“So its goodbye from him, and its goodbye from him and her...and me.” We have arrived at a nexus, a coming together of change for the Fine Art course and you; this year’s graduating students, for whom the Art School has been called ‘home’ and the peers that have studied with you, your ‘family’. You will be an important benchmark for future years. It is no small thing to reach the end of a degree these days and I want us all to remember and celebrate your success. Your achievements are clearly measured within the richness of the artworks you created and in the list of significant exhibitions, personal successes, competitions and postgraduate places you have attained. Above this, and hidden from most of us, are the networks and friendships that will sustain and support each of you into the future. For these networks to function we all need to move on; to leave what we feel is safe and secure and go and generate new groups and collectives. Networks only function when there are a number of active groups or nodes, spread wide, linked together through notions of the common; something shared. As new artists joining the amalgam of the art world,
you step into an ever more professionalised environment which the course has, I hope, given you the power to meet these challenges, and more, flourish, enjoy and share in all the successes which will come. Through the strong relationships that you have made here your set of connections will support and sustain your time ahead through the harder periods (there will be a few) and share in the great occasions (there will be those as well of course). Your departure triggers another chain into reactive progress. It marks the point where your mutual experience ends and you begin to follow differing paths. You will not all want to be artists. But I can already see great thinkers, curators, writers, organisers and leaders coming out from the shadows. Your network is rich and exciting. Your skills will carry you all to stimulating places and you will share in that success together. This is my final year leading Level 6, something I have really enjoyed and approached with, what I hope is a wider educational experience rather than that singular headline goal of academic success, or worse still the NSS results...
Standing in front of a painting by Steve earlier this morning I contemplated the depth of each student’s experience. To me Steve’s painting comes across at once; testing uncertainty and risk, seriousness and humour and trying to understand its place in history and that of ‘the now’. And it is able to be all these things and extremely self-conscious in its attempt to contribute to the greater picture. What I see is the result of someone just saying yes to something. Yes to new ideas, yes to opportunity and yes to change. I can see this in all of you, your knowledge and courage shining through. As I have said this is a coming together of departures. I am sharing in your uncertainty of an unknown future and leaving with my family for the US. The point to any departure is to enact change though and this idea might feel like a leap into the dark, often leaving behind old securities, things we are accustomed to
and reliant upon. Change is good. Change is exciting. Change is creative. I look forward to reinventing myself as the image of ‘The Artist’. I look forward to building new relationships and most of all I look forward to being the American node in your collective networks. So well done, you cease being called students and it is all still yet to do. Take every opportunity that comes your way and use each other all the time. Keep sharing your experiences and celebrate every success.
TOM HALL LEVEL 6 COORDINATOR ‘ARTIST’
FIND ME Emily Appleton
6
Daniel Crow Armstrong
8
Bethany Bailey
10
Fahad S.N. Bhatty
12
Monica Bonomo
14
Hannah Bowles
16
Emily Bown
18
Henry Boxall
20
Dan Broadbent
22
Emma Louise Brown
24
Ellie Bullock
26
Will Burn
28
Tori Carey
30
Emily Ciccarelli
32
Alison Clare
36
Lydia Clifford
38
Julia Cocorachio
40
Elise Comberti
42
Christopher Compton
44
Kat Elliot
46
Kerry Fairclough
48
Francesca Fugl
50
Mariya Garbacheva
52
Kirsty Gordon
54
Rose Grover
56
Abby Hawkins
58
Angel Lourdes Homer
60
Rachel Howard
62
Alice Kirkham
64
Esther Langford
68
Jasmine Lowe
70
Simon McNeill
72
Steve Moberly
74
Kate Mooney
76
Rebecca Mourant
78
Sophie Newton
80
Jasmine O’Rourke
82
Christopher Orkiszewski
84
Kate J Parrott
86
Krupa Patel
88
Chelsea Peacock
90
Lucas Peverill
92
Lydia Reeves
94
Isobel Ross
96
Jake Ruddle
100
Rachel Sheldrake
102
Cat Smith
104
Francesca Stewart
106
Robin James Sullivan
108
Florence Sweeney
110
Sam Taylor
112
Ayla Terzi
114
Michelle Toal
116
Mark Van Wingerden
118
Angeliki Vrettou
120
Rachael Ware
122
Steve Webber
124
Chloe Whittaker
126
Emily Appleton focuses on projecting cognitive states whilst exploring methods of creative therapy and the process of doodling. Her interest lies within making abstract and semi-abstract pieces that suggest a persona and visually express a state of mind. She works utilising mainly oil and acrylic paint as well as inks and 3D sculptural materials. Appleton’s work is entirely expressive as she enjoys being fully immersed in the materials whilst experimenting with vivid colours and imagery to produce an engaging atmosphere or mood. Her intention is to strike certain familiarities with the viewer by combining aspects of her own imagination with a cartoon-like subject matter as well as an almost childlike execution and demeanour.
