IA13 Degree Show Friday, June 14th – Wednesday, June 19th 2013 www.ia13.co.uk
D E G R E E S H O W
A C K N O W L E D G E M E N T S We would like to thank those that have helped us
Friday, June 14th - Wednesday, June 19th 2013
throughout this degree, and perhaps even in the years to come. This includes our tutors: Jane Brake,
Holden Gallery
Jon Biddulph, Hazel Jones and Dave Griffiths. We
Grosvenor Building
would also like to extend our thanks to the staff at the
Manchester School of Art
Manchester School of Art, graduates of Interactive
Manchester
Arts, and a special thanks to Paul Tutty; all of whom
M15 6BH
have supported us in realising our ideas and ambitions.
Thanks to the designers of this publication, DR.ME. www.ia13.co.uk
I N T R O D U C T I O N “We have to go from what is essentially an industrial
Welcome to the Interactive Arts Degree show 2013.
model of education, a manufacturing model, which
We would like to thank this collective of individuals
is based on linearity and conformity and batching
for their contribution to the culture of the course, and
people. We have to move to a model that is based
we wish them every success in their future growth and
more on principles of agriculture. We have to
achievements.
recognise that human flourishing is not a mechanical process, it’s an organic process. And you cannot
Please enjoy their show.
predict the outcome of human development; all you can do, like a farmer, is create the conditions under
Jon Biddulph
which they will begin to flourish... Programme Leader B.A. Interactive Arts. It’s about customizing to your circumstances, and personalising education to the people you’re actually teaching…. It’s not about scaling a new solution; it’s about creating a movement in education in which people develop their own solutions, but with external support based on a personalized curriculum.” Sir Ken Robinson: Bring on the learning revolution! TED Talk 2010, TED.com
(Farmer’s son)
S A N D E R S O N
S T R E E T
J A M I E
S A R A H
31.
S A D D I Q U E
A L A N A
L A U R A
32.
M U R P H Y
M I C H A E L
29.
M I T C H E L L
Y A S M I N
30.
M I S D E M E A N O R
D A R R E N
27.
M A E
H A N N A H
28.
L I V E R M O R E
J U S T A R
25.
L I T T L E
K I R S T Y
26.
E L L I E
23.
I L L E S C A S
K I N G S F O R D
L A W R E N C E
P A S C A L
24.
H E A L D
A M Y
22.
H A S K E R
F A Y E
21.
H A R V E Y
M A R G A U X
20.
G R A H A M
L E W I S
18.
G A R D I N E R
J A M E S
19.
F O W D R E Y
G R A C E
17.
D A V I D
16.
S O P H I A
15.
F O S T E R
M I C H A E L
14.
F E R G U S O N
12.
B E C K Y
13.
D A V I S
T H O M A S
11.
D A V I E S
J U L I E T
9.
B E V A N
H A N N A H
10.
B E I C K H O R A S A N I
T H O M A S
7.
A R T E S E R O
F A B I A N
8.
A J A Y I
E L I S A
5.
L A U R A
6.
A H M E D
3.
S A M I E
4.
1. A C K E R L E Y
2.
J A M E S
P H I L I P P A
S W U I N W F W A I R T N T E W R A S T K I N
J A M E S A C K E R L E Y
1. jmartynackerley@gmail.com
Image Caption: Yellow Composition
07891727456 jmackerley.tumblr.com
My practice is concerned with the investigation and
Unconventional interactions with everyday objects
subversion of everyday objects and power structures.
and street furniture are presented in a mundane urban environment. Through these simple interventions and
Expanding from my beginnings as a sculptor, my
convulsions the authority of conventional systems of
work finds its roots in the conventional boundaries
behaviour are questioned, and the rules by which we
of a contemporary sculptural practice whilst also
allow ourselves to be governed are subtly dismantled
utilising the freedom offered by actions and narrative
and examined.
photography. The aim of this hybridised practice is to evoke a conversation that can take place both inside 2.
and outside the work.
1.
samie_ahmed@live.co.uk 07514532351 vimeo.com/samietzuriel
I explore the creation of mess by organised means.
The innovative procedures are filled with references
A combination of common foods, mechanical
to politics, strands of humour and clinical procedures.
components, chance and precision turn my kinetic
Each component adopts its’ own personality and is
sculptures into mini events. The construction of each
focussed on its task to dismember.
experiment is simple and raw, and each experiment has a performance element to it. Spaghetti hoops, beetroots and pomegranates are dissected and splattered through modified components, motors and drills.
