ArtWorks Open 2017 selected by
Florence Peake and Tai Shani
ArtWorks Open 2017 selected by
Florence Peake and Tai Shani
ArtWorks Open 2017
Selected by Florence Peake and Tai Shani
Christopher Thompson Kyle Zeto Lorena Herrero Guy Oliver Attia Rashid Eugene Macki Davies / Monaghan & Klein Silvia Lerin Egle Jauncems Dina Varpahovsky InĂŠs CĂĄmara Leret Habib Hajallie Sarah Cliff Otgonbayar Tsogt Daisy Caird Shinyoung Park Theo Ellison Julia Miranda Anna Flemming Bethany Marett Mildred Rambaud Constanza Dessain Hayley Harrison Lorenzo Monnini Giada Marson Lena Heubusch Claire Nichols
ArtWorks Open 2017 selected by Florence Peake and Tai Shani
Ladies smoking room, Dancers: Rosalie Wahlfrid, Antonio De La Fa, Iris, Chan, Katye Coe. Photo, Pete Woodhead
Florence Peake is a London-based artist who has been making work since 1995. With an extensive training in dance and a background in painting, Florence Peake’s performance practice uses drawing, painting and sculpture materials combined with found and fabricated objects placed in relationship to the moving body. Site and audience, live and recorded text, wit and humour are key to her work. Florence lectures at the Universities of Surrey and Coventry
Moans Of Approaching Death From Unsatisfied Desire And Other Physical Manifestations Of Lovesickness / Tate Britain 2016
Tai Shani’s multidisciplinary practice, comprising performance, film, photography and installation, revolves around experimental narrative texts. These alternate between familiar narrative tropes and structures and theoretical prose in order to explore the construction of subjectivity, excess and affect and the epic as the ground for a post-patriarchal realism. Tai Shani is a Tutor in Contemporary Art Practice at the Royal College of Art
ArtWorks Open 2017 received 263 submissions from 146 artists. On behalf of the trustees of Barbican Arts Group Trust I should like to extend my thanks to all the artists that submitted work. It is always exciting to see the diverse range of work that emerges from the selection process and this year is no exception. Many thanks Florence Peake and Tai Shani for their time and expertise in selecting this year’s exhibition.. Thanks too to Neil Irons, Lesley Dalton, and Sharon van Heck for all their hard work in helping to realize the show. Mark Wainwright Director
Jonathan Baldock invited me to select art works open in 2016. I have collaborated and worked closely with Jonathan on performance works activating his sculptural landscapes. This year, 2017, Jonathan ‘passed the baton’ onto me, to use the expression that explains the process. It felt like a privilege to lead this process and a responsibility in choosing the artist to select with. I wanted to work with Tai Shani as I have been a long time admirer of her work and practice and we are currently collaborating on a two-person show at Wysing arts centre. Tai has an astute eye and is critically rigorous so she was my number one choice to work with. Both Tai and I have practices that cross media and use performance, so I was interested in how this connection could influence the process of selecting. We are both interested in ideas around dismantling inhibition in the creative process and I am encouraged by her bold and uncompromising approach to her practice. I thought this attitude would be exciting to bring to the selecting process. The first click through the submissions was chosen through what immediately jumped out to us; what seemed like interesting or daring work, work that stopped us in our tracks- from clicking onwards. We were also curious about work that held mystery and rigour. There was a dominant submission of painting works. This is probably due to the limitations within the criteria requirements for submissions. There is then also a limited amount of video and sculpture works to include in the selection. We wanted to include a range of media, but mainly where there seemed to be a strong practice at play in the works. This is an incredibly hard task, selecting works submitted without context and previous knowledge of the artists practice. It is both exciting and instinctual but can feel like grabbing at things in the dark. How can one really judge something without understanding fully the back-story, how critically engaged the artist is and to judge a work only on its photographic submission. This also gives permission to respond to what felt bold in the most open sense of the word, from uses of colour, to subtle and more conceptual concerns. We wanted to select work that included conceptual exploration as well as formal, material based concerns. As I have yet to see the work in the flesh there is anticipation about how the exhibition will read. Also the daunting task of awarding prizes, something I think is a very tricky hierarchical structure, can also give artists important opportunities. The show is un-curated and I am curious about how incoherent, or how anarchic, how diverse the assembled works will be. What I can say is the selected range of artists included in the show, have a diverse range of practices and this will be a delightful reveal. I want to thank all the artists that submitted work and thank Mark Wainwright and the Trustees of Barbican Arts Group Trust for the opportunity to make this selection. Florence Peake November 2017
Christopher Thompson
I am interested in the notion of an art mode that is dependent upon the emotional investiture of an audience but simultaneously ambivalent towards them. I have a recurring interest in spectacle, prop, drama and illusion. They are visual devices that I see as being self-conscious mechanisms of artifice, useful for investigating the inherency, agency and emotional potential of objects. Overblown, clunky and heavy-handed material and aesthetic decisions tend to lend the work a Brechtian sense of detachment for the viewer. Often seeking to implicate or provoke its audience through the act of looking, the work hopefully offers a means of emotional recalibration. Currently I am interested in exploring the usage of trope in visual systems as a kind of non-verbal communication and as a kind of emotional shorthand. The establishment of visual trope strikes me as part of the process of formalising a structure for cultural identity and recognisability, and therefore as a means of reinforcing systems of power and agency. Though my work perhaps seeks to create a kind of recognisance of this, for me what is more interesting to explore is the point at which objects, images and signs gain their own agency through this process.
Christopher Thompson
Sitcom Expression 1 /Dry Rot 86 x 70 x 10 cm £ 800
Christopher Thompson www.christhompson.eu/
2013 - Camberwell College of Arts, BA (Hons) Painting Group Shows 2017 - Changelings - The Flying Dutchman, London with Victoria Adam, Ellie Barrett, Billy Crosby, Sessa Englund, and Stuart Middleton 2016 - Show Home - Safe House 1, London with Philip Booth, Vassilis Christofi, Hamish Pearch and Hanna Umin Projects 2017 - Changelings II - Thames-Side Studios Gallery, London - The Producers - curatorial collaboration with Neil Rumming
Kyle Zeto
The appearances of the natural world in art are not as benign as they might initially seem. The position of “Nature with a capital N” in an era of hyper-networked communication is strange, a subject that has been written about to academic exhaustion but still ultimately retains the sublime possibility to eradicate us. My work intends to ruminate upon relationships we have with the natural world via folklore and it’s symbolism as well as technology and media, broadly. I am no expert anyway, but what I try to communicate with staged photography is an experience of nature as a genre, theory or visual tool by way of a theatrical and fragmented narrative. With the networked culture of the internet now being the primary site for artistic debate, the natural world now lingers in residual memory as an appropriative material or something that perhaps reminds us we’re slowly headed towards a catastrophe. Through this dark echo, perhaps it can offer clues how to piece back together the contemporary fragmented, charged and illuminated experience. The Cyberpunk fantasies of the ‘80s have come to fruition, our mythological landscape has relocated from nature to technology. Financial markets become alchemical and our experience of the biosphere becomes mediated. The shamanic languages of witch doctors finds a new home in the icon-rich environment behind screens. Through communication and imaging we have demystified our world, but also incredibly abstracted it. Cybernetics orchestrate our understanding of nature as an interconnected network of systems, plant & animal relationships - ultimately a bit of a fallacy, as nature is chaos.