emilyappleton.weebly.com eappleton@outlook.com
‘NIGHTMARE’ OIL ON CANVAS
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EMILY APPLETON
‘THE OLD MAN’ OIL ON CANVAS
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Daniel Crow Armstrong (b. 1992) is a painter for whom black is a continual link between varied subject matters. Interested in Process Painting and the ideals of Formalism, he creates abstract pieces focusing around the colour black. The structure of the paintings are dictated by Formalist Considerations and the Process controls the overall outcome of the piece. His current work considers the Dark Adaptation Function aiming to depict the ineffable using paint. With a scientific approach to creating a painting, Daniel explores the methods and materials used to make various black pigments to use in his work, ranging from the soot from an oil lamp to the burnt antlers of a red male deer. At the start of 2013, along with four other artists, Daniel formed Fifth Degree, a Bournemouth based collective who have since put on a diverse array of carefully curated solo, group and collective exhibitions, displaying work from artists within and outside of the group.
danielcrowarmstrong.weebly.com
‘DARK ADAPTATION FUNCTION’
danielcrowarmstrong.tumblr.com
5.5M X 2.5M
dhcarmstrong@gmail.com
8
OIL ON CANVAS
DANIEL CROW ARMSTRONG
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Bethany Bailey utilises traditional techniques such as carving and printmaking to explore how trace can be left on a material. By adopting controlled methodologies to immerse herself when working in close proximity with a material, she engages with the nuances of each mark, evidencing her relationship with the physical space. Her practice explores her desire to create contemporary drawings in the context of the white cube. She intends to alter spaces and materials with no addition or erasure. The elusive impressions in her blind embossings evidence a change in the materiality of the paper itself. The layers of paint which delicately curl away from the surface of the walls in her installations, emphasise the subtleties of the unobserved with each hand carved fragment; fixing the ephemeral traces into permanence.
www.bethanybailey.co.uk bethany.bailey@btinternet.com
‘THE MAP IS NOT THE TERRITORY’ INSTALLATION
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BETHANY BAILEY
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Fahad’s works deal with issues such as time, movement, interaction and the relationship we have with the digital screen. Specialising in digital media, drawing and animation. The medium of showing works are print; both large and small scale, digital screens, the web and digital installations. The works can be both representative and conceptual, drawing inspiration from mythologies, video games, film and pop culture. The works also have this narrative form that attempts at involving the audience to participate in some manner.
shahjahan89@hotmail.co.uk
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FAHAD S.N. BHATTY
‘UNTITLED’ VIDEO STILL
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Making is the core of Monica’s practice. Her interest centres in the struggle between concrete and ephemeral; in her ontological relationship with nature. In her work she has made use of craft techniques engaging the objects she makes with other processes, in this way she responds to spaces. The engagement with materials through constant and repetitive actions reflects in the reality of the artist as a making machine and the relationship of her body with space.
www.monicabonomo.com monicabonomo@hotmail.com
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‘SLEEP TIGHT’ BED SHEETS 3000MM X 1500MM X 2000MM
MONICA BONOMO
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Hannah Bowles believes nature shows us a beauty that exceeds our imagination; the forms in nature are unique and cannot be easily reproduced. This endows them with mysterious beauty. Nature has always been the root of Hannah’s practice. Her love for flora and fauna, animals, organic, naturally made forms and materials such as, feathers, bone, fossil, crystals and wood have always inspired her. She explores the relationship between man and nature. The work is a celebration of our wildlife; promising eternal life to elements which would otherwise go to waste.
www.hannahlisa.co.uk hannah_lisa@hotmail.co.uk
‘UNTITLED’ 1-3 FEATHERS
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HANNAH BOWLES
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Emily Bown’s practice involves transforming the workings of the mind into a physical form. Her work explores the hectic state of mind and captures the journeys it takes her on. Space, routine and control are the three elements in which she explores within her practice. Through the mediums of painting and drawing, her aim is to retain an element of control over selected memories that are translated into journeys, represented as physical space. Emily’s work is unplanned. Any outcomes are dependent on the situation in which they are created. The action of erasing and tracing are pivotal in her work, which is the reason for her use in acrylic paint. The transition from tactile paint to a set a form signifies the permanent traces that she aims to capture. It is the routes that the paint guides her along is what drives Bowns practice, as it indicates the internal journey every application is takes her on.
