in creating.

She can be contacted via her Instagram account: @lottie_ellis_art

Patricia Howe

Formerly a nurse, midwife, health visitor and lecturer, I began OCA photography to inform my painting, first intrigued and later disillusioned with the limitations I felt. Now on the Creative Arts path, I will combine Photography with Printmaking as I move into Level 2.

Contributors are associated to, but content is not endorsed by the University for the Creative Arts, UK. All opinions expressed are those of the artist.

Contributors retain copyright of their work and no part of this magazine is to be reproduced either digitally or physically without the express consent of the artist.

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