Image Caption: Untitled
2. S A M I E A H M E D
L A U R A A J A Y I
3. laura_aj04@hotmail.com
Image Caption: Photography by John Lynch
07756746789 about.me/laura_ajayi @lauraajayi
Visual perception and the mind’s eye fascinate me.
My interests in fashion, film and music are visible
I am intrigued by the reaction of the audience.
throughout my practice and I think of my artistic
Optical illusion, geometric shapes, interior and
development as a visual diary.
exterior design, and decorative patterns all influence my practice. The use of monochrome in my work is very important as it reflects my personality in an abstract manner. 4.
3.
eart7@hotmail.com 07503966239 elisaartesero.com @ElisaArtesero
Image Caption: ‘Leap and the net will appear’ and ‘Sunlight Bowl’ (from Sun and Moonlight Series)
4. E L I S A A R T E S E R O
F A B I A N B E I C K H O R A S A N I
5. f.beick@hotmail.com
Image Caption: Untitled
07585080806 about.me/fbeickhorasani f-beick.tumblr.com
For years I have explored different mediums &
I will attempt to encapsulate my own identity in the
formats, subjecting them to a diverse range of
form of bread. Questioning what makes me who I am
themes.
& what components are integral to be classified as an
Recently I have focused upon ‘The Self’ & what
‘Irish-Iranian’?
elements collate to create ‘Identity’.
My intentions are to hopefully, through the
Investigating how, as a species, we cling on to our
consumption of ‘Me’, provoke the question,
individual customs & defend the components that constitute our self-identity.
“What would I taste like?”
6.
5.
tom.bevan2@hotmail.co.uk 07874050002 about.me/tbevan2 @TBevan2 As an artist, I am a storyteller. My work focuses on
and how the art of bookbinding can be utilised to
how stories represent us as people – not only the
transform the potential of a book and realign its
stories we choose to read, but also our own personal
position amongst its digital counterparts.
stories and how we share these with those around us. My work is traditional in method but with a digital conscience. The digital age has revolutionised stories; how they are produced and distributed and my work considers the consequences of this. Particular regard is paid to the relevance of ‘the book’ in society,
Image Caption: 4.02pm
6. T H O M A S B E V A N
H A N N A H D A V I E S
7. hannahdavies91@hotmail.co.uk
Image Caption: Untitled
07505142889 about.me/hannah_ruby_davies
I strive to find beauty in the grotesque, to straddle
Colour is a very important aspect to my work; finding
the border between them, and combine this with my
a balance between translucent and vivid, in what is
fascination with the human body, ‘flesh’ in particular.
often considered to be a relatively neutral thing, flesh.
Working predominantly with my own face and body,
Working with this organic, pulsating mass, my work is
I attempt to blur distinctions between representation
concerned not with the individual, but with the human
and abstraction. Whether it is through Photoshop,
body, completely detached from whom it belongs to.
through paint, through exploring my own physical limitations, or indeed a combination of these. 8.
- propose new ways to inhabit the city.
33 (0) 678018543
- cross borders between sculpture, photography,
about.me/julietdavis cargocollective.com/julietdavis
7.
juliet-davis@laposte.net
writing, sound (poetry), performance, video. - stare at your environment to disturb it, mimic working instructions to create endless
INSTRUCTIONS (how to make an artistic project) - investigate public, “experienced” space. - work with existing materials, forms and words, (make shifts). - don’t try to make expressive movements / forms, but rather geometric, banal, “neutral” moves that still
and/or absurd actions. - have several relationships with the public: participants or witnesses of an almost invisible action, exhibition visitors who haven’t experienced a “live” event, people who learn about a project through discussion.
bring expression / meaning. - disturb daily actions, create gaps in the continuum. (make absurd actions / movements, not clearly related to art)
Image Caption: Untitled - Sigh(t)ing the city, action / photographic series, 2013. (collaboration with and) Photograph by James Ackerley
8. J U L I E T D A V I S
T H O M A S F E R G U S O N
9. tom.ferguson@live.co.uk
Image Caption: Untitled
07522350037 about.me/t.ferguson tomfer.tumblr.com
@TomVerb
At school, teachers would always read out my stories
of telling the same story in different mediums. These
and I would be sat there, my heart beating, whilst
different mediums have their own limitations and
everyone listened to what I had created. The teacher
benefits.
would say that they were interesting stories and that I clearly had imagination. However, they would later
The film and performance are visual, but the audio
add that my technical skills were not very good. I
piece is a narration offering more, not necessarily
hadn’t quite got my punctuation or spelling right.
trustworthy, information.