emilybown.weebly.com essbown@googlemail.com
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EMILY BOWN
‘CONTROLLED FREEDOM’ ACRYLIC 50CM X 50CM
‘OUTBREAK’ ACRYLIC 50CM X 50CM
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Henry’s practice is inspired by a variety of interests from architecture, abstract painting, Graphic and Illustrative design through to street art and graffiti culture. His curious personality leads him through the inner workings of objects and is exposed through the detailed medium of drawing and printmaking, as well as painting and large scale sculpture.
‘NATURAL ORDER’ ZINC ETCHING PLATE 297MM X 420MM
He has a strong interest in elements of vandalism and protest within art, adopting some of the techniques and styles from this. His work often engages in a very linear and mathematical way, as well as painting and creating abstract colourful works drawing from things that inspired him personally like comic book imagery, which stems from his childhood. By using materials and tools that are cheap and easy to come by as well as non-traditional, his work is often driven by circumstance. Henry has a strong connection with being outside, collecting scraps and objects to make work from and using whatever is to hand in order to create large scale, abstract pieces. His most recent work addresses the ‘quick fix’ that is provided by superheroes in comic books and the impossible application to contemporary, global issues.
www.henryboxall.co.uk
‘UNTITLED’
henryboxall@hotmail.co.uk
297MM X 420MM
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ACRYLIC SCREEN PRINT
HENRY BOXALL
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Dan Broadbent is an artist, maker, thinker and do-er, primarily using language as a foundation for the work he produces. His diverse practice delves into the limitations of both language and sound, attempting to harness the importance of words and senses to draw upon our understanding of the human capacity. Communicating visually and audibly, Dan frequently responds to the limitations and constraints of language as a means of inspiration for his work. His influences vary from a fascination with the potential abstraction of language as well as the playfulness and adaptation of words that have acquired new meanings. Dan aims to explore human understanding in order to create unique and alternative experiences for all.
www.danbroadbent.co.uk dan4.39@hotmail.co.uk
‘TIME IS HOURS’ INTERACTIVE INSTALLATION QUARTZ CLOCKS — MDF WOOD
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DAN BROADBENT
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Ideas surrounding the temporal and fragile nature of life are explored in Emma Louise Brown’s artwork whose practice is predominantly drawing and print based. She employs meticulous and systematic mark making that is derived from the documentation of time passing. Time is also central to her artistic process when incorporating repetitive and disciplined traits into the labour-intensive nature of woodcut and drawings, which both demand her to be physically present for extensive amounts of time. She employs these mediums to realise her fascination with the unobtainable notion of ‘the eternal’. The artworks she creates function as a means to reconsider her own perception on loss and our fleeting existence.
‘UNTITLED’ WOOD PRINT 300MM X 350MM
emmalouisebrownartist.co.uk emma.louise.brown@hotmail.co.uk
‘UNTITLED’ INK AND GRAPHITE 420MM X 600MM
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EMMA LOUISE BROWN
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Ellie Bullock’s practice investigates the cultural form of a portrait and the portrayal of the human body through the medium of paint. In particular, she explores the relationship between the physical body as a subject, and as a maker of work. Ellie uses paint because of its tactile nature, and sees painting as a way of fully exploring her subject matter, before manually rebuilding it as her own interpretation onto canvas. Her paintings aim to capture the relationship between the human body and the materials used, as well as the subject matter itself. Ellie’s current work is an investigation into conflicting messages of signs and signals across varying cultures. This is predominantly explored through the subject matter of the hand, as she is particularly interested in the non-intentional miscommunication of offence that the human body creates through gesture and markings.
‘SELF PORTRAIT IN HANDS’ OIL ON BOARD 17CM X 17CM
‘TO HELL WITH YOU’ OIL ON CANVAS 35CM X 35CM
www.elliebullock.co.uk elena.bullock7@gmail.com
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ELLIE BULLOCK
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Will Burn makes and maintains things.
willburnswebsite.com wiburn@gmail.com
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GridPermutations.com (2014– Ongoing) is a website that is generating, archiving and displaying all possible permutations of square and rectangular grids—starting with a 1x1 grid and currently working through all possible 6x5 grids (of which there are over one-billion permutations (1,073,741,824 to be precise))—where each grid section can be in one of two possible states: White or Black (Positive or Negative). As of the 19th of May 323,524,500 permutations have been produced and the website continues to generate new permutations at a rate of approximately 16.67 permutations per second (500 every 30 seconds). If left to run indefinitely the project will generate, archive and display every possible image consisting of white or black “pixels”.