Kyle Zeto
Shell Glyph photograph 50.8 x 76.2 cm £ 420
Kyle Zeto
http://spiritsofsalt.com/
MA Photography - Royal College of Art BA Fine Art - Central Saint Martins Group Shows 2017 - Hidden - RCA Gallery, London 2016 - Show RCA 2015 - Sensing Grounds - The Horse Hospital, London Awards / Residencies 2016 - Chelsea Arts Club Trust Special Projects 2015 - Cowley Manor Arts Award Projects 2016 - Brighton Photo Fringe Publications 2016 - Oophagy
Lorena Herrero
“Wish Me Well� is part of a series inspired by geometry and concepts such as lines, forms, symmetry and asymmetry, radial symmetry, shapes and dimensions. What fascinates me about it is the use of a single unit, a line or a circle, to create complex compositions. Study the repetition of lines in regular or irregular intervals. How to find order, balance and harmony in each composition, how to break the balance, how to play with perspectives and create forms and dimensions. All these ideas are always in my mind when I start a new project, but there is also an element of unpredictability and randomness present in each work which adds flexibility and, to certain extend, loss of control over the composition.
Lorena Herrero
Wish Me Well etching and chine colle 67 x 68 cm ÂŁ 250
Lorena Herrero
www.lorenaherrero.com
1998-2002 - Media Studies - University of Salamanca - Spain Group Shows 2017 - Brighton Print Fair - 10–14 Waterloo Place, BN2 9NB, Brighton - House of Illustration - 2 Granary Square, King’s Cross London N1C 4BH - The London Illustraton Fair - Bargehouse, Oxo Tower Wharf, South Bank, London 2016 - Christmas Exhibition - Candid Art Trust, 3-5 Torrens St, London EC1V 1NQ - The Masters - Bankside Gallery, 48 Hopton St, London SE1 9JH - Meiner Gallery, Summer Exhibition - 51 Southwark St, London SE1 1RU - Affordable Art Fair - Hampstead Head, London - Just Got Made Weekender - Somerset House, Strand, London, WC2R 1LA 2015 - ELP Summer Show - Embassy Gallery Tea, 195 - 205 Union St, London - Affordable Art Fair - Hampstead Head, London - Bristol Independent Label Market - St. Nicholas Market, Bristol Projects 2017 - Fest of Prints - The Art Pavilion, Clinton Road, Mile End, London, E3 4QY - East London Printmakers Box Set 2017 edition - Independent Label Market 2016 - Fest of Prints - The Art Pavilion, Clinton Road, Mile End, London, E3 4QY - East London Printmakers - Open Studio - NESTA Spring Summer Project - 1 Plough Pl, London, EC4A 1DE
Guy Oliver
Through my practice I excavate the landscape of contemporary popular culture as well as drawing heavily on archival material of the recent past. I am primarily interested in notions of identity, masculinity, comedy and tragedy. The approach to my work is an act of assimilation and subsequent detangling of specific, often peripheral areas of popular culture, rather like an incompetent and slightly deranged cultural historian. I have an interdisciplinary practice that is primarily focused on working with video but also with text, digital print, painting, collage and performance. The act of appropriation is central to my practice. I work with found footage, accumulated imagery and sampled colloquial or vernacular language using various systematic processes of collage, transference or re-enactment. Cinema, sport, politics, popular music, and art history act as the recurring subject matter of my work yet I see my practice rooted within a framework of self-portraiture. I employ a methodology that is both personal but irreverent, incorporating aspects of absurdity and melancholy, and mixes elements of autobiography with material reflecting broader societal influences.
Guy Oliver
Automatic Drapery Collage (Red) collage on paper 28 x 24 cm ÂŁ 500
Guy Oliver
Automatic Drapery Collage #06 collage on paper 28 x 24 cm ÂŁ 500
Guy Oliver
www.guyoliver.co.uk 2013-2015 - The Royal College of Art, MA Painting 2003-2006 - The University of East London, BA Fine Art Group Shows 2017 - The Fin Comes A Little Early This Siecle, Staging Series - Jerwood Space, London - CN Showcase 2nd Edition, - SPACE, London - Zona Mista - Zona Mista (Formerly Westminster Waste), London 2016 - OUTPOST Members Show - OUTPOST, Norwich - Life Was Meant To Be Awesome - Chalton Gallery, London - Dead Rubber - UEL Project Space, London 2015 - Laugh - Cheviot House, London - OUTPOST Members Show - OUTPOST, Norwich - (I Wanna Give You) Devotion - Hockney Gallery, London - Two-Hundred Acres - Pump House Gallery, London - Heckle - Bosse and Baum Gallery, London Solo Shows 2017 - Worried Shoes - Parsonage Square, Norwich - Between Comedy and Tragedy - Laron Galeria, Mexico City - Did You Think I’d Leave You Dying? - Chalton Gallery, London Awards and Residencies 2017 - LCN Artist Development Programme - Space, London 2016 - UEL Trinity Buoy Wharf Residency - London 2015 - RCA Secret Postcard Bursary - Lucy Halford Bursary Projects 2017 - Faking It - Video Social Club, Plymouth - The Bomb Factory Artist Film Festival IV - The Bomb Factory, London - Songs of Eternal Praise, Midweek Days - Outpost Studios, Norwich - Diep~Haven - Denton Island Community Centre, Newhaven - Yours Sincerely, Dyson Lecture Theatre - Royal College of Art, London 2016 - The Bomb Factory Artist Film Festival II - The Bomb Factory, London - Edinburgh Artists Moving Image Festival - Filmhouse, Edinburgh - Guilt Complex - Biquini Wax, Mexico City, Mexico - Mono 5 - Courtyard Theatre, London 2015 - Edinburgh Artists Moving Image Festival - Filmhouse, Edinburgh - Automated - Chalton Gallery, London - Talentless, Talentless, Talentless - The Drafthouse Westbridge, London, 2015
Attia Rashid
My work revolves around the basic term nostalgia. Living half my life in the UK, and as I have shifted to Pakistan, I see myself in a new world created of my own. A world of my memory. A world unrealistic yet made from the realistic. I deconstruct images and then construct them in a new manner, creating a new place, a place of my own. A place that is jumbled up in memory. No-one remembers anything as a whole. Memories come to you in parts and I have looked deeply within this. I create images from my own photography and manipulate them creating a new place. I work in 3D using various materials. My work originates from the word topophilia (love for a place), love for the place where I have spent half my life. It is a form of diaspora, being physically here, I am at times mentally in there. As I experience different places, I incorporate them into my work, showing their atmosphere, surroundings, culture and much more.
Attia Rashid
Woodland collage and mixed media on lasani (archival print on waterford sheet) 48 x 63.5 x 6 cm ÂŁ 799
Attia Rashid
M.phil in Interior Designing from National College Of Arts B.A honours in Fine Arts from National College of Arts Group Shows 2017 - City of Darkness and Light - Kings Road Gallery, London - Elements III - Kings Road Gallery, London - State of Mind - Leeds - Stimulus - Menier Gallery, London 2016 - Impact - Movenpick Hotel art Gallery, Karachi - Perspective - 3 person show at Trumans Brewery , represented by Doc. Helga Fox, London - 3 person show - Taseer Art Gallery, Lahore - Group show - Le-Dame art Gallery, London 2015 - Thesis display - National College of Arts - Festival of Life - pop up display, lahore - Young Graduates - My Art World Gallery, Islamabad - About Time - Alhamra art Gallery, Lahore
Eugene Macki
I am interested in the idea of making as a developmental process, and a meditative action. I explore structural relationships through sculpture, drawing and painting.