I’ve spent the last few years exploring different ways 10.
to tell a story and I have become interested in the idea
9.
foster.rebeccalucy@gmail.com about.me/beckylucyfoster
Looking at the construction and deconstruction of
Currently the deconstruction takes place through
language, my work explores how we form words,
the process of cutting up my writing and weaving
subvert meaning and hide behind language. These
it back together as a form of construction. Taking
themes are studied through my own personal
the opinions of others as well as my own thoughts,
thoughts and experiences, concealing them
it focuses on the themes of faith and religion,
behind codes and processes of deconstruction and
specifically my own experiences.
construction.
Image Caption: Untitled (weave 3.4), 2013
10. B E C K Y F O S T E R
M I C H A E L F O W D R E Y
11. mike@cathode.tv
Image Caption: Untitled
cathode.tv @cathodeDOTtv
Since starting the Interactive Arts course, I have
Learning some coding fundamentals has enabled me
learned new methods of approaching my work and
to move beyond the functionalist limitations of off the
developed new ways of generating ideas. I have been
shelf design packages. In the future I hope to continue
greatly inspired by the work of other artists and have
my studies to a postgraduate level, eventually working
begun to develop a visual language of my own. This
with physical computing and data visualisation.
language is often partially comprised of a traditional technique, subverted by a digital mechanism. The end result could be anything from a process-based work of kinetic sculpture to a generative lyrical couplet. 12.
11.
gardiner_sophie@outlook.com 07596098855 sophiagardiner.wordpress.com
Image Caption: Wanga Bottle, (Drapetomania Project, 2013).
12. S O P H I E G A R D I N E R
D A V I D G R A H A M
13. davidjacksongraham@hotmail.com about.me/david_graham/ david-jackson-graham.tumblr.com/ @DavidJ_Graham
My practice is centred on the idea of producing imaginative and exciting visual films. Focused on presenting the idea of human emotions in an artistic way, an important factor to my work is the approach to creating inventive ways to distort and alter the subject. With emphasis on producing visual narratives, using the movement of the body and other materials to create a variety of effects in order to provoke the audience emotions, allowing the piece to be 14.
open to interpretation.
Image Caption: Stills taken from ‘Ink Experiments’ film
13.
grcharvey@gmail.com about.me/graceharvey graceharvey.tumblr.com/ @_graceharvey I am fascinated with the concept of unseen presence. More specifically, my interest lies with the areas of our architectural surroundings that are located out of sight and the sense of void that is evoked by these areas. My practice is concerned with emphasising the conceptual potential of these spaces. I work sitespecifically to alter my architectural environment in order to manipulate the viewer’s experience of a space; to question what we think we know.
Image Caption: Research Image: “The wall cavity that encompasses our studio”
14. G R A C E H A R V E Y
J A M E S H A S K E R
15. jameshasker@hotmail.co.uk 07854710836
Image Caption: Expanded Portrait via Acrylic Paint Special Thanks to all those who have participated in my work.
Drawing has always been my main medium within my
The goal of these pieces is to create a portrait on my
work but this year I have taken a different direction
own body whereas the restrictions in the process’s I
then I would have ever conceived before I started
go under will restrict me from drawing the portrait. I
university. Focusing upon the themes of portrait and
have incorporated myself into my expanded drawings
control. This has leaded me to create individual pieces
to demonstrate and explore the intimate relationship
of ‘expanded drawings’, these drawings are process-
between the artwork and the artist.
based portraits in which I have set restrictions and limitations in the way I draw them. 16.
15.
lewisjheald@hotmail.com 07840317098 lewisheald.wordpress.com My work is about the adaptation of objects, bringing
the object in a new context and inspire them to think
them into focus through mechanical processes. The
about the object in a new way.
pieces I create are primarily kinetic, enjoying works that are physically animated. I create such work in an attempt to progress from static pieces as I believe the marriage of art and physics creates something truly fantastic. I aim to engage my audience, humour them, have them view Image Caption: How Long is a Piece of String? Mk2.
16. L E W I S H E A L D
M A R G A U X I L L E S C A S
17. margaux.illescas@gmail.com 07975511773
Image Caption: Testing Exhibition, Untitled audio picture, M.Illescas, 2013
cargocollective.com/millescas
I am an interactive artist inspired by the quotidian
Lately, I have had an interest in our perception of
experience of life, sometimes a particular moment,
spaces through sound. This work has been challenging
the way I felt at that moment. People inspire me
because it gives me a new way to approach the
as individuals.
relationship between sound and image.