WILL BURN
WaitingWebsite.com (2014) is a website and/or screen-based installation that politely asks you to wait.
EveryRGB.com (2014) is a website and/or screen-based installation that cycles through every possible 8bit RGB colour, a spectrum comprised of over 16.7 million colours, at a rate of 30 colours per second. The project takes approximately 6 and a half days to cycle from black (RGB(0,0,0)) to white (RGB(255,255,255)) and then another 6 and a half days to return to black from white before beginning the cycle again.
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Tori Carey’s practice deals with the concept of popular film as faith. She grew ambivalent towards Catholicism, the religion she grew up in, and her reliance was transferred to film. The work is surrounded by the romance of popular culture, embracing mythologies of the famous and refabricating them with religious narratives, to create camp, arousing visual imagery. Exploring modern iconography in pop culture, she contrasts this with the traditional icons in religious history. Tori draws inspiration from paintings mainly from the Baroque and Renaissance periods, which were when religious art was at its peak. With her influences being as diverse as considering the work of Joe Forkan, and more traditional work by Caravaggio. It is through these influences that shev constructs new forms of religious iconography. In her practice, she uses paint as a means to communicate her views on film and religion, where the final product is primarily centred on image- making, rather than solely painting.
toricareyartist@outlook.com
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‘FLIMSY DEVIL’ ACRYLIC ON WOODEN BOARD
TORI CAREY
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Emy Ciccarelli is primarily a performance artist, working mostly with private performance, documentary video, installation and text. Her work is entirely autobiographical; she draws on personal experience and the exploration of childhood and family, using these elements to naturally inform her practice. Emily places focus on the documentation of her work, displaying this in a clinical and minimal context, reflective of the OCD’s that naturally apply rules and instructions within her work. She constructs performances based around durational task, repetition, and forming relationships between ready-made objects. Her work is documented through video and text, and the traces of each performance are presented as a suggestion of where her body has been prior to the viewer’s arrival. The idea of absence is incredibly significant to her practice, the essence of her physical body is implied throughout her work yet may not be explicitly shown. She continues to present herself as lacking, an incomplete subject, belonging but not quite belonging.
www.emyciccarelli.co.uk emy-ciccarelli@hotmail.com
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‘WATCHING THEM GO’ PERFORMANCE STILL
‘UNTITLED #3’ PERFORMANCE STILL
EMY CICCARELLI
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DAN BROADBENT ‘THIS IS NOW’ EXHIBITION
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Alison Clare has a preoccupation with the body in juxtaposition with modes of order; this generally takes the form on instilling an unnatural order on her body by taking urine samples at regular intervals, these samples are then used with pH indicator to make paintings. Her most recent work looks at piss as a material within painting; how colour change reflects interior bodily change and how the marks find their own discourse.
‘TRIANGULAR’ (MITOSIS) PURPLE AND URINE ON CANVAS 50CM X 50CM
The works exist both as installation and as finished paintings, however these both create a different experience for the viewer, as an onlooker and as someone who is present for the creation of the paintings. Piss is universal; it is genderless, raceless, classless and ageless. Clare intends to make work that is accessible, it strongly reflects the relationship the artist has with her own body while at the same time she hopes to create a sense of embodiment within the viewer.
www.alisonclareart.com alisonclareart@gmail.com
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‘THE SOFT MACHINE’ (DETAIL) INSTALLATION URINE AND PHENOL RED ON CANVAS
ALISON CLARE
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Looking mostly for unusual curios but also photographs and objects whether they are unique or mundane and Lydia Clifford has been focusing on finding objects that have been seen as junk, which had been discarded or lost and no longer appear to have any value to anyone anymore and giving them the appreciation they deserve. She has always felt that in society today everyone is so intent on moving forward in every aspect of life that they often forget about the things in life which cannot not move forward; objects from different periods are suspended in their own time which are becoming increasingly more obsolete and forgotten in this digital age. She feels that these objects hold as equal importance to when they were first created to even now, not only because they may represent development from then till present but most importantly because
lydiacliffordart.weebly.com lydia.clifford92@hotmail.com
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each individual item is unique in its own way, they all retain memories and had a purpose no matter how inferior, it could be something as simple as an old teapot or something more personal such as a photograph of a family member, the idea is that all of these things have some sort of past to them, and they all hold unique memories and moments within them. The question that often comes up is that the viewer isn’t going to have any idea of what memories these objects possess unless it’s personal to them, and that is true but this is where its important for her as the artist to present these objects in a way that allows for the viewer to utilise their own imagination with the aid of her help.
