Private view: Tuesday 10th June, 6pm - 9pm Show opening to the public: Wednesday 11th - Saturday 21st
Produced for the CASS 2014 Degree Show The Sir John Cass school of Art, Central House, 59 - 63 Whitechapel High Street, EI 7PF Graphic designer : Ieva Kausteklyte Printed by: Hobbs Reprographics Edited by: Darius Verbickas, Flora Parker, Abi Baker All content provided by the graduating students of 2014.
2014
BA FINE ART DEGREE SHOW exhibition catalouge
2014 2014
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4, 3, 2, 1...
“…In the early twentieth century, an artist would most likely have been fluent with the deployment of one medium and literate in its technical matrices: Brancusi’s photographs supported his sculptural practice, even if through the lens of history, these stand on their own. Today, an artist more likely than not makes use of more than one material or technique, even in the making of one piece, let alone throughout the bulk of his or her practice. An artist is, in today’s context, fluent in the deployment of more than one medium, literate in the technical matrices of more than one medium, and aware of how the conversation surrounding one medium affects another…” Farah Karapetian (2012) artandeducation.net What’s the context for an art degree and where one studies for it? Art students rarely stop to think that something as straightforward as a tutorial lies in a long tradition. Or that the transfer of skills between artists has its own history. A tutorial is in fact just a university frame. But art wasn’t always taught like that. And why you study at the Cass is part of this. Before the Second World War, studying art in London was largely an ungraduated affair. The British class system at work was obvious. If your parents were rich, then after public school, they might pay for your tuition at The Royal Academy Schools or the Royal College of Art. If you didn’t have so much money, you might learn somewhere like Chelsea, the Slade or St Martins. If you were still poorer but talented, places like the Cass, Lethaby’s Central, Morley Hall and The Working
Mens College kept the door open. That’s England for you. And that’s the Cass identity in London. Back then, any international profile among Cass students lay strictly in the East End’s polyglot heritage. After that war, however, the academisation of art took a big turn across the Atlantic. College boys who had studied at university colonised the art scene in New York, then the centre of an American hegemony in art. There was big money to be made there, as art reputations went stellar. The ideas those college boys brought with them placed university study firmly at the start of a career in the art worlds across the Western hemisphere. A BA Fine Art (and which university you’d done it at) came to be a badge for an artist, a highlight on an art CV. The Cass (then part of the old City of London Poly) arrived
at the launch pad a bit later. In 1992 the Tory government converted all polytechnics into universities. That was also when the Soviet Union fell apart, the Berlin Wall came down and war in the Balkans began. At the time, I remember people thought the British class system had become irrelevant. A sign of the times was the magazine Marxism Today merging into The New Statesman. A silly logic obtained that everyone worked, so everyone must be working-class. The Cass began to offer degree courses at that point, exactly as art went multicultural and globalised, when London began to become the world art city it is today. So if the Cass were a space rocket, then just as it left the Earth’s atmosphere it found itself hidden in a wider universe. For the British class system was very much alive and kicking. The London art schools that served its upper strata were light years ahead.
9 And that’s how it went on. It’s only now in 2014 that the possibility of hyperspace in art occurs at the Cass. Here we are knocking down old territories and workshop walls to create a unitary art degree, unbounded by medium. Timewarp to Mo Throp doing the same at Chelsea 10 years ago. Antigrav to Rosalind Krauss’ deconstruction of Greenberg’s medium specificity in the 1970s. Teleport to Robert Morris, making you the viewer perform in one of his 1960s installations. Wormhole even to Velasquez’ coronation of anyone who might stand before his painting known as Las Meninas. Random landings like this always mean a narrative, petite or grand, doesn’t work quite as it might conventionally. Artists will after all work with anything they have to hand. So as this year graduates, let’s not get forget. Become an expert by all means, but don’t get hung up on what you work with. The point lies in the quality of the thinking. This is what we learn here now. Fine Art at the Cass has transformed itself from a strange, inwardlooking dormitory of a place few had heard of, to industrious studios of activity, where the study of art will be socially engaged with the outside world, where we think about art as a vocation. Vocation isn’t just a focus on
introduction
obs in art, it’s about art as a calling. We’re different at the Cass. We’re very ambitious for our art students. There’s no art elitism here. We refuse the house styles other art schools sell. In art at the Cass we aren’t foundationalists (one-true-wayers), universalists or ironists, nor are we miserablists (moaning about art always taking second place). We are pluralists who value diversity. You know that staff assessed 10-minute powerpoint presentations from graduands this year. About where you had come to the Cass from, why you came here, what you had achieved in art in each of the 3 years here and what you were going to do after leaving . It was great seeing so many art students with such a very clear idea of what they are doing. And very moving. Well, that’s the Cass and this is who we are! Safe to say, you arrived at the portal. Class of 2014, we have lift-off!
Rosemarie McGoldric Course Leader, BA Fine Art Cass school of art
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1
Others and the Self
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12
Alyssa Phelan
13
Lady Michaelle St.Vincent
14
Ava De La Flor
15
Abi L Baker
16
Lauretta Smith
17
John Nazari
18
Flora Parker
19
DARIUS VERBICKAS
20
Desmond Richardson
21
Kwadwo Acheampong
22
Rolina Elsje Blok
23
Raquel Chinchetru
Alyssa Phelan
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alyssa@thephelans.co.uk
“I”, Paint on Photograph, (oil bar, paper), 42.0 x 59.4cm
The process of art making has always been the most important part of Alyssa’s practise; from continuous exploration of the environment surrounding her, to interaction with inspiring people and interesting characters. She considers these interactions and she pours these considerations into her photography and painting. She has aquired a deep interest within the field of Art Therapy, particularly the healing power of the arts and how it can bring subconscious emotions out of anyone through the process of making. It has led her to take an explorative role within herself and her thinking behind works. Her latest project portrays the ‘gnawing’ of the brain, the ‘constant empty buzz’ that comes with mental health problems, and how it can distract and take away from the mind of the sufferer. Alyssa Phelan resides in Hackney, London, choosing to live amongst the bustle of city-life, previously having lived in the Oxfordshire countryside.
Lady Michaelle St.Vincent
13
ladym@planetmail.com www.ladym4.wix.com/michaelle-stvincent
“Pornucopia”, Limited Edition Sculpture, (cold cast bronze) H20x W20x L30cm
Pornucopia – Memoirs of a 1980’s Nymphomaniac LadyM is an olfactory artist; her work involves art beyond the visual. Through manipulation of sensory input, using odour as a trigger to memory, she stimulates the individual’s sensorium; drawing on the audiences’ faculties of mind, their experiential
interpretation of the artwork through all aspects of perception, cognition and comprehension. LadyM’s latest installation is set within the brain, literally and psychologically. Through a montage of smell and sound recordings (based on sexual responses), she creates pictures in the viewer’s own mind, drawn from their
own unique olfactory and audio memory banks. By removing the visual from her work she relies heavily on its’ psychological impact. psychological impact.By creating a new language through audio and olfactory installations; showing imagery via painting with people’s psyches; she enables the viewer to engage with art in a new way.
Ava De La Flor
14
avadelaflor@gmail.com www.avadelaflor.com
The Graduate Debut Collection ‘Flora Et Fauna SS14’ of Ava De La Flor , lace menswear 2014.
Ava De La Flor is a British menswear label for unusual curiosities for the gentlemen and his abode. From fine quality clothing to carefully selected accessories, the label is primarily concerned with communicating individuality, which is now the greatest luxury available. By offering a combination of exclusive and idiosyncratic products the label’s
signature style hints at the dichotomy between old and new, real and imagined, the down to earth and the fantastical. The debut capsule collection ‘Flora Et Fauna SS14’ is a romanticized ode and celebration of the great British spring and summer. With spring at its prime, our thoughts turn to an abundance of blooming flowers and the imagery of
British pastimes: picnics, garden parties, fishing, cricket, beekeeping, boat rides and butterfly catching. It is presented in an almost installation-like ethereal show in which the runway design takes place in a softly sunlit white forest landscape of towering brown branches and vegetation all draped in lace.
lauretta3@live.co.uk
Abi L Baker
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abibaker@rocketmail.com
“Untitled�, Mixed Media Installation, (projectors, 5.1 surround sound)
A multi dimensional landscape with no direct reference to a specific place, more a familiar but fictional reality. Abi L Baker works largely within film and sound, dealing with the themes of psychedelia, perception, gender and mind and body. Her work is influenced by the deconditioning state of
psychedelics, but is no way about narcotics – rather a focus upon her own identity through femininity and masculinity and its deconditioned states from one another. Baker aims to place the viewer into a familiar but fictional reality that is an uneasy environment, but makes relatable references to the other through exploring the self.
