Contemporary Crafts

C O N T E M P O R A R Y C R A F T S

C ATA L O G U E 2 0 1 3

CRAFTS

CONTEMPORARY

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INTRODUCTION

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THE STUDE

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NTS

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Megha Agarwal

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he sense of touch is exciting and intriguing.

Megha Agarwal’s sculptural forms explore the silent union between visual and tactile interaction, emphasising the importance of sensory sensitivity.

Thinking and making in clay is a practice that keeps her close to the kinesthetic.

With a meditative approach to her work, Megha enjoys the meticulous process of texturing and colouring the clay body.

Her work incorporates visual influences from her life in India, haptic experience and her personal aesthetic.

Viewers are welcome to freely touch Megha’s work, helping her fill open space with bold, silent feeling.

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Lizzie Arthur

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izzie creates short stopmotion animations based on her observations of daily life in Latvia. Working with cardboard and paper, she constructs small scale sets and films vignettes; opening small windows onto the customs and culture of this beautiful Baltic State.

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Kitty Benaim

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ach project is one learning curve after another. The methods of process and materials Kitty uses are vital in narrating her concept.

Controversial issues are commonly expressed in her work, to provoke emotions and opinions from the viewer.

By learning the process of making rawhides, from skinning to sewing, she has immersed herself in a new world and a new skill. This process has inspired her to

develop her views on hunting and fur use: An animal hunted must not be wasted, every part is to be used. As the skins she uses are a by product of meat, the fur is a sustainable material, and a way to shed light on the truth and honour the life of the animal.

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John Cartwright

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ince childhood John Cartwright has been fascinated with musical instruments and percussive sound. From drumming on pots and pans when little more than a toddler to naively hammering out tunes on the old family piano, Johns musical experiences have engrained themselves in his person and strongly influence the work he makes today. He explains his sculptures as ‘an exploration into percussive sound and

instrumentation’ in which he seeks to cement the audience’s position of importance in being part of the work. We are invited to touch, play and interact with John’s works, and so, the audience participation is key in the completion of his musical sculptures.

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Jenna Gray

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enna’s work is mainly influenced by superstitions, secrets, old wives tales and gossip. These themes are explored through varying media such as; wood, fabric and plastic.

For the most part, Jenna’s work is interactive with the intent if leaving a lasting impression for those who enjoy the experience.

Take part in- Feel!

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Ami Grinsted

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series of works that are aimed to appeal to people through the traditional methods of cross stitch.

Ami’s narratives record and observe the disasters of the Egyptian protest that started early this year, Ami’s aim is to tell and document a story to capture the viewers interest, just as stories go through a metamorphosis each time they are told, Ami’s work evolves during the weaving.

The process containing a large amount of hand stitch

and modern technology the laser cutter brings Ami’s work into the 21st century. The concepts are modern, but still have the essence of samplers dated back to the 15th century and Bayeux Tapestry, which have influenced my work.

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Emma Grounds

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he ceramic process has changed and evolved enormously over the millennia. From the first people to dig clay from the earth with their hands to the compacted digitally produced 3D space programme components.

The world has utilised this material in many ways. Using the detailed effects available through the process of slip casting Emma Grounds has produced pieces that accurately

recreate elements of the mundane everyday ceramic object. Using the iconic flavour of blue and white ware and in particular the willow pattern she aims to evoke a sense of the past and of tradition by juxtaposing form with decoration.

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Sophie Harris

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ophie Harris is inspired by the intense texture of macro and micro organic surface patterns, stimulated by everyday sights and nature Sophie really enjoys working with metal and glass, she finds the dramatic effects of the metal in contrast with the delicate simplicity of glass a perfect combination of contrasting materials. By taking casts of eroded and textured surfaces she develops these individual small pieces to create larger

table forms. In closely examining Sophie’s work the viewer will appreciate the fine detail of her techniques.

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Tilly Hill I

dentity is a key theme that runs through Tilly’s work.