LYDIA CLIFFORD
‘UNTITLED’ FOUND OBJECTS AND OTHER EPHEMERA
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Julia’s Cocorachio work addresses the feminine, in pursuing and conforming to the ideal of accomplishment in a contemporary society. Dissolving current trends within feminist and Freudian theories, there is a subverting of original intent that challenges established social norms. By subjecting delicate materials such as Japanese tissue and human hair to laborious, sometimes brutal process, Julia communicates her ideas around human fragility and endurance, presenting works that both compel and disturb. Working intuitively and connecting with the subconscious provides multiple meanings and interpretations and the sense of something being not quite right and ambiguous.
www.juliacocorachio.co.uk joolscoco@hotmail.co.uk
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‘ABSCONDITUS’ GRAPHITE ON HAND MADE JAPANESE PAPER 150CM X 100CM
JULIA COCORACHIO
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Elise Comberti is an artist living and working between London and Bournemouth. Based on the autobiographical, much of her work looks at themes of time, endurance and the use of art as a form of catharsis as well as documentation. Her practice predominantly combines photography and its immediacy with meticulous drawing and the notions of presence within the impressions of the handmade. She regards something ‘handmade’ as directly translating to being ‘slowly made’ and that time is our most valuable possession, as we cannot regain time that is misspent. Setting self-imposed restrictions to each work, she relies on focus and process. Adopting a practice of mindfulness, allows each mark to stand as a remnant of personal experience. Her works reference the fleeting nature of time alongside the ephemeral and plays with intimate size in order to explore how the audience’s proximity or distance to the piece may change their interpretation.
www.elisecomberti.co.uk elise@comberti.com
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‘UNTITLED’ WATERCOLOUR — JAPANESE MASA PAPER 420MM X 594MM
ELISE COMBERTI
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The practice of photography acts as the basis for Christopher’s work, from acknowledging his surroundings to the alteration and experimentation of light based objects. The photographs taken are never staged, always based in reality at a certain time and place. The exploration of urban areas provides the content, whilst the framing of the city creates surreal moments. In the studio his practice explores the divide between two spaces, whether something is accessible or inaccessible.
‘FES MARKET’ PHOTOGRAPH 20IN X 30IN
cargocollective.com/christophercompton christophercompton.work@gmail.com
‘UNTITLED’ — MOROCCO PHOTOGRAPH 20IN X 30IN
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CHRISTOPHER COMPTON
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Awakening through mark making, Kat Elliott amalgamates observational drawings to reveal the potential within the forms. This entwines elements of past existences together to bring to life an amorphous narrative. Etching informs Kat’s drawings enhancing the meticulous nature of her mark making. Kat’s processes are influenced by traditional printmaking and comic books, particularly the aspect of narratives that are grounded from reality, fusing together characteristics within ourselves and our surroundings. The complex network of fine lines and colour builds up intricate layers forming dreamscapes.
‘AWAKENING’ COLOURED PENCIL 70.5CM X 50CM
cargocollective.com/kat-elliott kat-elliott.weebly.com kat-ellliott-art@outlook.com
‘AMALGAMATION’ FINE LINER 141CM X 203CM
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KAT ELLIOTT
DOCUMENT
INFO
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Through a painting process that utilises considered craft and meticulous attention to detail, Kerry Fairclough is a British artist exploring often English quotidian subject matter. Barely glimpsed and easily overlooked there is an appreciation of the past, and time’s corrosive effect on it’s present. Driven by ideas of ‘the home’, Kerry’s unpeopled paintings become about the traces left behind. Balancing the shift between the personal and impersonal notions of the mass produced; the kitsch, the ornate and the collectable provide an indulgent insight into the people who are not painted. Responding to current trends of fleeting photography within a nation of private yet curtain-twitching stereotypes, she hopes to reverse this idea and break the peculiar privacy barriers in English culture by presenting an intrusive and prolonged gaze of others, whilst leaving behind many unanswered narratives.