Ultimately contextualizing psychedelics within her practice, and drawing conclusions surrounding other psychedelic relationships.
Lauretta Smith
16
lauretta3@live.co.uk
“The Insignificant Becomes the Significant’’, Photograph, (photographic paper), 60.9x 40.6cm
Maps and trails are key elements to this project. Cartography and its history and the use of objects as milestones are looked at as themes to the project. This project also looks at different types of trails from the more organic trails that already exist on the landscape to the fairy tale bread crumb trails of Hansel and Gretel then on to the more contemporary
trails made for E-commerce purposes using targeting advertising. Also debit, credit, and store cards and CCTV all create the less visible more modern trails of today. These trial ideas have been put together, the fictional and the non-fictional form a trail inspired exhibit.
John Nazari
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refnazari@gmail.com
“Freedom or Religion”, Hyper Realistic Sculpture, (paraffin wax, oil colours, hair, acrylic eyes, fabric, kippah, payot) H30x W20x L20cm
Born and educated in capital city of Tehran, Iran - a year before the Iranian Islamic revolution. Nazari made 100s of real size sculptures wax method for different museums in Iran from war museum to folkloric and historic museums, but did not have any chance to create a sculpture freely in Iran. Nazari studied art and design at south Thames College in 2010 foundation diploma, continued BA Fine Art sculpture at London metropolitan university in 2011, and aims to study a masters degree. Nazari’s studio work is a hyper realistic self portrait head that (paraffin wax) shows a brain washed religious person. ‘Personally I don’t think that any one religion is better than another; I find them all on the same level.’
Flora Parker
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floraparker@hotmail.co.uk
‘We Fucking Laughed’, Collage, (foam, laminated canvas, wood) 33x 15.2cm
The work aims to materialize the notion that everything is not as it seems. Questioning the way we assign cultural and sentimental value to objects/works of art and even people and ultimately the social constructs’ that control the way we are influenced to do so. This is achieved by juxtaposing images and disarmingly honest text placed on such images. Reinterpreting objects and art from the past through a new gnarled, cynical viewpoint. Using ready-mades that are symbolic of domestic life and security are emptied of their sentimental meaning through intervention. The intervention into these images/objects through collage, excision, reconfiguration, removal or application can be seen hint at a dark and macabre reality in which these objects exists: image and perception alike are questioned, rearranged and opened to new possibilities.
Darius Verbickas
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d9verbickas@gmail.com www.nanospace.org.uk
Stage 2, Pansemic Drawings (wood, perspex, acetate paper, black ink) H181x L96.7x W29.7
Materializing the flatland, ‘coercing’, as it were, the emergence of various aspects of it, has become a driving force in Darius Verbickas art practice. Using geometry as a discipline to feed his own, he is creating abstract structural compositions, whether it’s 3 dimensional structures or 2 dimensional drawings, both questioning the notion
of space. To derive the final outcome he relies much on the process itself and the use of the semi-systems, which dictate and determine the process, as well as the outcome of his work. Through his composition he is trying to redefine the concept of the ‘space-land’, suggesting to the viewer a sense of the indefinite, outlandish space. In order to achieve certain
needs for the composition he is frequently manipulating the space itself and usually relying a lot on material which takes an important role within his work.
Desmond Richardson
20
vision27@post.com
“Voodoo Child”
This installation is based on a houseboat at Bulls Bridge, Willow Wren Wharf. It’s moored along a pontoon tucked behind commercial buildings along a section of the Grand Canal. The dimensions of this one bedroom home is 17.5mx2.5mx2.6m height and goes by the name” Voodoo Child”. An ethnographic approach has been used to develop
this project, which is about making art whilst living on a houseboat.. This installation consists of a water pump operated by a 12volt car battery. Water falls from a tank through copper/ plastic pipes into the pump. The pump then recycles the water back up into the tank. Let’s think about sustainability, adaptability and resilience
in this urban environment. With our population set to rise by 9 billion by 2050 it makes sense to recycle and continue to develop cost effective energy saving devices.
Kwadwo Acheampong
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kwady_16@hotmail.co.uk
“Lost Words”, Digital Art and Design, (acetate and spray paint) W21x H29cm
Acheampong’s practices vary from sculpture/installation and graphic design/ art, but on occasion Idecide to mix them to create new outcomes. The themes or ideas for the project usually surround areas within science, physics but, currently language and linguistics within the context of fine art is the project. Acheampong chose to do Fine Art because it gave him the chance to explore various mediums, which include graphic design/art, installation, photography, and print. He mainly prioritizes graphic design/art, as he would like to enter the practice of Graphic Design/ Art industry or carry on studying to acquire an MA and further qualification attainable in the future.
Rolina Elsje Blok
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rolinablok@hotmail.co.uk
“Intimacy Mayhem”, Screen-print/ Multi-media Installation
Rolina Blok is a young East London based artist. She originates from The Hague but is also half Romanian and lived in Romania for seven years, prior to moving to the U.K. Blok’s practice has changed a lot over the years she spent at the Cass. Coming from studying art in a postcommunist environment Blok had to break the set boundaries yet still make use of all the knowledge and technique acquired from the art/education system in Romania. After breaking these boundaries and learning about a contemporary environment she discovered the techniques and subject matter she is currently working with.Blok works mainly through the methods of screen-printing and performance art. Her performances and prints show her perception of intimacy through Muay Thai . Exhibiting from the fragile age of ten, Blok has been actively involved in the art world and wishes to continue to explore and develop her practice as an artist and Nak Muay.
Raquel Chinchetru
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kelachin@hotmail.com
“Untitled”, Detail of the Installation
Raquel Chinchetru’s practice focuses on the notion of space and how the individual interact within it. Kindness and patients are the main focus of her practice. She seeks to designate the bridge that connects the individual with his interior landscape, as well as the idea of sharing; which seems to be almost unreachable in today society. For her final piece Chinchetru will to create a silent room where the user can share silent with others as well as finding inner silence when the rest of the context is full of noise and lack of concentration. Sharing and providing a universal tool as simple as silence to be in the present moment and finding the difference between listening one’s own mind and to hear it.
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Materiality Immateriality
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Katharine Lazenby
27
Will Peck
28
Tom Parker
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Michael Robertson
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Silja Hytti
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Sarah Williams
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Flora Pickering
33
Phoebe Seawell
34
Abdul Shyllon
35
Lizzie Harper
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Isaac Branco
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Jon Southam
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Emma Gower
39
Alison Jenkins
Katharine Lazenby
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lazenbykatharine@yahoo.co.uk katharine-lazenby.tumblr.com
“Untitled”, Detail of Slide Projection Installation, (acetate) 24x 36mm
Katharine Lazenby’s work emerges from a processorientated practice that resists pre-defined endpoints in favour of revision, construction and reconstruction. In this speculative approach work is an active dialogue between action and outcome, as manifested ‘lines of enquiry’ or streams of thought. Through various methods of appropriation and assemblage, she
orchestrates her material, drawing upon visual echoes and associations resonating between disparate elements. Her practice is driven by an interest in how we ‘make sense’ of fragments, searching for connections between the part and the whole, where context informs perception and directs reading. For the viewer the work is experienced as an unfolding encounter.
Whether an installation articulated across a physical space or the sequential disclosure of a time-based medium, there is both the impress of the immediate instance and a gradual comprehension pieced together. Developing the work through an attentive crafting of her chosen material, Lazenby is attuned to its sensuous impact as well as its conceptual suggestibility.
Will Peck
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willpeck22@hotmail.co.uk www.nanospace.org.uk
“Untitled�, Detail
The work has a particular interest in the performativity of objects and materials. How Objects enact their own performances within controlled environments is an ongoing concern as is the impermanence of materials and ideas. Through sound, video, drawing and photography records of incidental outcomes from processes and actions become site
specific installations or duration performances which change during an exhibition. Often the outcome of previous works becomes material to generate further works past the time of an exhibition, these processes attempt to engage in constant instability, where work is continuously capable of collapse and formulation.