Eugene Macki
Character Voice: XI wood, screws, filler, paint, colouring pencils, permanent marker 46 x 37 x 5 cm ÂŁ 1,000
Eugene Macki
www.eugenemacki.com
2010 - 2011 - MA Fine Art, Chelsea College of Arts, London 2007 - 2010 - BA Contemporary Fine Art (with Philosophy), First Class. Sheffield Hallam University Group Shows 2017 - Drawing For Sculpture - 2021 Visual Arts Centre, Lincolnshire - Draw The Line - Surface Gallery, Nottingham Solo Shows 2016 - Among Others - The Stone Space Gallery, London 2015 - Encounter - Atelier Austmarka, Norway Awards and Residencies 2015 - Fellowship - Atelier Austmarka, Norway
Shona Davies, Dave Monaghan & Jon Klein
Davies, Monaghan & Klein have been collaborating since 2008 and thematically are interested in exploring ideas around loss. This encompasses loss of habitat, hope, power, identity, dignity and independence. The collaborative are interested in drawing the viewer into miniaturised worlds where animated films reflect the crumbling of institutions and these morality tales are told with dark humour and tragicomic undertones. The constructed installations house the environments in which the narratives are played out, and ‘mise en scenes’ are glimpsed through controlled viewpoints, inviting the audience to experience disquieting and unsettling happenings. Davies & Monaghan create the films and the installations, and Klein is responsible for post production and creates the original soundtracks
Shona Davies, Dave Monaghan & Jon Klein
Energia Piedra natural, resina poliĂŠster cristal, hierro 28 x16.5 x 11 cm ÂŁ1,350
Shona Davies, Dave Monaghan & Jon Klein http://daviesandmonaghan.co.uk/work.htm
2007 - Davies and Klein both achieved BA Hons with First Class Honours Group Shows 2017 - The London Group Open - Cello Factory, London - East Sussex Open - Towner Gallery, Eastbourne - Reality/Unreality - Fringe, Bath Open Art Prize (winner) 2016 - Visions - The Nunnery Gallery, London - Garden of Earth;y Delights - Tactile Bosch , Cardiff - East Sussex Open - Towner Gallery, Eastbourne - Sixty London & Greece (Runner up) - Angus Hughes, London - Open - Penarth Pier Pavillion, Wales 2015 - The Opinion Makers II - London - Summer Salon- Angus Hughes, London - Silver Vine Arts Summer Arts Trail - Queen of Bradgate, Leicester - Lichfield Open (Runner up)
Silvia Lerin
My current artistic practice, assemblages of different materials with painted canvas, is based on discovering new ways on amalgamating these assemblages with its surrounded space, as it happens in my installations or in some site specific works. Lately I have been inspired by encounters with objects I have found randomly (e.g. a piece of wood, or protective cardboard, or a piece of a metal device) to create shapes and compositions that reflect situations or places from my current life. I am recently working as an engineer co-ordinator in a busy 5 star hotel, it provides an extremely stimulating environment enabling me to obtain many rejected objects of different materials (many of them in metal) that the hotel no longer needs. Also, the access to many different and contrasting spaces - chillers and boilers, pipes and electrical devicesis clearly having an impact on me and is inspiring me to new pieces, actually my current project is called ‘Engineering’ because of that. The submitted piece belongs to that project.
Silvia Lerin
Spring wood, acrylic on canvas, polypropylene webbing and staples 54 x 55 x 8 cm ÂŁ 1,500
Silvia Lerin
www.silvialerin.com/ B.F.A., San Carlos Fine Arts College of Valencia in the Polytechnic University of Valencia. Valencia. Spain Group Shows 2017 - 31° Celsius’ - ASC Gallery, London - Summer Exhibition - The Concept Space, London - The Florence Trust Summer Show - The Florence Trust, London 2016 - Imperfect Reverse - Camberwell Space Projects, London - Spain Now! - 12 Star Gallery. European House. London - Emerged - Clerkenwell Gallery. London 2015 - Artworks Open - Artworks Project Space, London - Playroom - Union Club Studios. London. U.K - Shaped in Mexico - Bargehouse, Oxo Tower, London - NN Biennal Open Exhibition - NN’s Gallery. Northampton - XV Meeting Contemporary Art (E.A.C.). MUA - Museum of the University of Alicante. Alicante. Spain Solo Shows 2016 - Ivy - curated by Rugina Mukid, Idea Store, London. UK 2015 - Mind The Gap - Horizon Gallery, Colera, Girona, Spain Awards and Residencies 2017 - The Annex Collection Award, UK 2016 - The Florence Trust Residency, London Publications 2017 - Catalog Florence Trust 2017, edited by The Florence Trust 2016 - Catalog Imperfect Reverse, edited by Camberwell Space Projects and Camberwell College of Arts. 2016. (ISBN: 978-1-908971-52-4) 2015 - catalog XV CONCURSO ENCUENTROS DE ARTE CONTEMPORÁNEO [EAC] ( pag.64-67 ), edited by the Instituto Alicantino de Cultura “Juan GilAlbert” and the Museo de la Universidad de Alicante. 2015. Translation Spanish - Catalan - English. (ISBN: 978-84-7784 690-1- Depósito legal : A 351-2015)
Egle Jauncems
The principal aspects of my practice develop thorough a continuous search for the parallels between the rational and irrational, contemporary and primitive, and the relevant and irrelevant. The starting point of my visual analysis often revolves around found imagery, textual fragments and overheard conversations. Later, I transform these fragments – through the act of painting, drawing and stitching – into objects, or even beings, of pathos and irony. Currently I am working from traditional European painting, particularly Renaissance period portraiture. I find the representation of social power and self-admiration a fascinating phenomenon of human behaviour with much contemporary relevance. In my work I analyse the human desire for physical or material exposure and the possibility of being trapped in artificial performances. I am interested in to exploring the patterns that visual language can offer and how it became a universal depiction of the perennial human endeavour for power, love and beauty throughout different centuries and across different cultures.
Egle Jauncems
Study of a Man as a Fruit oil paint on canvas 21 x 23 x 6 cm £ 920
Egle Jauncems
Study of a Curious Man oil paint on linen 23 x 20 x 6 cm £ 1,400
Egle Jauncems
www.eglejauncems.com
2015 – 2017 Royal College of Art, MA, Painting 2010 – 2013 Chelsea College of Art and Design, BA Group Shows 2017 - RCA Secret - RCA Battersea, London - Dausuva - Martynas Mazvydas National Library of Lithuania - RCA final show - London - Creekside Open - selected by Jordan Baseman and Alison Wilding, A.P.T Gallery, London 2016 - Imagine if That Said - Safehouse, Maverick Projects, Spleen, London - RCA Work in Progress Show - London - Study of a Young Man Looking at the Sea - The Averard Hotel, Slate Projects, London 2015 - Orange Peel - SIM, Reykjavik - Demimonde - Amberwood House, Slate Projects, London Solo Shows 2017 - Malnutrition - Vartai Gallery, Vilnius Awards and Residencies 2017 - TCO X OUTSET Studio Makers Prize, shortlisted artist - Valerie Beston Prize, shortlisted artist 2015 - David Hockney Art Foundation Scholarship - Basil Alkazzi Award, shortlisted artist
Dina Varpahovsky
My work is informed by the current rise of narcissism associated with the compulsive sharing and posting on social media. The origins of the narrative of self can be traced to Sigmund Freud’s 1909 lectures at the Clark University in the USA, when the ideas of psychoanalysis began pervading the popular culture. Scenarios in which the self is injured and undergoing healing, proliferated in numerous TV talk-shows, autobiographies, support groups, counselling, rehabilitation programs, workshops, therapy sessions and the Internet. The recent rise of image-creation technologies and pocket screens has enabled us to take the narrative of self into the new territories, those of the fantasy worlds of Instagram and Facebook. For many the virtual has become far more attractive than the immediate mundane. My paintings deliberately problematize the images that are circulated on social media, often serving to project idealized versions of ourselves. I am particularly focused on images of women and young girls, questioning the way we continue to represent womanhood as sweet, pretty and pink, perversely domesticating yet sexualizing girls from a very early age. The darker, more disturbing aspects of my work throw into sharp focus the dangers of losing lived experiences to the world of appearances. Yet I empathize with this desperate posturing; no one is safe from the allure of an Instagram filter. For me it is important to reflect without being didactical and unreservedly critical. In the end, looking at life through the judging eye of someone else is a difficult way to live.