www.kerryfairclough.co.uk kerryfairclough_artist@hotmail.co.uk
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KERRY FAIRCLOUGH
‘ENGLISH PRIVACY RULES’ OIL ON BOARD 32CM X 120CM
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Francesca Fugl creates tactile works which explores the dis-location of culture. Primarily working with human hair, using this medium for creating tactile objects which reference ethnicity and cultural differences. Through her work she aims to give a unique insight into this issue, which is outside of our daily understanding and experiences. Her current practice is heavily influenced by textile materials and processes. She has drawn great inspiration from her surrounding family, who have now become an increasingly influential and integral part of her subject matter. Furthering her knowledge and understanding by exploring and studying their cultural history.
francescafugl.weebly.com cescamfugl@hotmail.co.uk
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‘TOOTHBRUSH’ HUMAN HAIR — TOOTHBRUSH HANDLE
FRANCESCA FUGL
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Mariya is using paint beyond its image making qualities, she is curious about its physicality and the transformation from liquid to something fixed. Rather then adding or taking away from the support in a conventional manner her process consist of pouring substance over and then separating it from the surface of the support. Mariya’s practice has developed out of practical and theoretical concerns with paint and explores the intersection between painting and sculpture, questioning the role of the support and the relationship of the painting to the wall, where the painted element is no longer attached to or dependent upon the support.
www.mariyagarbacheva.com mgarbacheva@yahoo.co.uk
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‘PAINT THINGS’ 1 ACRYLIC PAINT OFF THE WALL
MARIA GARBACHEVA
‘PAINT THINGS’ 2 INDUSTRIAL PAINT ON CHAIR
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Kirsty Gordon uses imagery and symbolism to explore the significants of emotion hidden within the everyday. Her practice is highly influenced by the exaggeration of situations she is submerged in her day-to-day life. Kirsty’s creates visual metaphors with a combination of filmed performance, photography and sculpture of which encapsulate a moment in time. she utilises pre-existing objects transforming their physical aesthetics or manipulating them to create a distorted narrative that can directly encroach on a personal moment. However as each piece is created the emotion becomes a memory and therefore past tense.
kirstygordonartworks.weebly.com kirstygordonartworks@yahoo.co.uk
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KIRSTY GORDON
‘HEARTS CONFESSION’ RESIN — WOOD — VELVET — PINS — LAMBS HEARTS VIDEO STILL
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Rose Grover’s practice explores the relationship between the man-made and the natural world, representing the two as separate entities yet containing them both within the same space. Their intense proximity suggesting a dystopia and a premonition of the restoration of nature, questioning how natural humanity is. Exploring and transforming the function of concrete, which is considered here as a symbol to represent man due to fast paced urbanisation, it is used to recreate and encapsulate our reality and question the possibility of utopia, whilst blurring the definition between painting and sculpture. Rose’s work explores the possibilities of breaking down preconceptions of the material, whilst reminding the audience of its use in urbanisation. The grid is an underlying factor to human life, a network created by man, used within Rose’s work to create dialectic between nature and man.
www.rosegrover.co.uk rosetheresegrover@gmail.com
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ROSE GROVER
‘UNTITLED’ CONCRETE, WOOD 70CM X 70CM X 10CM
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Painter Abby Hawkins (b. 1992, Oxford) creates process-based works that revolve around the possibilities and impossibilities of human perfection within anything that has been handmade. Current paintings focus around the colour grey, a quietly beautiful and complex colour that upholds a careful balance of vivid primary colours in order to exist, yet is often overlooked. The paintings are built up of a potentially infinite number of layers of translucent blue, red and yellow oil paint. They evolve slowly over time and leave traces of their own creation in the pooling of bright colour on the surface. Abby creates a time and space for contemplation through painting, somewhere to stop and think without influence from the outside world and without imposing a direct meaning through painted subject matter. Her paintings lie balanced on the edge of becoming something. They are perfect yet imperfect, contain all colour yet no colour, are nothing but something, they remain on the edge in a constant state of potential.
www.abbyhawkins.weebly.com www.abbylaurahawkins.tumblr.com abby1hawkins@hotmail.com
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‘UNTITLED’ OIL AND SILVER LEAF ON CANVAS 20CM X 20CM
ABBY HAWKINS
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Angel Lourdes Homer’s recent work explores the hidden aspect of disability. She uses knitting to collide with other materials to convey her message to the viewer. The artist was diagnosed with fibromyalgia in 2000 and knitting has become a large acceptance of her disability. The knitting has become a comfort blanket an emotional crutch. Her practice is mainly craft based and is on the border of fine art/craft.