Tom Parker
28
tom.parker27@btinternet.com
“Burnished Steel Plate on Blue Cutting Mat�, Detail, (cutting mat, steel)
Tom Parker has spent much time over the last year perfecting the feigned use of third person in writing as a means of implying a perceived but faux success. The work is concerned with a continuous practice of labouring towards no outcome. Through the adoption of a controlled process and implemented rules of constraints
and constants, areas are recorded in a way of collecting information that may otherwise be cumulatively lost throughout the printing practice and a goal-orientated disposition in general. This said, of course, having no goal as the desired achievement from the start is, if met, a successful outcome. So the only way of avoiding that pitfall is to fail- to achieve
a goal that was set out to be avoided- and produce an outcome.
Michael Robertson
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michaelr109@hotmail.co.uk www.nanospace.org.uk
“For a Relative Humidity”, Mixed Media Installation, (dehumidifier, hygrometers, universal indicator paper)
Michael Robertson’s art practice is concerned with the tangible results of contingent, on-going systems that play out in the making and reception of work. There is an exigency or necessity of information in the form of on-going experiment and documentation that runs through controlled and measured processes. The functional aspects of objects and apparatus play out in praxis. The action and processes that autonomously perform in objects are embraced. The site specific installation is driven to record and alter an environment via variations in humidity and readings of Ph. values from extracted liquid. The reception or interaction within the duration and the event act as a catalyst to fluctuate the relative humidity in the space, activating a futile yet subtle push and pull between the functional object of a dehumidifier, and the audiences influence on humidity within the duration of the work.
Silja Hytti
30
silja_hytti@hotmail.com
“That Seems Fine�, Drawing, (Ink on paper), 25x 34.5 cm.
Silja Hytti works on with drawing, sound and video. The practice is mainly drawing based, recently having found ways to manifest itself also in forms of sound and video pieces. The drawings offer an idea of a space or a state of mind to be received and explored, where humiliation, disgust, disaffection, insufficiency,
alienation and disappointment are to be felt. They can be seen as a space of their own in their own time, overlapping with the reality from which they are looked at. They are less of presentations of actual social situations in reality and more like spaces giving possibility to connect with the understanding they bear.
Sarah Williams
31
sarahwilliams74@gmail.com
“Untitled�, Sculpture, (cotton, dye), 50x 117cm
The work manifests as a textile-based installation; the artworks are born from the fabric remnants we leave behind and the potential within them. Constructed or deconstructed from the ephemeral, the pieces are translations of detritus that through layers of processes explore possibilities of memory and history. Enclosed in the materiality, object becomes a signifier, a vestige in which to preserve a testimony. With each of these layers of process, a tenuous thread connects them, which transforms, dislocates and ruptures the rooted and ingrained narrative of past, present and future. Each work exists independently but functioning as a collective further dialogue is created as these forms metamorphose and transcend into conversations, disrupting or supporting one another and reinforcing the amalgamation and distortion of memory. Textiles could be seen as an extension of our skin and bodies. The installation, a space or void could be a metaphor for the mind or the physical place where we store our memories.
Flora Pickering
32
floraemilyp@gmail.com
“Sound Observation II�, Drawing
The practices of observation and construction are prominent throughout Flora Pickering’s working process, which is informed by the models and metaphors of science. Interested in the different sorts of information they provide, her research uses analogue and digital techniques to produce, capture and process sound.
Re-constructing the sonic information collected through this practice, her sounds works play with different times, places and spaces. These prerecorded sounds are installed within a designed acoustic structure made from materials typical to musical instrument making. The acoustic structure provides a platform for immersive expe-
rience immersive experience whilst at the same time producing and transforming sound.
Phoebe Seawell
33
phoebeseawell@googlemail.com
“Dream a Little Dream of Me”, Printmaking, (inkjet print on paper) 160x 150cm
“The artist is not a special kind of person; rather each person is a special kind of artist.” Ananda Coomaraswamy Phoebe Seawell is a Londonbased Franco-American artist who’s interests include using child-like or psychedelic aesthetics and themes. She is currently artistically
interested in; colours, portals, dreamcatchers, and the inducing of a dream-like state. Seawell explores these through the media of sculpture and installation, printmaking, digital art, and video. Artistic avenues she has previously touched upon (but by no means fully ventured) are; the use of space and sculpture to
create an emotional impact, the meditative process of making and the observing of this process, the intangibility of a dreams, and the use of apps as an artistic medium.
Abdul Shyllon
34
abdulshyllon@hotmail.com
“Self Adawned�, Detail, (wood, plastic, cosmetic tools, reproduced images)
The work explored at this point is looking to evoke a dialogue and critical thinking around issues that are taboo within the social conscious milieu. Interests centre around the wider dynamics between what is seen, experienced, and observed, and how the self is perceived within the culture.
Unpacking notions around race, representation and stereotype, the implications that might be apparent. Hi-lighting the things that are often problematic but left unchallenged because they are perceived as the norm or simply have not been adequately examined due to hierarchical historical contexts and the institutional conventions and supremacist rational.
Through throwing a light on some of these concepts the highest objective within the work is to bring these concerns to the fore and to somehow question the incredibility of what we have been ingesting and ponder upon how we might effect change and evolve.
Lizzie Harper
35
dancing_in_fuzzy_red_knickers@msn.com
“Untitled”, Mixed Media Installation, (photo’s, wax crayon, paper, ribbon, dried flowers, plastic, textiles, napkins, clothing, candles, glass bottle, hair, sequins, glitter, glitter fibres, wool, silk) 2x 3m
Lizzie Harper grew up in Bristol and is currently studying in East London.Her practice is object and performance based. Over the years her work covers issues exploring the female body, particularly focussing on menstruation, prostitution, gender roles, power, notions of The Goddess, fat feminism, craft, identity, class and sexuality, taking inspiration and reference from her surroundings and Matriarchal and mythological religions and societies. The context of her work sits in an (often) sexually, emotionally, spiritually repressed culture of western patriarchal society. Harper’s current work takes the form of performance-based rituals which are expressed through movement, spoken word both publically and privately. Harper considers her art practice as integral and intertwined with her own personal life, and the two are not separate. Another thing integral to her practice is the power and authority given to objects and acts through intent, the relationships of power between man, space and object and how they interact and flux.
Isaac Branco
36
furia_ack@hotmail.com
“Caesar Salad”, Digital Photograph, (from the series Things I Like)
Isaac’s work is an attempt to understand how people look at their surroundings both in the real world and the cyber one as the constant intersection of both creates an interesting playground for art practices. The work here shown is part of the research done as a way of not only comment on the subject but interact directly with it. Taking a symbol widely recognised
in the social medias context and placing it on things and places that would normally be marked with it once their pictures reached those platforms, the goal here is to question the difference in reactions from the digital world to the physical one. Are those reactions the same? Or is the work met with suspicion due to its obvious critical objective?
Jon Southam
37
jonnenberg@hotmail.co.uk
“Grid 56x56�, Drawing, (cartridge paper, pencil, pen) 42x 59.4cm
He looks to use a text or texts that resonate with his current thinking, as a catalyst for practice, a way to directly link his research and practice, a natural progression by means of response. This gap is bridged directly; the work seeks to respond to the text through the practice. The artists practice in this sense is a means of opening dialogue both with the text and with the audience. he seeks to create work that is in dialogue with its influences as well as its viewers.
Emma Gower
38
gower27@hotmail.co.uk
“The Dress of a Cut Child”, Sculpture, (2100 synthetic silk rose petals, plastic, cotton) 120x 68cm
The use of art to explore and highlight social issues is a central area of interest with early pieces of work relating to child slavery, death and sexual health. Issues that have been considered more recently include forced marriage and the repression of women, which topics have then been extended to explore female genital mutilation within the context of women’s sexual freedom. Materials and techniques specific to the issues being considered are used to create pieces that have maximum impact on the audience. The ultimate aim is to engage and stimulate the viewer’s senses affording them a multi-dimensional experience.
Alison Jenkins
39
ahelenaj90@hotmail.co.uk
“Sound Soup�, Video Installation, (projectors and mirrors)
Alison Jenkins passion is sculpture, however within her final year she has tried something new and elected to do a video installation, which is a new aspect of fine art that she is not familiar with, however Jenkins is always ready for a challenge. As a deaf student she has changed the comfort zone of her hands for a lens where she has had to apply sound,
which she cannot hear, to a video showing things that she encounters within her daily life.