Dina Varpahovsky
The Disappearing Act oil on canvas 60 x 30 cm £ 400
Dina Varpahovsky
www.dinavarpahovsky.com
2016 MA Fine Art / City & Guilds of London Art School 2012 / BA (Hons) Fine Art / Central Saint Martins Group Shows 2017 - Virtuality Mortality - Ugly Duck, London - Exceptional Art Award - Collyer Bristow Gallery, London - MA & Postgraduate Show - Atkinson Gallery, Somerset 2016 - The Runaway Fingers - The Pushkin House, London - Ten Drawings - Dresden Academy of Art, Dresden - Daylight Saving - Geddes Gallery, London 2015 - The Other Garden - Nancy Victor Gallery, London - The London Group Draw II - The Cello Factory, London Solo Shows 2015 - Condominium - 10 Grosvenor Street, London Projects 2016 - Tied, XAP group performance - Artlicks Weekend, South Bank, London - Tied, XAP group performance - Whitstable Biennale Satellite, Whitstable Publications 2017 - Assemblage Magazine, November 2015 - SAATCHI ART, One to watch, January
Inés Cámara Leret
Recording breaths on a limestone’s memory, growing crystals from saliva or capturing rainfall by using asphalt. My work examines ideas central to the fields of identity, memory and ecology exploring life through materials that are seemingly static, at times inert, or apparently ephemeral. This approach has led me to collaborate with experts whose knowledge ranges in diverse subject matters and technologies including: chemists, physicists, crystallographers, biologists, and botanists. Throughout my practice I combine a strong research approach with a highly experimental making process. Research takes the shape of many forms including simple experiments triggered by ‘what if’s’, observational studies, sifting through archives and interviewing those with scientific, traditional or unconventional knowledge. After a variety of source material is collected narratives begin to arise that thread apparently distant subject matters defining the conceptual framework, the processes and materials of each work. This cross-disciplinary way of working allows me to establish new relationships and explore contemporary culture from unconventional perspectives. I have exhibited internationally and nationally, receiving commissions from institutions like: King’s College London, Drugo More, Abandon Normal Devices, MU Artspace, Science Gallery London and the Museum of Contemporary Art of León in Spain, MUSAC. Since 2016, I am a resident at Somerset House Studios from where I continue to develop my practice.
InĂŠs CĂĄmara Leret
Spit Crystals saliva and photograph 1.2 x 5 x 5 cm
Inés Cámara Leret
http://www.inescamaraleret.com/ 2015-2017 - MA Fine Art, University of the Arts London 2008-2013 - BA Fine Art, Complutense University of Madrid Group Shows 2017 - Fluid Matters - University Museum of Utrecht, Utrecht, Netherlands - Fluid Matters - MU Artspace, Eindhoven, Netherlands 2016 - STUDIO 01 - Somerset House Studios, London - MOUTHY - Science Gallery London - Napusti Normalne, Naprave, Abandon Normal Devices & Drugo More - Rijeka, HR 2015 - PARK15 - London - Disobedient Weekend - Victoria & Albert Museum, London Solo Shows 2017 - Land of Diatoms, LAB987 - Museum of Contemporary Art of León, MUSAC, Spain 2016 - Spit Crystals - Science Gallery, London Awards and Residencies 2017 - Residency: Project based residency at Griffin Gallery - Cultural Institute at King’s Awards, UK - King’s Together Fund, UK - Residency: LAB987, Land of Diatoms, Museum of Contemporary Art of Castile & León, SP 2016 - Finalist: Bio Art & Design Awards, NL - Intermediate grant, Wandsworth Council, London Projects 2017 - Upcoming, Atlas - Land of Diatoms - Memory Stone, 2015-2017 2016 - Spit Crystals, 2015 -2016 2015 - Captured rainfall through asphalt
Habib Hajallie
My Sierra Leonean and Lebanese heritage tends to feed directly into my practice. I look to convey a sense of empowerment to often marginalised ethnic groups in the western world, through the exploration of cultural identity. Within my practice, I seek to create a discourse regarding society’s perception of people to be of varying humanistic values. With the disenfranchised lower earners and ethnic minorities usually being undermined by the mainstream media. This hierarchy of status shows a somewhat paradoxical reflection of colonial ideals in relation to the transatlantic slave trade. My intrigue in using found objects as canvases for my works has been a constant within my practice. This process of bringing new value to often disregarded items creates a cohesion between the concepts behind the work and the aesthetic output. As I seek to empower various figures; I simultaneously seek to do so with the ground used. The regular use of biro pen enables me to use traditional draughtsman techniques, taking influence from Da Vinci’s sketches during the high renaissance. Through an almost contradictory process of using the relatively modern art medium, the biro with this classical approach to mark making: I look to bring portraiture back to the forefront of contemporary art.
Habib Hajallie
You’re... like a monkey fineline pen 61 x 91 £ 600
Habib Hajallie
www.habibhajallie.com
2014-2017 - Loughborough University: Fine Art BA 2:2 Group Shows 2017 - Diaspora Dialogue - Winns Gallery, London - New Artists Fair - The Old Truman Brewery, London - Free Range Graduate Show - The Old Truman Brewery, London - Loughborough Fine Art Degree Show - Loughborough Gallery, Loughborough - Luv U: A Celebration of Grime Culture - Stour Space, London 2016 - Perpetual Flux - MTC, Coventry - New Artists Fair - The Old Truman Brewery, London - Guild Artists Exhibition - Guild Gallery, London - Royal Society of British Artists, Rising Stars - Lloyds Register Gallery, London 2015 - Face Off, Portrait Exhibition - Loughborough Gallery, Loughborough - Art in Mind - Brick Lane Gallery, London Awards and Residencies 2016 - Jorge Aguilar-Agon Student Artist Award (winner) Fine Art Guild Trade - RBA Rome Scholarship (semi finalist) - Royal Society of British Artists Publications 2016 - Art’s Next Generation - Art & Framing Today magazine
Sarah Cliff
Sarah Cliff’s work is an exuberant exploration of everyday assumptions and historical references, alongside myths of her own invention. Through the layering of form with content, nature with artifice, threat with humour, Cliff playfully interferes with familiar images to evoke contradictory sensations and dislocation. Ambiguous characters, narratives and iconic symbols, invite the viewer into a mysterious yet often brash theatrical setting where conventions are questioned, consensus is challenged and curiosity is deemed a necessity. The museum, the cabinet of curiosity and house clearance outlets are rich sources of material for Cliff’s work. She is influenced by: the indeterminate, literary and visual works of Claude Cahun; the discomforting satire of Stuart Lee; the smoky earthiness of Goya’s etchings; the bejewelled barbarity of Eileen Agar, the ambiguity of Toyen and the curious, base world of Le Comte de Lautréamont.