My preferred mediums are sound and the moving image. Creation leads me to research and research to creation; both are essential to each other and it is a long process before I consider the final piece. 18.
17.
fayekingsford@gmail.com
I have found over the course of my studies that I
I have gathered evidence of my life, mostly from
am continually questioning who I am. Rather than
my family. I’ve gathered their accounts of different
resisting this and seeing it as a distraction, I chose to
periods of life, photographic verification of places
embrace it and look deeper into it.
I’ve been and people I spent time with. I’ve examined ways of presenting these accounts and snapshots in
Like most others, I have my memories of growing
ways that map out my own life, encouraging others to
up, my experiences, the places I have been and the
question their own histories.
people that I have met. These memories are inherently one sided, clouded or even rose-tinted.
Image Caption: “Life Journey” (2013) Photograph by Pete Kingsford
18. F A Y E K I N G S F O R D
A M Y L A W R E N C E
19. imaginaryartwork@gmail.com
Image Caption: Untitled
07972828408 about.me/AmyLawrence
Manifesto 01
20.
i.
The process of completion must allow for the
vii.
Results are encouraged.
uncontrived.
viii.
The viewer becomes creative accomplice.
ii.
The work must have no completion date but
ix.
Gap between art and life is teased
always a duration.
and loosened.
iii.
Present behaviour as art.
x.
Performance as situation, situation as
iv.
The live image is always a truthful
power relationship.
representation.
xi.
Social choreography may transform
v.
A dialect between the material and
un-reactive objects.
immaterial is necessary.
xii.
The catatonic viewer as ideal participant.
vi.
Present a non-spectacle as process.
19.
scumbola@yahoo.co.uk 07758011776 scumbola.blogspot.com
Mixed-media artist, self-styled sad clown, and purveyor of surrealist eyeball-buggery.
Image Caption: Screenshots from “the Little Spermaid” and “Butter Won’t Melt”, two experimental horror shorts.
20. P A S C A L L I T T L E
E L L I E L I V E R M O R E
21. ellie_livermore@hotmail.co.uk
Image Caption: Untitled
07584089080 about.me/ellielivermore ellielivermore.tumblr.com
Investigating the educational and social dynamics
‘Participatory Quilting’ is open to flick between the
credited to participatory art, ‘Participatory Quilting’
two, one minute a collaborative sewing project, the
invites viewers to contribute to its evolving surface.
next acting as a socially engaged one. In this work, I
Introducing multiple levels of involvement, the
look to further understand the relationship between
audience can choose to watch, to sew and/or
the political and the social as well as learn more about
insert a ‘theme’.
the nature of participation.
The often overtly political approach taken in many participatory artworks’ cause us to critique 22.
the niceties of the ‘community arts’ tradition.
21.
kirstyround5@hotmail.co.uk 07843838990 kirstymaeart.tumblr.com @KirstyMae20 I have an interest in art as therapy, used as a cathartic
The idea that it may have a great impact on their life,
release. I explore this in my practice by looking at the
a normality if you like, but to passers by, outsiders,
fears, anxieties and traumas that everyone deals with,
strangers, there is no way of knowing.
regardless of significance. At the time of writing this, my works focuses on the burdens of others, their traumatic experiences, and the impact it has on that individual. Image Caption: Untitled
22. K I R S T Y M A E
J U S T A R M I S D E M E A N O R
23. Jussylt@hotmail.com
Image Caption: Fuck War, Make Art (60” x 60”)
07761731782 about.me/jmisdemeanor
Art is a vital part of my life. It allows me to express
I like to challenge myself with large-scale projects. I
my feelings, thoughts and concerns, whilst raising
am currently recreating war scenes that confront the
awareness of controversial and traumatic, social,
viewer with the harrowing reality of what many face
political and environmental issues.
on a daily basis.
Employing a child’s perspective has been a dominant theme throughout my work; deconstructing nursery rhymes and lullabies, adapting familiar found imagery 24.
to engage the viewer and provoke thought on varying subject matters.
23.
mitchell.b.hannah@gmail.com 07813709780 about.me/Hannahbmitchell
My work responds to my own memories and
I ultimately view my work as a multi media process,
surreal experiences. I explore the body and absent
with my main outcomes falling between photography
consciousness and document this through a variety of
and film.
techniques. I am fascinated with natural and artificial environments, and use these to re-create experiences.