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Cristovao Suzuki
43
Stefany Alves
44
Robert Weir
45
David Hewitt
46
Christopher Hackney
47
Marcin Tadeusz Jozefiak
48
Dan Cates
49
Jose Branco
50
Nyasha Andrew Harahwa
51
Narrative, Anti-Narrative and Photographic Practice
Louisa Johnson
3
Narrative, Anti-Narrative and Photographic Practice
41
52
Marcin Krupa
53
Keshia Scere-Jacobs
54
Tangina Hoque
55
Will Vickers
56
Sarah Harte
57
Pedro Montalvo
58
William Clarke
59
Lee-Ann Archer
60
Sean O’Connor
61
Zeynep Akman
Louisa Johnson
42
louisakayjohnson1@hotmail.com
“Beautifying a Moment on the Streets of Limassol”, (aluminium print) 42.0x 59.4cm
Heath Bouffard once said, “People look at ordinary stuff all day long, so why not make a picture look extraordinary, and give them something to look at.” This quote exactly defines Johnsons project, she tries to bring the entity of her photos to life and her project consists of photographing the ordinary. Johnson is constantly challenging perception and trying to make ordinary subjects look extraordinary. Johnson focus’ on ‘unexpected objects’ with stories in them. Johnson tries to beautify a moment in the everyday. Once you have that moment, you want to beautify that moment as much as you can. Each precise object or condition or combination exhibits a beauty. Johnson focuses on the unexpected and finding the unnoticeable places and objects. My project basically reflects on a journey of everyday life, her photos can come across as “accidental art”.
Cristovao Suzuki
43
cristovao_suzuki@hotmail.com
‘Reflection’, C- type Prints (acrylic reverse) 29.7x 42cm
Cristovao Suzuki’s work is about taking pictures of people on the street or in other public spaces, doing everyday things but without them being aware that a picture is being taken.
The poses are unaffected by the presence of the camera and represent instances of real life rather than any image that the subject might project if they were aware of the photograph being taken.
The idea is to capture images without the subject knowing that a photograph is being taken to allow truly natural images to be created.
A story of everyday life emerges through the images, each of which is an instance in the life of its subject, each of who have their own story.
These in turn create the narrative of the photographer on his quest to record what he sees in his own life. All images were captured using film camera with black and white film.
Stefany Alves
44
stefanyalves@live.com
“Botanical Journal”, Photograph, 8x10 cm
Stefany Alves is a photographer and illustrator whose work is a documentation of her everyday life. The snapshot aesthetic is depicted in her work as well as on the artist’s self portraits. She takes what could be looked at as mundane or trivial and, enhance it by playing with objects’ arrangement and symmetry . The photographs reflect the way
she communes with nature and, snippets of her own individual world. The sketches and photographs are an allusion to the artist’s personal observations and influences. The work deals with the concept of idealism and, the idea of finding beauty in simplicity.
Robert Weir
45
Robert.weir10@gmail.com
“Houses in England” , Photograph, (matt paper print) 84.1 x 118.4cm
Rob Weir is a photographer hailing from the Antiques/French quarter of Sheffield- a place that he claims has shaped most of his work for its vibrant bohemian culture. He likes art and documentary photography. Looking back on all the things he learned in high school he’s amazed he can think at all. He thinks that kodachrome film gives us
the nice bright colours, the greens of summers. He owns a Nikon camera and loves to take a photograph, so don’t take his kodachrome away…
Christopher Hackney
46
hack3rs13@hotmail.co.uk
“Silent Stalker”,Digital Photography, (C-type glossy photographic paper) 30.4x 45.7cm
Photography at University has been about experimentation and enhancing his skills within the craft of contemporary Fine Art practice. He felt that photographic imagery is about capturing his vision of personal expression and exposing it for the world to see and experience.
The Final Project is a development of all the techniques he has gathered during his time at University, these skills helped to achieve a relationship with the subject that he shot (Gamekeeper), through the right communication and sensitivity of the hunter’s involvement with wildlife and the environment.
He looked to capture the sense of the unknown, a look into the isolation one felt in the field and the morality that overcame the gamekeeper and himself during the culling of the animals. Sound one hears within the silence of the stalk played a part in capturing different sensations.
David Hewitt
47
DavidHewittVisuals@gmail.com
”The Undercroft”, Photograph, (matte photo paper) 84.1 x 118.9 cm
The oldest and most organic skate park in the whole world, in the undercroft of the Southbank Centre, is under threat of demolition to make way for a Starbucks with which the Southbank Centre plans to fund their new ‘Festival Wing’ refurbishment project. It has stood for over 40 years, becoming known as the birthplace of British skateboarding, and has given the
area a revolutionary boost in art and culture ever since. Long Live Southbank is a campaign aiming to preserve the park which has gathered over 100,000 petition signatures in support of this, but still needs all the coverage and help they can get to overrule the corporate actions of cultural vandalism.
David Hewitt, photographer and skateboarder, had his camera at the ready. Recording the artistic actions of the tricks performed at the undercroft, the commendably dignified and formal efforts of protest and personal insights of park users & viewers over different media forms, David aims to aid the protest in any way he can.
Marcin Tadeusz Jozefiak
48
lordjamesblite@gmail.com www.jamesblite.com
“The Secret Garden”, Photograph, (satin photographic paper) 80 x 80 cm
Marcin Tadeusz Jozefiak also known as James Blite is interested in the topic of portrait photography and he uses that medium as a way to identify and make visible different sections of the population. The Secret Garden is an ongoing project where people play a prominent role. The ongoing project features
subjects who interest and influence the photographer. The photos are taken in the bedrooms of those who are portrayed and it is the role of the unstaged surrounding to tell the story of what is being presented. For most of us the bedroom is an equivalent of a safe zone, a place where most of us feel the most comfortable.
“I like photographing the people I love, the people I admire, the famous, and especially the infamous.” Helmut Newton.
Dan Cates
49
dancates@hotmail.co.uk
“Leaders in the Living Room”, Darkroom Print, (photographic paper), 40x 50cm.
NORTH KOREA – WHAT IS REAL? Using photography as his chosen medium, the work of Dan Cates often addresses political issues especially those linked to communism and the unique social conditions born of the collapse of the former U.S.S.R. After numerous trips to much of the Post-Soviet world, it seemed logical that he would eventually visit the world’s last Stalinist dictatorship; The Democratic People’s Republic of Korea, and in the summer of 2013 he finally did just that. His exhibit represents a small part of an on-going body of work that Cates has been producing since returning from North Korea, a trip that, instead of providing the truth he had hoped to find there, left him confused, and suspicious about many of the people, places, and events he had been shown. It was a trip that forced him to ask his audience the very same question that he had repeatedly asked himself through out the project; what is real?
Jose Branco
50
jose.msbranco@gmail.com
“Chaotic City”, Photograph, (giclee print) 21x14.8 cm
Jose Branco brings an account of the living in the city of London. Starting as a social commentary, but reflecting on the multiplication of images and the political influence of media, the revelation that an image can be just an image has also been important for this project. Different parts of the city are presented, in an approach that has no cutting
edge techniques, yet all of it is constructed digitally. It is an attempt to leaf through prevailing aspects of everyone in London’s daily life, in a simple and grounded construction, reductive perhaps, nevertheless which existence cannot be denied.
Nyasha Andrew Harahwa
51
A.harahwa@gmail.com
“Altered- Natsu/ Daniel”, Photograph, (giclee print) 23x 60cm
Nyasha Andrew Harahwa is a digital and analogue fine art photographer whose major focus is on creative imagery through the use of portrait photography. The project “Altered” is a photographic series that investigates the change in a person’s character or composition typically in a significant way. She has done this by
photographing portraits of Cosplayers (the alter ego) and their everyday persona (how they are view in society), placing the images next to one another in a photo sequence. Her intention for this is to allow the audience to view the images of the person’s alter ego and everyday persona side-by-side, allowing them to piece together the relationship that both of them share.
Marcin Krupa
52
marcin.krupa@gmail.com
“Untitled”, Photograph, Brick Lane, 2012
The project entitled ‘Tales of East End’ is a personal photographic investigation into the surrounding nightlife in and around East London. The use of the term ‘East End’ began in the late 19th century and was first applied to the east districts of the River Thames. Over the course of a century, the East End has become
synonymous with poverty, overcrowding, disease and criminality. However, with the recent developments and renovation of the area or more to say its gentrification, the East End’s landscape has changed in history once more. Once the home of immigrants, criminals and the working class it has now flourished into become the home of street art, fashion
and a place regarded as one of the most popular entertainment districts in London.