Sarah Cliff
Giantess monoprint 52 x 51 ÂŁ 230
Sarah Cliff
MFA, Distinction, Sussex. BA, Cultural Studies, Portsmouth Group Shows 2017 - Woolwich Print Fair - Teeside Print Prize Exhibition - Collective - Haslemere Museum - Et tu, Brute Art? - Andrew Edlin Gallery, NY 2016 - Divergence - West Dean College Summer Show - On-Site - West Dean College Summer Show Solo Shows 2017 - Giantess - West Dean Open House Installation 2016 - Any Man to Any Woman - West Dean Open House Installation 2105 - Agave - West Dean Open House Installation Awards / Residencies 2017 - University of Sussex Vice Chancellor’s Award Projects 2017 - St Helier Museum Research Project - The Indeterminacy of Claude Cahun
Otgonbayar Tsogt
Body, Structure, figure, form, flesh, bones. My works explore the relationship between our existence and all other things surrounding us. The matter of building up the body and the way in which it dissolves, its transformation to other forms depends on the interrelationship with its surroundings and the exchange and integration of the micro elements which help to structure body. The existence of everything is framed by the abstract concept of swapping its temporary body through this delicate balance. My works explores this natural cycle by borrowing natural elements and reshaping and deconstructing them in very symbolic or abstract meaning. This natural cycle is probably not in a clear line but is very twisted, tangled and knotted along a very long line yet each ends connect to each other in some way. It fundamentally matches the shamanic and animist view towards nature and ourselves, a view to which my origin culturally connects. As this conception also attracts me on an individual level.
Otgonbayar Tsogt
Inseminatus 15(A) acrylic on paper 43 x 32 x 4 cm ÂŁ 400
Otgonbayar Tsogt
Inseminatus 15(B) acrylic on paper 43 x 32 x 4 cm ÂŁ 400
Otgonbayar Tsogt http://oto-art.co.uk/
2002 Tokyo University of the Arts (MA Fine Art) Group Shows 2017 - Sunny Art Prize - Sunny Art Centre, London - ArtRooms - Melia White Hotel, London 2016 - Two person show - Pure& Applied, Bermondsey, London 2015 - ArtRooms 2015 - Melia White Hotel, London Awards / Residencies 2016 - The Great Britain Sasakawa Foundation Grant Projects 2016 - Curatoral project - Contemporary Botanical Art from Japan, Kusabana-zu Publications 2016 - http://www.london-kusabana-zu-japanese-art-exhibition.com/ - http://dajf.org.uk/event/contemporary-botanical-art-from-japan-kusabana-zu
Daisy Caird
A practising artist and painting assistant based in South London. In addition to experimenting with sparkles and sculpture, I produce observational pieces using oil-based paints. My kitsch sculptural pieces are more abstract following an organic development via a spontaneous route. When applying paint I work from a subject with a representational result. I find that having the two separate practices running simultaneously refreshing and compliment both creative outcomes. People inspire my artworks, even my sequin unicorn relates to somebody somehow. Each treasure that I scoop up from a charity shop has an underlying story beneath the glimmering surface of sequins.
Daisy Caird
Dandy Rainbow Legs sequins, gemtac, resin, 33 x 23 x 46 cm £ 800
Daisy Caird
BA Fine Art - Painting and Drawing, UoG Group Shows 2017 - Vintiners Framing - North London 2016 - Meet The Artists - East London - V - Art Shed Gallery, West Penwith 2015 - Open Sesame - Art Shed Gallery, North London - Islington Art Society Solo Shows 2016 - Little Bo CafĂŠ, West Penwith Projects 2017 - Electric Freckle -An ongoing body of work exploring my unique experience of having epilepsy. Using various medium to describe the disorientating sensation that comes with this fascinating disease and in the process deepening my 2016 - Brick Lane Vintage window display 2015 - Mexican Day of the Dead Ball, dressing a stage with sequinned skulls and paper flowers
Shinyoung Park
My artistic practice focuses on distilling essence by visualising invisible parts of life through certain scenes and states at conceptual or psychological borders. The essence is revealed by one’s intuition as image, which reaches the ultimate reality of art: spirituality. Like Roland Barthes ‘lightning-like, metonymic punctum’, I’ve been interested in penetrating into the essence of a scene from my childhood. The scene is one in which my father, a photographer, developed images in his darkroom. This insightful scene inspires my contemplation. With this concept, I express the constant aspect of essence through ambivalent points in metaphysical fields: melancholy by inner conflict; the origin of human beings between primitiveness and maturity; and blind faith and reason about religion. However, it changed by participating in an artist group’s outdoor activities during the seasons. Feeling that interpretation of an artwork depends on the changes of nature, I realised the mutability of essence in my reaction towards the world. Since then, I’ve been focusing on the relationship between artwork and its surroundings; precisely, how to blur the border between art and daily life. Since I moved to London from my home country, South Korea, I’ve been interested in the theme of travel in psychological aspect. When travelling somewhere, feelings, memories and existing cultural habits in my head mix together with the surroundings, transforming them into something new. This process is a way of not only confirming the borders between different cultures but also confronting myself against the borders. Travelling and producing artwork are the same activity for me. They are creative actions of being tamed to newness. The work titled ‘As the Moon Rises’ reflects a mix of moods by different cultural backgrounds. Through the urge of my hands, a scene beyond senses lays down on the paper. This is the reason why my work is based on drawing. It is a way of capturing certain moments and making it live in eternal standstill. The death of a moment revives as an image, like the life cycle. The thing I do is to treat the dead moments as an undertaker and to gather them as a collector. The use of edible materials like coffee and wine reflects the cycle of nature. It is intriguing for me that a material is made from the death of a living thing and it is revived as a scene. Meanwhile, drawing is flexible enough to be developed to other art fields, like unlimited sketch lines. I’ve expanded its possibility to prints, especially mono type, and artists’ books. I enjoy mixing different fields and the unexpected results that happen during the transformation.
Shinyoung Park
As the Moon Rises highlighter, ink, watercolor and wine on paper 77 x 57 cm NFS
Shinyoung Park
www.shinyoungpark.co.uk/
2016-2018 - Print MA, Royal College of Art, London, UK 2011-2013 - Painting MFA, Seoul National University, Seoul, South Korea 2007-20011 - Painting BA, Seoul National University, Seoul, South Korea (Summa cum laude)Â Group Shows 2017 - Under The See - Crypt Gallery, London - Rage:The Odious Smell of Truth - Hockney Gallery, Royal College of Art, London - Freshly Squeezed - CGP London, London 2016 - Mindful Mindness - Seoul Olympic Museum of Art(SOMA), Seoul, South Korea - Club Mountain Vol.1 - Mt Gwanak, Seoul, South Korea Projects 2017 - The Small Press Project 2017 - Institute of Advanced Studies South Wing, UCL,London Publications 2015 - Next Plan of 84 Artists, Art Bookazine Debut 5, Booknomad, Seoul,South Korea (ISBN 9791186561157)
Theo Ellison
My work is born out of my attraction to, but distrust of, seductive imagery. Charisma, whether in people or in imagery wields a power over the mind that is inescapable, and this power has no bearing on the morality or truth being communicated. The allure of the image and the relationship between seduction and moral ambiguity is an underlying theme; the advertisement aesthetic acting as an invitation, cajoling the viewer into enjoying an openly manipulative construction. This is linked with the idea of consent – the consent of the subject whose image is taken, and the viewer who cannot avert their gaze. In marrying artifice with verisimilitude, our compulsion to flatten objects into consumable images acts as a mirror to reflect one’s unfettered desires. Delving into these triggers of compulsion, repulsion, and desire reveals their power and provides an iconoclastic dimension, however fleetingly, in which to view them.