Through the manipulation of light and shadow, she creates an intangible aspect to her work, exploring such themes as genetics, heritage, and the identity of a place. Exploration into our ways of constructing and protecting an identity has also led her to consider and develop her own visual language.

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Alaic Hobbs

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ankind revolves around one thing: oil. The many uses of this fossil fuel are a topic that Alaric finds intriguing.

From transport to packaging, oil is the most vital resource in today’s modern society.

With reoccurring themes such as geometric shapes and integrating plastic jetsam, magnets, oil and acrylic Alaric portrays our dependence on this substance and the consequences this could lead to.

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Theresa Jaeschke

Theresa pursues storytelling through materials and techniques. Often inspired by talismanic properties, symbolism and the natural desire for bodily adornment.

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Joshua Kerley

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oshua is interested in the relationship between architecture and the natural environment.

Juxtaposing cast glass and other materials with found animal remains and growing matter, he references relationships between the natural and built environment.

Joshua likes to cut, reassemble, distort and repeat. This design and construction process is a response to themes surround-

ing up-cycling and retrofitting within architecture; making new objects from the existing shapes and forms.

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Lisa Keswick

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he creation of functional design ware stems from the desire to celebrate the ordinary object. Perceptions of the domestic are challenged in Lisa’s work; influenced by fabric, wallpaper, pattern, repetition and upholstery, she manifests functional pieces to be appreciated and used every day.

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Emma King

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he combination of hard and cold materials aids to relate a clearly anxious antagonism.

Emma ‘s pieces are then encased and enveloped, protected, held and supported.

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Natasha Laye

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atasha is influenced by the placement of jewellery on the body, with the different shapes and forms of the female figure being her main inspiration. Her focus in jewellery itself lies in the making of rings. She creates clean, smooth lines within her ring designs. The use of brass and found mechanical components creates a slightly mechanical feel to her pieces. Machine parts in conjunction with the body reinforce the idea that worn

jewellery can become part of the human body, like they are part of a bigger machine.

Natasha creates jewellery that combines the hard lines and structure of design with the soft line, curve and form of the female figure.

By using various found components of objects in which she takes an interest outside of making, such as music equipment and cameras, she keeps the designs personal to her own interests.

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Felix McCormack

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elix uses furniture as a vehicle for exploring the material world around him.

He assembles playful objects made from an eclectic variety of materials, many of which are recycled, thrown out or off-cuts. His key aim is to carefully combine these contrasting forms, whilst achieving coherent, fun and intriguing outcomes.

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Rebecca Rasmussen

Using various materials such as investment cast brass and boiled goat leather, Rebecca creates unusual body adornments that are representations of people or characters. Investigating memories, collections and inspirations, she is interested in the emotional attachments people have with their objects.

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Lydia Rudge

Lydia Rudge takes architectural structures as a form of inspiration and focuses on the negative space to reinterpret and create her own vision.

Impact through scale and the appropriation of unconventional craft materials, comes exciting and innovative structures.

Traditional architectural awe inspiring forms are utilised and given a new platform and medium for consideration.

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Eli Scheller

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li Scheller has always been fascinated by the landscape of cities. Having lived in different countries, she was surrounded by many different types of buildings as she grew up.

More recently, her work has been inspired by the intricate, beautiful buildings she came across during her Erasmus experience in Riga.

Springing from the cultural influence of many countries, the city is a mishmash of architectural styles.

In her work, Eli plays with relative scale. Translating the parts of her pieces into unusual sizes, she creates surreal-looking compositions.

These dream-landscapes are imbued with fairy tale-like qualities.

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Jayde Sheridan

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ade’s work focuses primarily upon memory and imagination. By engaging with childhood stories she hopes to trigger the viewers own memories and create a sense of nostalgia.

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Rebecca Sims

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sumer culture we spend much time and energy acquiring posessions that once damaged are thoughtlessly thrown away.

objects Rebecca has created a range of functional porcelain tableware that celebrates human ingenuity and endeavour.