Keshia Scere-Jacobs
53
KJay_Photos@outlook.com
“Mum”, Photograph, (glossy photographic paper) 14.8x 21cm
Keshia Jacobs is an artist who is fascinated in the concept of portrait and documentary photography, it allows her to capture a piece that then transcends into creating a narrative or story. Portrait photographs gives a motivation into forming a very descriptive an appealing subject matter. In her work The Coloured family she use portrait photographer to capture different races within her family, the subject is based on collecting a series of single let portraits to get an understanding that one family is much Coltsford and to show the difference between the first generation to Forfar third-generation now within a family and how it’s changed.
Tangina Hoque
54
tanginahoque13@hotmail.com
“Brick Lane Market”, Photograph, (glossy photographic paper) 12.7x 15.2cm
As an artist who is fascinated in the concept of documentary photography, it allows Hoque to capture a piece or a place that then transcends into creating a narrative or story. Documenting photographs gives a motivation into forming a very descriptive and illustrative narration about an appealing subject matter.
Hoque’s photography is very much deeply influenced by observations around a specific environment and its livelihood especially a place like East London and its market areas. Photographing East London is to be very much personal and intimate, because it’s an area that has character and a distinctive atmosphere around
itself. As well as this, the markets around East London are openly chaotic and touristic which provides an opportunity to appreciate of what the areas are like and how it is regarded from an outsider. Hoque likes to regard her photography as to be ‘everyday snapshots’ that illustrate her ongoing process of producing a photobook.
Will Vickers
55
willvickersphotos@gmail.com williamvickers.co.uk
“Two Cities Called Home”, Photograph, (double weight photographic print mounted onto Di-bond) 1.01x 0.76m
Having seen Bill Brandt and Martin Parr’s work about Yorkshire exhibited in New York, Will had a strong desire to return home to Yorkshire to spend time and explore. The feeling of having a personal link to work and being able to recognise the areas shown made their images much stronger and personal for him.
He has photographically investigated the relationship between East London and Bradford - the two places where he grew up - both areas are home to the largest Indo-Pakistani communities in the UK and are both historically poor areas. Although on the surface they are aesthetically very similar; after exploring the social
histories of the two areas, one realises they are very different.
Sarah Harte
56
Sarah_harte@hotmail.co.uk
“Reflection Below “, Digital Photography, (foamex PVC) 59.4x 84.1cm
We don’t set out to produce art about one subject or another. The project is based on the decisive moment within photography. This particular project is based on shooting the structure of the bridges as well as the reflections from above and below the canal’s. The main focus of my art is capturing the ordinary and
turning it in to some surreal which will draw the viewer in and get them involved with my art. Within the art we like to capture the beauty within the mundane of objects and places such as our natural surroundings, landscapes, architecture, and buildings. All different mediums allow me to express different ideas.
The particular influences we have are first and foremost everything we see, feel and experience, but she has always had a love and interest for photography and nature in particular. The work by David Nash, Tom Hunt, Lee Friedlander and Lisa Jacoby has been my inspiration over the years.
Pedro Montalvo
57
“In Between”, Photograph, (chromography), 40.6x 50.8cm
“In essence whiteness is not so much a color as the visible absence of color; and at the same time the concrete of all colors; full of meaning. And when we consider that other theory of the natural philosophers, that all other earthly hues, the sweet tinges of sunset skies and woods; and the gilded velvets of butterflies, and the butterfly cheeks of young girls; all these are but subtile deceits, only laid on from without; so that all deified Nature absolutely paints like the harlot, whose allurements cover nothing but the charnel-house within; and consider that the mystical cosmetic which produces every one of her hues, the great principle of light, for ever remains white or colorless in itself, and if operating without medium upon matter, would touch all objects, even tulips and roses, with its own blank tinge. H ernan Melvile.
monti666@gmail.com monti666@wix.com/pedromontalvo
William Clarke
58
williammichhaelclarke@gmail.com
“Abiding Tension”, Photograph
William Clarke is a documentary photographer based in West London. He first started this project on anxiety & wanted to focus on photographing everything related to do with his anxiety whether it is good or bad. However after a while of taking photos & experimenting with the idea, it developed it into taking a series of staged photography which explores the themes
of anxiety. The concept of Abiding Tension is that he is photographing anxious situations and then putting balaclava’s on the models to use as a template, and then projecting his feelings onto them by using different colours and patterns.
Lee-Ann Archer
59
Lee@lee-art.co.uk www.lee-art.co.uk
“Tile 2 <16.2.14>”, Digital Photograph, (on tile) 10x 10cm
Archer’s present work considers the skin’s surface and texture, exploring human cartography. Each portrait is a ‘trace of time’ in the subject’s life whilst also linking the subject to herself, in her present moment.
scar becomes a Memento Mori, whether the palm of the hand or the back of the knee, the lines reveal a unique narrative of each subject’s personal history and yet also represents the inescapable fragility of every human.
Skin is seen as a landscape, a cartographic map of an individual’s life journey and existence. Each line and
Archer is interested in pushing the boundaries of my photographic work, pursuing alternative forms of printing
photographs that relate to the subject of the work. Primary techniques currently being explored include analogue & digital, darkroom & digital prints together with screenprinting, laser printing and cyanotypes.
Sean O’Connor
60
soconzulu@live.co.uk
“Autocratic Authority”, Photograph, (digital file)
Sean O’Connor has been heavily influenced by the great portraitist whether they be painters of photographers, In this spirit he has chosen to create a series of highly constructed images in which he has employed metaphor and allegory as a way of exploring a particular subject matter, that he believes has become of great importance in recent years, therefore he has created a triptych of images on the matter of law & order, particularly in regards to the agents that carry out the enforcement of this code the police, these images are a study of their introduction in 19th century, their recent past and the current state of said institution in contemporary society. In order to question where they are heading as an institution and what that means for ordinary British citizens civil liberties in contemporary society.
Zeynep Akman
61
ZeynepAkmanPhotography@gmail.com
â&#x20AC;&#x153;A Piece of Turkey in the Promise Landâ&#x20AC;?, Inches Colour Prints (hand printed- fuji colour paper) 25.4x 30.4cm
For the past ten years Zeynep Akman has been working in the Turkish film industry and also as a photographer. Her way of life consists of travelling alot and exploring. Her main inspiration for her past projects have come from Turkey. With this piece of work she has chosen to concentrate on the minority of Turkish men from rural areas in London. Choosing one of the most
important things in the Turkish males culture, coffee shops; she explores the transformation of culture, questioning how much change has actually occured. Using a covert approach to suite the environment that she is trying to portray, also hoping to give the viewer a taste of the culture.
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4
Conversations with Culture
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64
Cloud Haizel
65
Lewis Burton
66
Siobhan Smith
67
Simone Steenberg
68
Aamira Mulla
69
MartĂn Herrero
70
Amanda Marilliern
71
Fiona Atkinson
Cloud Haizel
64
dreamclouds@hotmail.co.uk
“Digital Rain Feedback”, Corrupt Digital File 11000px X 8500px, (giclee print) 84.1x 118.4cm
Cloud Haizel’s practice mainly exists in the digital realm, He makes physical work but the majority of his process happens when his artefacts are converted into the ether. His approach to creating works of art can be described as a “Subversion of a Metaphysical matrix”. This is his way of saying that his work and process exist “Under the Hood” he strives for his work to reflect his opinion on “Freedom of expression” and “deconstructionism”.
Lewis Burton
65
moo_am_a_cat@hotmail.com
“Flesh”, Still from Performance Piece, (collaboration with Victor Ivanov)
Lewis G Burton, a young London-based performance artist. His work deals largely with the themes of the grotesque, androgyny and struggle with the self. Performing on the contrasting fine art scenes and London’s underground club scene Burton has exhibited in an impressive array of venues including The Institute of Contemporary
Art, The Bargehouse @ Oxo Tower, The Peckham Space and The Mori + Stein Gallery. As well as such venues and clubs as Bethnal Greens Working Men’s Club (Sink The Pink), XOYO (Charity Monster), Resistance Gallery (Hard Camp by CUNTemporary) and East Bloc (Yeast London and Larry Tee’s Super Electric Party Machine).