Theo Ellison
Baby C-type print 60 x 40 £ 1,050 (unframed)
Theo Ellison
www.theoellison.com/about-1
Royal College of Art - MA Photography Coventry University - BA Photography Group Shows 2017 - Artificial Things - Cambridge University - Hix Award - Hix Art, London - Show RCA - Royal College of Art - Becoming - Dyson Gallery, London 2016 - East Meets West - Birmingham Museum & Art Gallery - Telling Tales - Liverpool Biennial Fringe, 45-61 Duke St, in association with Open Eye Gallery, Liverpool - Offprint - Tate Modern - The Campaign - Dyson Gallery, London - New Art West Midlands - Mac Birmingham Awards / Residencies 2017 - Hix Award (Finalist) Publications 2017 - CVA Zine, #1, September - Are You Lost?, Royal College of Art, May
Julia Miranda
Julia Miranda is an Anglo Brazilian artist. Daughter of two painters, she has exhibited in Rio, New York, Barcelona and Munich and has a home studio in East London. Here she makes use of traditional media as well as found surfaces such as timber off-cuts, doors, bed sheets and paper packaging. These discarded materials come with a patina of possible histories. The process of reapropriation - concealing or emphasizing what already exists - constructs new narratives. A personal history of transition is present in the works. Through the manipulation of materials across these different surfaces, themes such as change, time, memory and human interaction are obliquely investigated. The idea of chance is often explored by starting with an “accident” of spilled powder pigment or by watching liquid colour take it’s own course across the surface...suggested images may be defined or erased as they appear, and recognizable motifs from drawn or collaged figuration come in and out of focus. While the driving concern is with the formal elements of the work, a piece, once finished, also serves as a record of the artist’s interior life, played out through the relationships between colours, planes and forms.
Julia Miranda
Handmaid acrylic, ink and paper on linen 50 x 50 ÂŁ 650
Julia Miranda
Soft Weather acrylic and ink on canvas 50 x 60 cm £ 650
Julia Miranda
www.juliamiranda.uk
MA Childrens Book Illustration Cambridge School of Art BA Graphic Design Brighton University Group Shows 2017 - Mothership - Bruton Arts Centre - Beautility - Brazilian Embassy, London 2016 - Christmas show (invited artist) - APT, London - Untitled - BCN, Barcelona - Home from Home Gallery, Munich - ArtWorks Open - ArtWorks Project Space, London 2015 - XVI Collective - Oxo Tower Wharf , London Solo Shows 2015 - Galeria Patricia Costa, Rio de Janeiro - The Festival of the Brain - Folkestone
Anna Flemming
With a focus on creating tension between surface and form, my practice is primarily sculptural, whereby objects are arranged to form an installation or animated within a video work. With recent works, I have been exploring the idea of the superficial surface and the desire to escape ‘nature’ through the artificial. To differ from ourselves, the artificial can master, or at least disguise temporality, and therefore we use it to conceal our decaying bodies. In a recent body of work I have been creating objects that imitate natural formation, yet their surface obviously asserts their theatricality. With a particular interest in formation through destruction, I have fabricated surfaces that might appear eroded, cracked and wrinkled, and to contrast this I have finished the works in a bright decorative veneer. To create these objects I tend to use materials that can be deceptive, manipulating the surface while creating an object much lighter than it appears, giving freedom to create strange and monstrous objects, which, in turn forms a work that appears like a theatrical prop creating its own staged context.
Anna Flemming
Cracked/Lacquer sculpture 30x 75 x 100 cm £ 1,100
Anna Flemming
www.annaflemming.co.uk
2014 - MA Sculpture - Royal College of Art, London 2011 - BA Fine Art – First Class Honours - University of Reading Group Shows 2017 - Faking It - Video Social Club, Plymouth Art Weekender, The Plymouth Athenaeum, Plymouth - The End is By Yur - Elysium Gallery - Swansea, Wales 2016 - Film Night - Hackney Attic, Hackney Picturehouse, London - Stewarts Law RCA Secret, Royal College of Art Kensington, London/ Art Dubai, Madinat Jumeirah, Dubai 2015 - Incunabula - Norwich Cathedral, Norwich - Rainbow Merchant - Schwartz Gallery, London Solo Shows 2016 - Cracked/Lacquer - Studio 1 Gallery, London - Fragment - Platform 1 Gallery, London
Bethany Marett
My work concerns the corporeal and all the contrasting and conflicting aspects inherent; how bodies are sensual, beautiful, ugly, damaged, idealised, sexual, abject, gender, and delicate. I frequently use my own body as a canvas or starting point. Skin is a primary concern for me - the epidermis signifies the boundary between what is contained within ourselves and the outside world. It is our surface, and a place where identity is created and assigned; it records our history; its significance changes vastly from culture to culture. Skin embodies a conflict for me - coming from a very religious family, the ‘pleasures of the flesh’ were something staunchly taboo. Additionally, brought up as a vegetarian, I have never consumed flesh and blood in fact makes me squeamish. My work certainly references the ‘human condition’ and this fear of my own mortality and the uncontrollable and unknowable chaos within myself. I am very conscious of how I portray the body, particularly the female body, and how this relates historically and to the context in which I live. Distorting and reconfiguring the body, I work in the liminal state between abstract and figurative. I am interested in implying the presence of the body albeit not always representing it overtly. I speculate about marks and traces and how they can imply a presence while at the same time, an absence; working with the capabilities of the mind’s eye – giving information, but not all the information. I am fascinated by our ability of seeing something recognisable within something abstract, such as in a Rorschach inkblot test, and in conveying the ‘uncanny’ and the ‘phantasmagoric’. Materiality is at the heart of my practice. I am not constrained by a particular material, but often the impetus for a piece of work comes from the special qualities of that material, and to this, I apply my ideas. I feel very drawn to printmaking as the process of removal and the scarring and gouging of the surface becomes a substitute epidermis and the absences, traces and marks which appear represent a history. Printmaking inserts an obstruction, an uncontrollable variable into my art making process as I utilise different processes and gain unexpected outcomes.