www.angelhomer.co.uk angelhomer@ymail.com
With thanks to
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ANGEL LOURDES HOMER
‘HIDDEN’
‘FLORALS’
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Seapunk dolphin’s fly across our fixated computer eyes and scrolling hands. Rachel G Howard’s practice revolves around giffs, glitter and lol’s. Informed by the cyberspace culture and contemporary studies her interest in social media, trends and the # are discussed within her work. Rachel G Howard is informed by the world we live in #rightnow, along with the ‘weird world’ she defines herself to be in, the ‘ART world’. Through performance and video She creates and performs characters accentuated from reality into the world of her work. Rachel G Howard questions the intentions of the art world through reflecting it back upon itself like an arty mirror.
-abtruth.tumblr.com rachelhoward93@outlook.com
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‘#NEKNOMINATION’ VIDEO STILL
RACHEL HOWARD ‘ITS ONLY A MATTER OF CENTIMETRES’ VIDEO STILL
‘ART MOVEMENTS’ VIDEO STILL
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At the core of Alice Kirkham’s practice is the process of abstraction, a way of refining complex imagery into coded shapes and structures, echoing that of the data compression process minification, which minimises data whilst keeping the original source of the meaning. Focusing on themes surrounding the juxtaposition of polished high quality boardroom or commercial artwork, analysing the power of big businesses, online tabloids, social and mass media. Alice’s work embodies, in its simplest essence, the act of creating something from nothing, the everyday passing of pointless information is gathered transformed and given a higher status than was ever intended, or deserved, through its progression and ascension in to Art.
alicekirkham.weebly.com aliceckirkham@gmail.com
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‘VIBRANCY’ BLUE & RED SCREEN PRINT
‘FALSE VENEER’ ENAMELLED MDF
ALICE KIRKHAM
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DANIEL CROW ARMSTRONG ‘DARK ADAPTATION FUNCTION’ 66
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Esther Langford sifts through linguistic and cultural norms, uncovering the underlying rules of similarity and difference found in current structures of communication. Most concerned with visual language, she illuminates the highly relational aspects of text through the creation of hybrid words and letters. In drawing attention to the formal qualities of alphabets rather than their associated meanings, she looks upon letters as images again made up of shapes and lines. Whilst through restructuring language according the patterns discovered and layering marks according to the most common associations; Esther is highlighting the abstracted nature of writing that often goes unnoticed due to daily use.
www.estherlangford.com estherlangford@outlook.com
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‘A X Z’ INKJET PRINT ON PAPER 472MM X 413MM
ESTHER LANGFORD
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Within her practice Jasmine Lowe explores the use of clothing as both personal and cultural identities.
‘FURISODE SHIRT SLEEVES’ COTTON — STITCH SLEEVE LENGTH 48 INCHES
She is particularly interested in the significance of specific measurements used in particular garments and their connection to the wearer. For example the Japanese Kimono sleeves, which differ subtly depending on the age and gender of the owner. Through making her work she experiments with tailoring techniques. She combines this with traditional skills in the structuring of clothing, such as the crinoline and bustle. Jasmine is interested in testing tailoring and experimenting with making garment based pieces only appropriate to one bodily position. Through doing so she aims to question the purpose of clothing, as well as our relationship to it. She also explores the use of processes such as hand embroidery, demonstrating the significance of history and tradition, and the personal interaction between the maker and the garment.
www.jasminelowe.co.uk
CROSSED LEG CRINOLINE (2014)
jazzi.lowe@btinternet.com
35X100XCM
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BIAS TAPE — BONING — STITCH
JASMINE LOWE
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Simon Mcneill’s work is an exploration into mass, and the familiarity of unfamiliar objects and states of material. Using the flow of fabric and the folds that occur in paper when left to fold in itself, Simon’s work aims, at times, to set solid these waving forms. Simon’s work touches on the macabre, the work being influenced by his personal life, drawing on struggle within his family and using traditional methodologies to create sculpture that aims to make the personal universal.
simonmcneill.tumblr.com simon_mcneill@hotmail.co.uk
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SIMON MCNEILL
‘CAVE’ CARDBOARD 100CM X 50CM
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In 2010, in a children’s playground, Steve Moberly partially lost his eyesight for twenty minutes. Sometimes the purpose of his paintings is to relive that sensation. Whatever gets put on the canvas in the first few weeks needs to be, massaged, suppressed, and bludgeoned into cohesion. Whatever sits up has to be interfered with. Whatever stands up as painting needs to be disrupted and hurt. Approaching the canvas with bits of cling film from pallets clinging to his heels and bumped paint pots wobbling, the classic ‘Peter Schlemiel’ amongst the studio debris; he attempts to bring order about on the surface.