Siobhan Smith
66
â&#x20AC;&#x153;Lizaâ&#x20AC;?, Still from the Film
Art is a powerful tool of communication. Siobhan strongly advocates that as an artist she has a responsibility to critically engage with the world around her. The art she produces has an integral agenda, which aspires to analyse and tackle issues created by the neo-liberal and consumerism in the hope of affecting positive change, as well as questioning art as a commodity and the strength of art as a communicative tool. Her art forms a voice using a narrative process in which she explores perspectives of individuals and fantasy societies using film, sculpture, sound, or whichever medium best suits the storyline.
siobhanamysmith@yahoo.co.uk
Simone Steenberg
67
simonesteenberg1@hotmail.com cargocollective.com/simonesteenberg
â&#x20AC;&#x153;No Such Thing as Enoughâ&#x20AC;?, Photograph, (matt C-type photographic print) 42x 59,4 cm
Simone Steenberg is a young London-based artist and fashion photographer. Her work addresses the topics of consumer culture, fashion and gender, and explores the relationship between art and politics in the context of photographs. She often utilises irony within text to play with her audience along with setting familiar images in unfamiliar contexts. This is not only to generate an interesting aesthetic, but also serves as a thematic way to investigate our post-ideological society and suggest new ideas for the future. She questions the position of women in society and in turn questions the significance of her own role as a female artist. Her art and photography constantly aspires to challenge, celebrate and explore society and culture in innovative ways. Steenberg has participated in several group exhibitions and continuously contributes to different art and fashion magazines such as Flofferz, Hunger TV and Dreck.
Aamira Mulla
68
mullaaamira19@gmail.com aam0319.deviantart.com
“Women Civil Rights 2013” ,Painting (oil paint, canvas) 60x 70.5cm
Aamira has shown many different techniques and visual outcomes. She wanted to show the audience the current status of women in general. Mulla wanted to show the work to challenge the current inequality and some cases ‘extreme’ oppression that are still occurring within both developed and third-world countries. She believes that
that women are still subjected to despotism – being treated like an object without feeling - that shows no restraint. Within her work on a series of painting and installations, it is very colourful, exciting, eye-catching and expressive.
Martín Herrero
69
martin_11_h.86@hotmail.com
“Hen”, Mixed Media, (clay, acrylic and balsa wood) 21x 16x 11cm
This work aims to challenge the preconception that toys cannot be considered art. Exploring the influences that cartoons, children’s literature and toys have on the minds of young children and questioning whether there is something more sinister to what our children are being exposed to, under the disguise of a loveable character. Considering, how this affects the way in which children are shaped to be a part of society and become the next generation. It explores how time has transformed popular culture and compares the way that consumer ism has been aimed at children throughout history. It pretends to be looking at consumerism from a child’s point of view, and tries to find a link between art and toys and the ways in which they can have an impact on society.
Amanda Marilliern
70
amandamarillier@yahoo.co.uk www.mandyshadow.tk
“Roger and Klaus” , Painting, (acrylics, mixed media, canvas) 100x 100 cm
Marillier is interested in cartoons from children’s television. She wants her work to depict humor and childhood memories in an abstract form. When Marillier performs with her guitar it sends her to another dimension. Like when she is painting she gets lost in her own world and everything else disappears during the moments of creating.
She has always felt this and music is something that is a part of her. As a musician and songwriter, lyrics, meaning and emotion are important and in her art work the most important thing is the emotion that she transmits through to the audience from the art work.
Living by Sponge Bob’s quote: “Live like Sponge BobLaugh out loud without any reason and annoy the mean people with your happiness”.
Fiona Atkinson
71
fiona.l.atkinson@hotmail.co.uk
“Skin Stretched by 9”, Installation, (leather, wood, method knots, weaving, stretching) H1.52x L0.60x W0.30m
Atkinson’s art involves gathering processes of found objects, information within my community culture. Working a gathering process of items and information, tells me what the end creation will be. Context inspired by personal experience outside of art school, items found within my community. Conversations over heard, Incidents witnessed, personal statements from people who have experienced racial equality. A constant talking drum, of skin cultural information. Skin Culture within the media; we adorn, modify, verbalize our skin in modern day culture. Use like a canvas or advertising notice board. Addressing racial skin culture, verbal propaganda in an artistic and sarcastic way.Skin records your life journey. Marks of age, childbirth, injury or violence. Does skin have a purpose use in art, or are we repulsed by it as an art material and its cultural discrimination’s, should they be hidden not mentioned or explored within the art world.
72 74
Amber Marsh
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Katie Brown
76
Jacopo Dal Bello
77
Lewi Quinn
78
James Tailor
79
Farida Bhula
80
Christianna Webster
81
Edmund Cavill
82
Image-Object, Object-Image
Adam Wallace
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Image-Object, Object-Image
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83
Paris Campbell Peddie
84
Katie Moir
85
Monika Bancyr-de-Angeli
86
Julia Noble
87
Martha b Dolak
88
Christine Annette Meyer
89
Maxwell Heale
90
Tahir Khan
91
James Smithson
Adam Wallace
74
spiral.thread@gmail.com
“Fat-Boots”,Collage, (inkjet print on paper) 42x 59.4cm
Adam Wallace’s practice is a study of the body, the fleshy substance that defines and describes us. Raising questions of the abject, Wallace examines the relationship between the body and the consumer society. Collaging flesh with industrial objects and household items, Wallace creates somewhat disturbing, yet humorous images, which question the boundary between Self and Other; asking to what extent we define our identity through the external objects we consume. Using timebased media, Wallace’s practice has reached another level, wherein his dystopian creations; half-man, halfmachine are given animation, with disturbing results. In the age of keyhole surgery, microchip implants, and body modification, Wallace’s practice is a contemporary reflection of these issues, which demands that we examine body politics; asking whether social position is defined by our bodily form, and in turn, to what extent we define ourselves through our consumer choices.
Amber Marsh
75
ambermarsh@live.co.uk
“Complexity of Us”, Mixed Media Painting, (bockingford 300gsm paper, ink, pen, acrylic, pencil, spraypaint) 300x 150cm
Amber’s work is largely influenced on personal experiences and perceptions of the exterior of an object, image or person. The main focus of her work surrounds the subject Identity in her attempt to capture ‘ the complexity of our existence’ in her work. Her concept focuses on what goes in to an individual to make them who they are, Combining objects,
fears, desires and morphing them in to a painting. Amber’s style of how her work is executed plays with the use of collage and mixed media such as acrylic, ink, watercolour pencil and pen complimenting the concept of complexity. The exterior of the bodies that helped are focused on in her work are removed so that the viewer can focus on the abstruseness of humanity.
Katie Brown
76
katiecbrown@hotmail.co.uk
“Clocking off (Fag-Ash Sally)” and “People Aren’t Plastic”, Installation, from the series “Fucking Rich Money Cunts”, (taxidermy and found objects) 40x 41cm, 700x 120cm.
Interested in art’s role within psychology, Katie uses art-making as a tool for selfcommunication; exploring the possibility for art to enable self- and communitytherapy, as opposed to the current authoritarian dynamic. Using art process to create externalisations of the self for reflection and communication, healing can be autonomous, circumventing
the depersonalisation and disempowerment of current methods. Practicing this personally to address the subjects of death, loss, abuse and acceptance, Katie’s compulsion to pick up rust began. Growing up playing on the streets and beaches of London, the items hold important attraction and symbolism for her, collecting and preserving the forgotten
bits that fall off as gentrification takes over. Choosing taxidermy as her medium because of its historical, propagandist importance, she found it inspired strong opinion and debate; usually societally-inherited opinion, which when questioned quickly crumbles, as often with homophobia, sexism, racism etc. She would like to promote this debate in order to promote debate on bigger issues.
Jacopo Dal Bello
77
dalbellojacopo@gmail.com
â&#x20AC;&#x153;Il Buco Nel Bicchiereâ&#x20AC;?, Painting, (oil, acrylic, gloss paint, pencil, plastic, canvas) 170x 120cm
The work is motivated by the consideration of painting as a language, considered from a linguistic and semiotic point of view. It is directed to the questioning of visual rhetoric, by including, through the use of appropriation, elements from different contexts such as popular culture imagery, art iconography and found materials. This is intended to let the contradictions of the materials emerge through the relation that the different elements establish, and as a consequence, causing visual signifiers to regain a certain independence while still contextualised as products of history. And lastly, to be understood at an aesthetic level.
Lewi Quinn
78
lewiquinn@gmail.com www.lewiquinn.com
“Annie’s Heels Get the Better of Her”, Video Installation, H2x W3x L3m
Is ecstasy more dangerous than horse riding? What’s with all the televisions everywhere? Why is everyone clapping for the wrong reasons? And, who is Kerry? These are just some of the questions Lewi Quinn’s works have raised in his, as yet brief, stint as an art-man.