Rebecca’s porcelain tableware reflects back to an era when objects were innovatively repaired and restored rather than discarded.

Taking moulds from found

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Mirjana Smith

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irjana’s interests lie in second hand objects, the history of their origin, uses and memories. She picks on the possibility that every object’s ultimate destination could be entirely different to its intended purpose.

Collected from charity shops, scrap bins, boot sales and auctions, she creates a new life for discarded, unwanted items - dissecting, reassembling and combining them with other contrasting components.

She enjoys engaging with the illusion of function. The results are often playful and refreshing, giving a new perspective to the familiar.

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Z e n n a Ta g n e y

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enna’s work is autobiographical; she forms into material objects the everyday stories she lives.

She incorporates emotional experience with the affirmation of an essential bond between human and animal life, represented by the humanising of animal movement. By rewarding curiosity her work reminds us that what is truly valuable can rarely be discovered in surface appearances.

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J o e Ta y l o r A

“ ccording to Plato, our experience as non-material beings between successive material incarnations is ‘geometric’. Contained within us is a geometrical essence, and thus, when we see these shapes we recognise them instantly, even if subliminally. These are universal forms”. (David Nash: 2008) As our perception of the universe expands so does the complexity of the explanations.

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Laura ter Kuile

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aura is interested in the ways in which the machine can be seen to have become intertwined with the biological aspects of the human existence. Her interest developed from the comparison of anatomical and mechanical drawings.

This practice brought her attention, on the one hand, to the mechanical functioning of bodily organs, and on the other, to the way in which the body might represent the perfect organic template for the machine.

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Helen Thomas

Helen Thomas uses recycled glass objects, marbles and bottles and fuses them into new objects; she combines this with a process called ‘Pate du Verre’. Helen enjoys mixing the glass granules to form a palette of colours, which are then painted onto the surface of the mould. This work is intended to draw the viewer towards a range of perspectives. Blurring the boundaries between right and wrong the work insists

that we engage with the things we don’t notice and the things we do notice but turn away from.

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P o p p y To r n a b e n e

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oppy’s work deals with issues surrounding restriction, disfigurement, confinement and negative space. The figure is used here as a metaphor for the battles our race faces on a day to day basis.

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S i m o n Wa r m s l e y

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ome people are mentally and physically imprisoned as well being physically and mentally abused. These people are too vulnerable to help themselves; they are trapped in a world of fear, delusion and to some extent, a loss of innocence. These places draw in many different types of people, both mentally and physically, however, the outcome is often the same in the end.

The strong willed have become weak and the sane have become insane through manipulation, sadness, boredom and a loss of hope. Although not always obvious, we know this happens in reality. In many

cases we choose to ignore it. I am ashamed of what we have become.

It is time to open our eyes and ears and listen. Leave the comfort zone of your own reality and see what is really going on in the real world of these people who need to escape.

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Samantha Wilson

Samantha uses coiling

irony within her own narrative techniques to construct large imagery.

Samantha’s unique ‘guerrilla red earthenware vessels; pots’ are destined to invade modelled upon traditional conventional museum forms these pieces showcase collections and engage a modern glazing techniques younger audience. to create contemporary, graphic imagery.

Inspired by the provocative and witty style of the iconic classical Greek figurative vase, she illustrates the similarities between contemporary Western Society and Ancient Greek culture, using humor and

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Laura Wray

Laura’s inspiration for her

work comes from an interest in “birth art” and examines the void that still exists in our contemporary art world.

A series of ‘vessel,’ installations succinctly convey this powerful visual language. The clear narrative is further explored by working through digital technology. Laura can create highly controlled pieces for casting on a large scale, thereby reflecting upon and emphasising issues

of control.

Focusing upon the control women endure during the final stages of their birth, these sculptures echo restraining positions. Recognition of this most powerful of experiences, binds all women at this crowning moment.

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