Bethany Marett
36 x 24 x 36 screenprint, inlaid brass and makeup on found wood panel 98 x 45 x 2 cm ÂŁ 980
Bethany Marett
bethanymarett.com
2006-2009 - BA (Hons) History of Art - The University of York 2016-2018 - MA in Print - Royal College of Art Group Shows 2017 - A museum of modern nature - The Wellcome Collection, London - Freshly Squeezed - CGP Gallery, Southwark Park, London - The Ruth Borchard Self-Portrait Prize - Piano Nobile Gallery, London - Lasting Impressions: a selection of works from the Printmakers Council Archive - Scarborough Art Gallery - Stewarts Law RCA Secret - Dyson Gallery, Royal College of Art, London 2016 - Woolwich Contemporary Print Fair - Royal Arsenal Riverside, London - In Two Parts: Part Two - Lombard Gallery, Margate - Art Hub Print Open - Art Hub Deptford, London - Secret Rose Auction - RB&HH Arts, Flowers Gallery - West London Original Print Show II - Austin Forum, London 2015 - Summer Exhibition - The Royal Academy - Greenwich Printmakers - Jack House Gallery, Portsmouth - Original Prints by Greenwich Printmakers - Bourneside Gallery Solo Shows 2017 - Material Corporeal - Little Gallery, Calgary, AB, Canada Awards / Residencies 2017 - Company of Merchant Taylors of York Award - Villers David Bursary, Royal College of Art - Mara/Laing Graduate Student Exchange Programme Residency - University of Calgary, AB, Canada Publications 2017 - Unbaroquen Magazine
Mildred Rambaud
Mildred Rambaud’s work spreads from a range of mediums and means from steel to led, painting to sculpture, digital to film, dance to performance. Aiming to explore an archetypal imagery, fragility and the impossible. An admiration of ancient cultures and rituals can be witnessed through the art historical references and allusions of African, European and Indian civilisations, astrological gardens, temples and secular architecture, sacred geometry just as well as symbolist and minimalist sculpture. This language allows her to explore how objects acquire external meanings from there materiality. Much of her sculpture exists on the threshold of an act to be. The sculpture itself is a departure. A notion of travel is imbued in the work both in a practical and poetical sense. A series of new sculptures and drawings made during a residency at Zennor Project Space in Cornwall that bear a formal relationship to Shiva-Lingam. With disc-shaped bases and ascending cylindrical volumes, they are adorned with playful and tantalising imagery, sculpted in relief, of erupting volcanoes and voluptuous breasts, charged implicitly and explicitly with both masculine and feminine creative forces. The related drawings go further in disrupting binary assumptions such as passive and active, nurturance and ejaculation, by conflating the primary motifs (tits and volcanoes) to suggest a cosmic unity between complementary energies.
Mildred Rambaud
Medallion I, tits & volcano jesmonite 44 x 44 x 10 cm ÂŁ 2,000
Mildred Rambaud
Medallion II tits & volcano jesmonite 57 x 40 ÂŁ 2,000
Mildred Rambaud
www.mildredrambaud.co.uk
2004-2006 - Slade School of Fine Art - Sculpture 1999-2002 - Chelsea College of Art and Design - Fine Art Media Group Shows 2017 - Outpost members show - Into the void - Crate, Margate 2016 - Porter Papier CirÊ - Clarence Mews, London 2015 - LIMBO’s Open, selected by Adam Chodzko - Limbo, Margate - At the still point of the turning world - The event horizon - Galerie Gabriel Rolt, Amsterdam Awards and Residencies 2017 - Artist in residence - Zennor Project Space, Cornwall 2016 - Artist in residence - Clarence Mews, London 2015 - Artist in residence - USF Verftet, Bergen, Norway
Constanza Dessain
Constanza Dessain is a London based artist. She studied Social Anthropology at the University of Cambridge and Drawing at the Royal Drawing School, where she now teaches. She has worked as a printmaker for renown artists such as El Anatsui, Akram Zaatari and Marc Quinn at Factum Arte, Madrid. She is currently studying Print at the Royal College of Art. She has won several prestigious grants and awards such as the the Desmond Preston Prize for drawing; the Lady Rothermere Prize for drawing; a South Square Trust Grant; a SIET grant; and a Leverhulme Bursary. Constanza Dessain’s practice concerns the nature of touching and looking, and the sensuality of the mundane. Through Dessain’s print explorations forensic details of our everyday interactions with objects are made strange. Using drawing, rubbing and printing methods hijacked from photographic processes the work inflects assumptions about the relationship between description and recognition. Recent projects have worked with the imprint as a visual strategy through which time, touch and the thingness of an image are foregrounded. Her images refer back to their own genesis: processes inform meanings; objects speak through an excess of attention; and our latent knowledge of the material world informs anti-graphic meanings.
Constanza Dessain
A touch that is over (I) gelatine cast on paper (mounted on aluminium) 26 x 23 x 0.4 cm ÂŁ 400
Constanza Dessain
www.constanzadessain.com
2016-present - Print, Royal College of Art 2011-12 - Drawing Year, Royal Drawing School 2005-8 - Social Anthropology, University of Cambridge, MA Group Shows 2017 - Freshly Squeezed - CGP Gallery, London - WIP Show - Royal College of Art, London 2016 - Drawings - Christies New York 2015 - Print as a Verb - Reading - Inter-national - The Centre for Contemporary Printmaking, Northern Ireland Solo Shows 2015 - Rock+Paper+ Scissors - London Morgan Awards and Residencies 2017 - Desmond Preston Prize for Drawing - South Square Trust Grant 2016 - SIET Grant - Leverhulme Bursary Projects 2017 - Cyanotypes and gelatine prints for Akram Zaatari for MACBA exhibition at Factum Arte - Intaglio prints for El Anatsui with the October Gallery at Factum Arte 2016 - Tactile prints for The Blind Phontographer with Redstone Press at Factum Arte - Steel tablets for Rachid Koraichi at Factum Arte - Woodburytype prints for Henry Hudson at Factum Arte 2015 - Digital Collotypes of Marc Quinn at Factum Arte
Hayley Harrison
Hayley Harrison sculpts, and paints and draws directly onto discarded plastic bags, packaging and paper. The debris of consumerism becomes a surface and container for painting. The waste is transformed into fabricated landscapes and natural objects; familiar and unfamiliar, alluring yet corrupted. Hayley Harrison is exploring the theory of an ecological unconsciousness; an intrinsic connection towards nature that we have lost. Her work responds to the contradiction of our reverence to nature and the ecocide we consciously march toward. We are captivated by the beauty of our planet, but from afar, as a leisure pursuit. Her recent works investigate the disconnection between the human and non-human world, and between humans themselves. 11:57:30 is a recent body of work made from discarded IKEA packaging found on the streets. Cardboard is sculpted and painted into tree like forms creating an imperfect cycle of natural, to man-made, to the man-made-natural. The title and labels refer to the Doomsday clock which currently positions us two and a half minutes away from global catastrophe.
Hayley Harrison
11:57:30 acrylic and ink on discarded cardboard 100 x 12 x 75 cm £ 125
Hayley Harrison
www.hayleyharrison.com
2005 - BA HON’s Fine Art (2:1), Sheffield Hallam University Group Shows 2017 - Rising - The Belfry and North Gallery, London - Open Studio Show - Deptford X Festival - Brookmill Studios, London - Kuuki - Roper Gallery, Bath 2016 - The Overview Effect - Lewisham Art House, London - Deptford X Festival - Brookmill Studios, London
Lorenzo Monnini
My practice revolves around the creation of architectural objects, mostly in the form of paintings. My works are informed by radical design, classical architecture, retro-futurism. They are the result of an intense process of filtering sources and different sets of information. I allow images and forms to gradually emerge through a mixture of instinctive decisions and considerate gestures – working from observation, drawings and historical material, I try to translate my thoughts into material signifiers.
Lorenzo Monnini
Untitled (Chewing Gums) oil and white tiles on weaved jute carpet 95 x 80 cm ÂŁ 350
Lorenzo Monnini
MA Painting – Royal College of Art BA Painting – Camberwell college of Art
Giada Marson
My work revolves around ideas of usefulness and functionality often referencing the history of design and architecture. My practice is an attempt to permeate ordinary images and materials with a mythology. These images are characterised by their relationship to language and the way language fails to express reality for what it is, by mediating the meaning of objects and situations.