Image Caption: Untitled
24. H A N N A H M I T C H E L L
D A R R E N M U R P H Y
25. darrenmurphy@live.co.uk
Image Caption: Untitled
07815821692 about.me/murphydarren @bonesmurphy An interest in dialogue is the main drive behind my
Recordings and documentation are produced to
work. I previously felt it necessary to create objects
provoke further meditation on the dialogues enabled
to facilitate conversation and exchange. However, I
by my process-based practice, allowing me to widen
realise the conversation itself is the integral part of
the transmission of these conversations beyond the
my work.
bounds of their initial participants.
Acting, in the words of Peter Dunn, as “context provider” rather than “content provider”. I create the
Special Thanks to Rowlinson Garden Products for
environment for discussion rather than the object
supplying furniture.
that provokes it. As a result, the social effects of the institution and location are an important consideration 26.
in my practice.
25.
Yasminsaddique@hotmail.com 07585056575
Image Caption: Containing Memoirs
26. Y A S M I N S A D D I Q U E
M I C H A E L S A N D E R S O N
27. mjsanderson24@gmail.com
Image Caption: Untitled
07432704812
In art, beauty is as important as its ability to provoke.
Working in mixed media, my current work aims to
I make art that generates a deeper meaning while
represent family identity and how it is morphed
remaining accessible.
through illness. This work has evolved through the use of studies from old photographs, interviews and
The human form, parts of or in its entirety, is always
personal experiences that have took place.
been present in my practice. To me it is accessible on an instinctive level. They generate ideas of identity
I attempt to question the viewers understanding of
and representation.
cancer and the affect it has on the family dynamic as a result of this work, as well as develop a stronger
28.
understanding and appreciation myself.
27.
alanastreet@hotmail.co.uk @Alanastreat
With a soft spot for objects that have seen better days, my work intrigues our need to fulfil certain gender instincts, and how our perspective on sex affects our emotional capacity in relationships.
Image Caption: Vagina Stool (development) - 2013
28. A L A N A S T R E E T
J A M I E S W I F T
29. melancholyromance@live.com
Image Caption: Gravity
about.me/melancholyromance @MelancholyRo
My body of work concentrates on a fusion of both
captures a melancholic emotion infused with aspects
photographic stills and Haute Couture garments,
of romance, which engages a battle between darkness
establishing themes such as future and time. My stills
and beauty. This creates an intriguing atmosphere
are directed towards fashion portraiture, which often
invoking the viewers awareness; what constitutes
contain narratives.
physical attraction can be.
Through the making process, there are two main distinguished moods become dominant and continually juxtapose each other to create a constant 30.
and stable interaction of differences. This oxymoron
29.
sarah@sarahunwin.com 07889814839 sarahunwin.com @sarahunwin My work responds to material culture while examining how we collectively explore, archive and measure our human condition. I view my work as a composite of sculpture, process art and installation.
Image Caption: Untitled
30. S A R A H U N W I N
L A U R A W A R T E R S
31. beasty_meow@hotmail.com 07740823073
Image Caption: Photograph of investigations into naturally formed Mandalas.
about.me/laura.warters
In this modern time, our spiritual selves and conscious
I use these symbols and concepts to remind people
minds are easily overlooked. I have been exploring the
that we are all connected. I believe it is important to
circular form, or Mandala. It connects us in so many
remember that we are connected to each other and
different ways, physically, spiritually and consciously.
to think about the world on a more spiritual level.
The Flower of Life also intrigues me; this geometric
Currently, using 3D designs and painting have enabled
design is believed to be the basic pattern from which
me to bring my concepts to life.
everything is derived, just by looking at this pattern we are able to re-connect with our core selves. 32.
31.
flick.watkin@gmail.com 07825330232 pippas-sketchbook.tumblr.com @Flick_Watkin Focused on ideas of xenophobia, my work deals with
This is a question I have been examining and exploring
the fear of others and of the unknown.
in my work. Using my personal experiences and those of people around me, I have tried to discuss this idea
We tend to fear that which we cannot relate to and do
of ‘the other’ through the medium of film.
not understand. This idea of otherness can lead to the ‘us and them’ mindset that can cause the persecution of people from groups other than our own. Is this human nature or is it something we can overcome?
Image Caption: Clitheroe, Blackburn and Burnley film stills.
32. P H I L I P P A W A T K I N
www.dr-me.com