Posing such endless, perpetual ponderings through a use of reclaimed TV sets, emotive acting skills, inexplicable yet seamless editing style and a particular attention to peculiar paraphernalia, Lewi constructs video based immersive installations. These are the mechanics behind his investigations into the mind and how one may modify, mess with and mock it.
Means of escape - the psychological, philosophical and psychopharmacological debates and investigations in to the adoption of escapism, by whatever means, as a method of transcending one’s reality dominate the critical thought of Lewi Quinn’s work. This becomes apparent on entering the hazily-trippy video environments he creates.
James Tailor
79
jamestailor247@gmail.com
“Acrylic Paint on Stretcher”, Painting, (acrylic paint and marquee stretcher) 150cm x dimension variable
Exploring perceptions within painting, James Tailor has spent three years experimenting with this medium and the alternatives that can be achieved. Tailor’s work often sits somewhere between painting and sculpture, although he considers his practice to be that of a painter and deems everything he creates using paint to be a painting. James’ inspiration
comes from overlooked or everyday objects and he has recently completed several projects including a replica of the Venus de Milo, a Marquee Tent and Shop Awnings embracing his own acrylic paint techniques and the pairing of objects he repurposes to constitute a stretcher. By using unconventional stretchers and overlooked but recognisable
objects within his work James Tailor challenges the perception of what a painting is and encompasses the world beyond the gallery into his practice.
Farida Bhula
80
faridabhula@live.co.uk faridabhula.weebly.com
“Residual”, Suspended Installation, “Aazaadi”, Installation, (translates as independence/liberty) “Claim”, Floor Installation
Farida’s practice utilises racial identity as a lens through which to view the work. The work explores the politics of hybrid identities and themes of cultural displacement whilst examining the dialogue sandwiched between differing cultures and faiths.
her ancestors’ homeland and endeavour to create a critical discussion in relation to partitions, territorial borders and ownership; simultaneously referencing memory, migration and the remembrance of forgotten conflicts resulting from geographical or social division.
Her most recent works have explored historical events of
Although a multi-disciplinary artist, Farida has found herself
primarily working with installations, moving beyond literal representations of a set of ideas and creating works that are metaphorical. Adding context to found objects within the installations and the use of these objects as the metaphors has been key within her practice.
Christine Annette Meyer
81
tinemey@yahoo.co.uk
“Self-Portrait”, Photograph
Christine Meyer’s work discusses implications of consumerism in contemporary western society, she believes that subconcious media influence has negative psychological consequences for most of western society. With her work she aims to uncover and remind people that many of the pictures they see everyday in magazines, newspapers, on flyers, in
shops, on billboards and on public transport are nothing more than a fantasy world of human desire that could never be real, they are altered to an extend that would make it hard to recognize a model from her photo. Christine uses the skill set and practices used in fashion and fashion advertisement to raise awareness of the impact its unrealistic
manipulations have, on the often involuntary viewers body image.
Edmund Cavill
82
edmund.cavill@gmail.com
“Riot Tanker”, Painting, (spray paint, airbrush , acrylic, oil paint, canvas) 1.5x 3m
Johannesburg born to an Irish mother and Zimbabwean father, Edmund grew up in Lewisham until sent to work on a farm on the Mozambique border following his expulsion for ‘tagging’ the school toilets. A love of drawing driven by an obsession with graffiti led to a place at Camberwell school of art followed by a 20 year musical diversion,
resulting in the signing to Island records with ‘Spacek’ and the release of his solo album ‘Lola Una’. Whilst occasional painting commissions and running ‘aerosol art’ workshops. He returned to a degree course at CASS. Struggling to seriously address the hierarchal issues around the fine art world, he hopes to transcend the snobbery that exists on all
sides of London society. Working in layers of spray paint, airbrush, markers and oil on aluminium, paper and canvas, this recent work considers the theme of epic collapse, the post psychedelic eye romancing the apocalypse.
Paris Campbell Peddie
83
parispeddie@hotmail.co.uk
“Who Am I…? Series 4”, Painting, (acrylics, card and African textiles) 90x 60cm
Paris Campbell-Peddie a final year student who is an abstract painting artist who is exploring culture, women, understanding ones identity, leadership, empowerment and equality. Her work tells stories of a Black heritage through the use of earthy tones that all have specific meanings to them. Her paintings are of cultural curvaceous figures, revealing aspects of her life and unravelling the inner her through the use of shapes and colour and material. Paris’ work is not about showing the visual attraction of a woman’s body, she is exploring what is beneath the outer exterior. She does this by experimenting with abstracted shapes and unusual forms and powerful colours, all these intriguing snatches of her work help the viewer to understand her not only as an artist but as a woman.
Katie Moir
84
katvonpaint@hotmail.co.uk
â&#x20AC;&#x2DC;Dismantling the Truthâ&#x20AC;&#x2122;, Painting, (acrylic, canvas), 1x 2 m
Her surrounding family has mostly influenced Katieâ&#x20AC;&#x2122;s art the most. The main focus in her work is the process of interrupting a family photo and converting it into a collage: the progression of transforming photography into painting. The Cubism movement and the key goal of seeing more perspective within one viewpoint, and breaking the traditional way
of classical way of seeing a realistic image helped Katie to produce her work. Katie paints mostly from family photos, as they are subjects that she knows best and in certain aspects makes her the person she is. By producing collage and cutting up the image gives the viewer a feeling of being misplaced and hiding true image from the viewer.
Monika Bancyrde-Angeli
85
mbmonoloko@googlemail.com
â&#x20AC;&#x153;Untitledâ&#x20AC;?, Detail, (fibreglass, LED lights) 85x 40cm
Monika Bancyr-de-Angeli is interested in the visual language of communication: how to communicate through body language, objects, symbols, and images so as to open up the relationship between the artist and the audience. In her work she explores the possibilities of threading the familiar meanings of objects to convey new meanings and ideas, to appropriate old and recognisable symbols or sings to contemporary social and cultural contexts. The work consists of a video projection and an installation. Installation consists of 35 LED lights and 5 torsos cast in fibreglass.
Julia Noble
86
c_j_noble@onetel.com
“Untitled”, Fabric Dye, stitching and resin on canvas 126x 178.2cm
Julia’s work involves putting in place strategies to remove control, to explore the tendencies of process and materials, which introduce uncertainty and separation. This is followed by her taking back control usually through a construction process. Her work addresses the tradition of painting where paint might not even form part of the final work. It involves abstraction but not in the traditional reductive sense but in an expansive way that allows the incorporation of many materials and current technology. All Julia’s processes and material investigations provide a portfolio of studio works which are themselves an important aspect of her work. They represent the plethora of possibilities and stepping stones that ultimately feed into her final pieces.
Martha b Dolak
87
marthabdolak@icloud.com
“Art Doll”, 4 Photographs, 25x 20cm
Martha B Dolak is a performance art artist who’s work also includes photography work and installation as well as sculpture work. Make up is the main tool she uses in all of her work. The subject of her work focuses mainly on sexism in todays society as well as common stereotypes that woman are victims of today. Her latest project ‘Art Doll’ is a series of
short films and photographs that illustrates the struggles and the ridicule woman have to deal with in the modern society.
Christianna Webster
88
christianna@blueyonder.co.uk
â&#x20AC;&#x153;Wallpeckerâ&#x20AC;?, Installation, (found materials) L70x H70x W45cm
Her seeks to recreate the experience of space and its architectural structures in a variety of media - across painting, installations and drawings. These appear as contemporary ruins, expressing the different layers and complexity of living in a city, particularly those of her own life in Berlin, with all the cultural and historical complication of Berlin, between
being present and the weight of individual and collective memory; how does our sensual apprehension of space sit with the abstract negotiation of that space, mediated by advertising and social and historical narratives?
Maxwell Heale
89
maxheale@hotmail.com
“Untitled”, Painting, (oil paint, canvas) 1.2x 1.8m
Max Heale uses collage, drawing and painting to pursue a deep interest in Aesthetics, psychology and visual sensation to extend vocabulary and experimentation within the expanded field of painting. The work on exhibition has been informed by the contemporary imaging of natural history; the high resolution images of natural events that provide a stabilised ‘snapshot’ of what is actually a dynamic system - an ever changing, evolving environment. The paintings intend to respond to and subvert these frozen moments by restoring flux through painterly means. In attempting to reactivate and distort these environments, a tension exists in the awareness and silence of the painting and the attempt to make noise with them.