Giada Marson
Neck Pillow concrete 19 x 34 x 26 cm ÂŁ 300
Giada Marson
MA - Conteporary Art Practice - Royal College of Art BA - Graphic Design - Central Saint Martins
Lena Heubusch
Born 1983 in Germany, Lena Heubusch is a London based artist who graduated in 2016 with an MA in Contemporary Photography and Philosophical Practices from Central Saint Martins College of Art. She explores the image of thought, how the ordinary of the everyday creates our experience of knowledge and how the image becomes the systematic treatment of the everyday. These subject areas mirror the limitations of the systems we have created. In a fully structured representational system, the image is an element that exists in a state of in-betweeness. Projecting this system into the world, we hone the desire to live in the images we create. Expanding the realm of image beyond its field, we need to collectively question the categories we have created.
Lena Heubusch
Rule Of Thumb archival print 60 x 60 x2.5 cm ÂŁ 650
Lena Heubusch
www.lenaheubusch.com/
2016 - MA Contemporary Photography & Philosophical Practices (Merit) Central Saint Martins, London UK Group Shows 2017 - Every Me - 27B Gallery Stoke Newington London - Balanceakt Film Screening - Sluice Biennial, Bohemia Place, London - We Exist Between Layers Of Surface, Screening Are We All Addicts Now? - Furtherfield - Performer for Otobong Nkanga ‘Carved To Flow’ - Documenta 14, Kassel - Workshop’ Film Screening with Anna Lucas & Alex Schady - Tate Modern London 2016 - Do Disturb - Palais de Tokyo, Paris France - Professional&Academic Photography Practice Showcase - The Crossing, London - Selfie, Performer for Martina Conti, Degree Show - Central Saint Martins. London - Do. Undo. Redo. Group Exhibition, MA Degree Show - Lethaby Gallery, London - ´BIG SPACE VI´ Art Programme Exhibition - Central Saint Martins, London 2015 - None of the Above - La Casa Amarilla, Málaga - Sotheby´s Art Auction - Lethaby Gallery, London - Remember Nature (collaboration with Gustav Metzger) - Serpentine Gallery, London - You’re the reason.... - The Laundry, London - Aestivation Fine Art Open Studios - Central Saint Martins, London UK Awards and Residencies 2017 - Ben Tanıdık Bir Yabancı Art Residency - The Golden Boll Culture&Art Centre, Adana, Turkey 2016 - Shortlist Clifford Chance Award - Canary Wharf, London Publications 2017 - Musemscheck - TV Interview for ‘Carved to Flow’ on 3Sat Germany - Sounds Of Documenta 14—A Tale Of Two Cities - Interview for Fresh Art International Miami - Wie Die Documenta Auf Die Wirtschaft Blickt - Radio Interview on Deutschlandfunk Germany 2015 - None of the Above #1, London - Amigos de Apertura. 20 años compartiendo fotografia - None of the Above Magazine #0.1, London
Claire Nichols
Claire Nichols is a London-based artist whose work plays with the philosophical and physical spaces of the studio and the gallery. Nichols explores these arenas through series of drawings, sculptures and performances that she sees as always ‘in process’ and in an ever-evolving relationship with the artist and the viewer. Recent work includes a site specific piece at the Florence Trust, The FT Variations, 2016-17, where Nichols was artist in residence for a year. Nichols started by folding half of the walls of her studio inwards to become a floor. These white floor boards and remaining white walls formed a kind of stage and a performative studio space, evolving in full view. Sourcing objects from around the residency site and its locality, abstract constellations grew and altered, forming a series of chance constructions and evolving drawings in space. The rungs of an overturned ladder developed a visual rhythm, plastic gels fell to lick tubes of light, whilst sawdust gathered from a nearby studio was sifted and smoothed into the rolls of a corrugated iron roof. A palette of visual sounds emerged and their imagined musicality was amplified through changes in light and shadow plays. Exploring the synaesthetic qualities of her compositions, and addressing their continuously shifting nature, Nichols initiated a series of musical collaborations. Resulting in recent performance works at the Florence Trust, Enclave Lab and arebyte Gallery, a myriad of abstract compositions have been activated by the artist in an improvised dialogue with live sound compositions by different musicians. Nichols’ performances extend her investigation into improvisation, opening up a sort of theatre in which the creative process takes centre stage. Her evolving compositions with found objects become sheet music to be played by musicians, whose often dissonant sounds develop a tempo for Nichols’ making. Nichols is interested in the blurring of disciplinary boundaries and the attempted sharing of tacit forms of knowledge as cross-disciplinary constellations are created, collapsed and rebuilt anew. Nichols often makes work in conjunction with other artists, from her series of performative conversations in empty gallery spaces (The Empty Gallery Interviews, 2009-11) to her live publishing projects (antepress, 2009-11). Recent performance based collaborations include those with choreographer and dancer Hanae Mura (in response to Espaços de Vidro, 2015), artist Jennifer Taylor (Lacuna, 2016), viola player Matthew James Kelly, guitarist Luca Somigli, and drummers Nadav Brand and Argyris Thomoglou (in response to The Variations series, 2017). Exhibitions and performances include David Roberts Art Foundation, London; Enclave Lab, London; ICA, London; Art on the Underground, London; Golden Thread Gallery, Belfast; MoMA PS1, New York; Centre Cultural la Mercè, Girona; and Despina, Rio de Janeiro. Her work is included in the Chelsea Special Collections and Goldsmiths Women’s Art Library.
Claire Nichols
The Enclave Variations performance film on box monitor (https://vimeo. com/219700491) with performance objects (approx 17 mins) 100 x 100 x 100cm ÂŁ 850
Claire Nichols
www.clairenichols.info 2008-2010 - MFA, Goldsmiths College, University of London 2003-2006 - BFA, Ruskin, University of Oxford Group Shows 2017 - Summer Exhibition - Florence Trust, London - Winter Open, Florence Trust, London 2016 - Lacuna, performance with Jennifer Taylor, Despina, Rio de Janeiro, Brazil 2015 - Sketchy Remarks - Floating Island Gallery, London Solo Shows 2017 - The arebyte Variations, performance for Concertina by Richard Wentworth and APPARATA, arebyte gallery, London - The Enclave Variations, Solo Performance Event curated by Sol Polo, Enclave Lab, London 2016 - Concrete Circle, performances, Two Hotel, Bahia, Brazil - Espaรงos de Vidro, Largo das Artes, Rio de Janeiro, Brazil Awards and Residencies 2017 - Florence Trust Residency (216-2017) 2016 - Two Hotel, Bahia, Brazil 2015 - Largo das Artes, Rio de Janeiro, Residency - Internal Research Funding, Central Saint Martins, University of the Arts London - Floating Island Gallery Studio Residency, London Projects 2017 - Florence Trust Documenta Research Trip, Athens - Musical collaboration with guitarist Luca Somigli and drummer Nadav Brand, arebyte gallery, and Enclave Lab, London - Musical collaboration with guitarist Luca Somigli and drummer Argyris Thomoglou, Florence Trust, London - Musical collaboration with composer and viola player Matthew James Kelly, Florence Trust, London 2015 - Dance collaboration with choreographer and dancer Hanae Mura, Largo das Artes, Rio de Janeiro Publications 2017 - Florence Trust Residency Catalogue with text by Curator Ashlee Conery 2015 - Espaรงos de Vidro, Text by Dr Carla Hermann, Rio de Janeiro
ArtWorks Open 2017 selected by
Florence Peake and Tai Shani