Tahir Khan
90
khanage-360@hotmail.co.uk
“Untitled”, Painting, (canvas, oil paint) 122x 76cm
Throughout my life Tahir have always loved art and painting. His first year(Foundation year) at London met was very memeroble but also challenging as he didn’t know what to expect. As he progressed through the year, there was a sense that he would becomer a painter and he would paint these streets very beatifully. In his third year he painted
a another street scene of where he lived but he decided to change it by adding a element of surrealism into by mutuating the building into these monster like creatures. This is so it gives the sense of whats real and whats not real
James Smithson
91
jamessmithson@live.co.uk
â&#x20AC;&#x153;Untitledâ&#x20AC;?, Still from the Film
James Smithson is a filmmaker who works as a self sufficient unit. He films, directs, produces and sometimes acts for the camera. He works with no structure, only a vision. The aesthetics is the most important aspect of his films. Generally there is little or no speech; it is all focused around the image. His intention is to create
something that is interesting and beautiful out of something that is generally quite mundane and dull. His style is quite poetic almost like a visual essay. There are elements of documentary and elements of narrative. He films very intense angles that capture close facial expressions and hand movements. For James, the magic of the film doesnâ&#x20AC;&#x2122;t occur until the
point where it is produced and edited. He puts the clips together almost like a collage or montage of footage elegantly put together.
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Public Acts
93
94
Ralitsa Angelova
95
Norman Mine
96
Daniel Wright
97
Amber Jetha
98
Georgina Tyson
99
Emma Louise Lawrence
100
Min Cawthorne
101
Joshua Griffin
102
Kevin Jaribu
Ralitsa Angelova
94
ralitsa_angelova@hotmail.com
“Metamorphosis”, Collage (ink, biro pen, 140gsm paper) 29x 27cm
Angelova’s work explores the possible socio-behavioural and psychological issues of secret keeping. It is based on the outcome of a social experiment, in the sense that it is constructed on trust between herself and all of the volunteers who donated their confessions, as without them the work would have been impossible to create. Through offering such personal information, the anonymous participants gave Angelova the opportunity to put together something utterly unique. Each confession gives an insightful look into what the individual may have otherwise kept secret. The piece explores the internal struggles within each of us when faced with the keeping and disclosure of secrets through symbolic imagery featuring a scene of protective embrace and violent consuming.
Norman Mine
95
normanmine@live.com
“1982 Scaffolding and Breaks”, Installation, variable dimensions
“I am seeking to express a continual exploration of the paradoxes at play in language, association and identification, shifting and exploring different medium is critical to my practice” Norman Mine is an exploration of the blurring line between what its consider to be reality, stage and theatricality; exploring issues of
image and identity, the projection of the persona into everyday life and the restrictions of convention and expectation, institution and individual.Restriction becomes the focus of Mine’s practice – underlying it there is a desire to tease, question and challenge both the audience and his persona. Like all relationships this exchange holds both worship
and revulsion. Mine’s investigate how his work can transpose from one scenario to another in order to challenge its material characteristic and meaning, with the aim to explore the interaction between art and life and that of society and individual.
Daniel Wright
96
danwright002@gmail.com
“Let’s Sit Down and Talk About Religion...” Detail, (poplar wood, A4 glossed card, mix of used and new bibles)
“Are religions still powerful?” In Let’s sit Down and Talk About Religion this is one of many questions that will be posed to members of the public in, as the artist invites them to participate in activities such as creating their own bible cover, writing their own ‘holy’ messages on crucifixes and engaging in discussion with the artist. Considering the 9/11 attacks
in 2001 and the 7/7 tube attacks in 2005 as cases in point along with the lack of political, sexual and social freedom when living in a Sharia state, one could say religion still maintains an aggressive foothold in society and politics in certain parts of the world. This community work intends to analyze the public conceptions regarding religion along
with discouraging any apathy that may exist – we may acknowledge the dangers of hate preaching and dogma, but are we willing to discourage it?
Amber Jetha
97
amberjetha@gmail.com
â&#x20AC;&#x153;Trip into Natureâ&#x20AC;?, Drawing, (black ink, card paper), 25x 25m
Ambers work is heavily inspired by the natural world, her daily encounters and hallucinations when entering the unconscious. Being connected with her environment helps her in creating intricate detail within her artwork focusing on shapes, line work, pattern and empty space. She is interested in indigenous cultures particularly their relationship with nature and spiritual beliefs. She is interested in ancient symbols incorporating them into my work, especially geometric shapes. However she balances this by also working curvaceous and free flowing to illustrate femininity and masculinity embedded in nature. Her ideas are captured by her own experiences and beliefs which she intends to share but not to preach combining private with public.
Georgina Tyson
98
georginattyson@live.co.uk
â&#x20AC;&#x153;The Good, The Bad and The Humanâ&#x20AC;?, Drawing, (fine liner, paper) 59.4x 84.1cm
Liverpool born Georgina Tyson puts her issues and ideals into illustrations that contain strong symbolism from ancient and contemporary sources that publicise the private without giving too much away. She questions morality and tries to define her own moral reasoning by mind mapping symbols of good and evil using simple lines and provocative imagery, placing them in categories relevant to how she thinks they fit. Within the categories, symbols often overlap and contradict each other to demonstrate the corruption of human values. These ideas are judgements based on Georginaâ&#x20AC;&#x2122;s own experiences and are not how she generalises the publics views.
Emma Louise Lawrence
99
emmalawrence92@aol.com
â&#x20AC;&#x153;Disintegrationâ&#x20AC;?, Drawing (ink, water, fine liner on paper) 29.7x 40cm
Emmaâ&#x20AC;&#x2122;s artwork stems from her fascination with producing work under certain limitations or through various methods involving chance. Interested in how the subconscious can affect and enhance artistic creation, her explorative methods have allowed her works to progressively become far more open and expressive. By internalizing the idea of chance in her
work, she gives way for the tangible possibilities that randomness brings forth. Her work looks at the use of colour and mixed media in portraiture. Focusing mainly on the use of line and the subsequent translation of pen onto paper, she studies the transitional matter around her as well as the expressive lines in blind portrait drawings. Creating images
that team together both of these aspects allows her to create images that are both intricate and ethereal. The overall outcome of a piece is never her main concern, but rather she values the process taken to get there.
Min Cawthorne
100
the.sunshinekid@live.co.uk mincawthorne.tumblr.com
â&#x20AC;&#x2DC;Untitledâ&#x20AC;&#x2122;, Installation, (yarn, chalk)
Min Cawthorne focuses on the idea of conceptual craft. She uses ideas of changing spaces, documentation and chance to generate outcomes with the medium of crochet and string. Min also does live performances taking craft out of the studio and into the public realm. Her work is mostly in outdoor spaces to encourage interaction and engagement from the public.
Joshua Griffin
101
j.griffin1991@hotmail.co.uk
â&#x20AC;&#x153;Untitledâ&#x20AC;?, Painting, (oil paint, canvas) 40x 60cm
The Paintings Griffin has developed are constructed through expressionism. The work Griffin has created is his expression of the 1920s to 1950s night life in Europe post war. Griffins vision is to show his ideas of the seedy side of sex, music and drugs as a step backwards in history as a public act of art. Griffins work
is a snap shot of a time based on a respected society were everyone had a role to play. The mediums used for the squeal are mainly oil and acrylic paints but also with texture paste and spraypaints.
Kevin Jaribu
102
“Untitled”, Print, (ink, paper)
Brought to Britain from central Africa as a five year old who spoke no English, Jaribu became heavily dependent on his visual surroundings for information. It was thanks to this that he developed an ever growing appreciation of art and of the reinterpretation of one’s reality. I also drew influence from popular folk tales and political histories of both Europe and Africa. Recruiting volunteers among his peer group, I challenged them to create policies for a utopian society. Borrowing from Plato’s notion of the Philosopher-kings, this series is built around the ideas of Artists as political leaders, transforming their ideas into a visually narrative piece. Primarily focused on illustrative and the narrative storyline in the last century, the work presented here is inspired by political art of the 20th and 21st century and how they communicate with the public.
kevin_jaribu@hotmail.co.uk
www.cassdegreeshow.blogspot.co.uk
Acknowledgment
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Many thanks are in order for all of the staff and students whose dedication and hard work went towards the organization and fundraising of the show. The Cass students would also like to gratefully acknowledge Dulce CafĂŠ and Hobbs Reprographics for their sponsorship and support.