Kitchen sink painting, tension nullified with overuse. Commitment to a lack of commitment. With the postulation of every possibility all possibility is curtailed. Every idea must be proposed and sustained at the expense of its own individual quality and clarity. An Inauthentic individuals attempt at authenticity.. Either that or a grey pulp. As it is the paintings have to remain halted at a somewhat infantile state.
No restriction of pallet and no restriction to the number of different techniques used. Which provides an unwieldy mush that awkwardly finds a path into some sort of system of his imposing that he would like to think is as unruly as the weather.
www.stevemoberly.co.uk stevemoberly@hotmail.co.uk
‘THE UNTITLED’ ACRYLIC AND OIL ON COTTON SHEET 120CM X 120CM
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STEVE MOBERLY
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As humans, we are constantly leaving behind our trace through dust, fragments of skin, and particles of ourselves. Kate Mooney captures those elements beyond regular sight: the unseen. Biological fragments are rearranged on a surface to create words and imagery. Through utilising the miniature patterns and objects these particles create an act of wonderment that is reliant on the audience. In drawing our attention to these small aspects the audience is brought back down to noticing the unnoticed and becomes more aware of how big nothing can appear.
‘EXIT’ BUTTERFLY SCALES ON A MICROSCOPE SLIDE 7.5CM X 2.5CM
www.kate-mooney.co.uk kate-mooney@live.co.uk
‘ON LONGING’ BUTTERFLY SCALES ON THREAD — BALM — VARNISH 200CM X 0.1CM
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KATE MOONEY
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Rebecca Mourant incorporates her faith of Christianity into her practice, through various mediums and processes. Rebecca is interested in using found and recyclable materials that construct the majority of her work, acting in a symbolic manner. Using her own personal experiences of her faith and referencing from the Bible, Rebecca creates work that reflects in today’s society.
rebecca.mourant@gmail.com
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‘DAISY CHURCH’
REBECCA MOURANT
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Sophie Newton uses video to explore themes of the individual and the social unit, filming a performative action of herself and/or others, which can simply represent a structure or symptom of society. Some works also involve the use of candid footage, which the artist combines to form questions relating to her subject. Applying rules and sometimes mechanical restrictions to the individuals involved, Sophie films from above causing shapes and patterns to emerge from the individual actions taking place, developing systems from the singular units involved. Projection allows the videos to be pushed further then the screen, using the method of presentation to embellish upon the themes and create a more involving experience for the viewer.
sophie.newton@outlook.com
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‘UNTITLED’ 1-3 CELLS SERIES VIDEO PROJECTION
SOPHIE NEWTON
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Jasmine O’Rourke is a British artist born in the UK, 1993. Her practice, roots from a reimagining of found materials. She goes through a process of collecting discarded objects and creating sculptures with the materials she finds. Jasmine is interested in the history and neglect that discarded objects hold; that they used to have a function to someone in some way. She is concerned in the reconfiguration of shape and overall aesthetics of the objects she finds and translates these forms to create a new lease of life and understanding for them. There is a sense of exploration and mystery of never knowing what materials she could find next, this process of discovery in her work is a vital part of the creative experience and she is interested in how the objects she finds differ depending on the environment she finds them in. Jasmine’s heart is rooted in the movement of Arte Povera, when artwork was made by essentially ‘poor’ materials, with complete influence from the materials and process, disregarding any other concept. This is a method she uses in her own practice.
www.jasmineorourke.co.uk jasmine.o.rourke@hotmail.co.uk
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‘TRANSLATE’
JASMINE O’ROURKE
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Chris Orkiszewski’s work focuses on theories around ‘the self’ and ‘the archetype’, his practise is inherently linked to ideas about the unconscious mind and investigating the concept of the persona as a theatrical mask. Focusing on video and photography he seeks through an underlying punk ethos, to address elements of the persona or the psyche, such as excess, greed, gluttony and self-destruction. With a moronic tint of punk, he attempts to explore concerns around different strands of cultural and personal neurosis. However most recently exploring method acting as a means of exlporing altered states of consciousness. In his most recent performance ‘No man is an island’ he lived on an isolated island reef; The Minquiers. Living completely alone for a week in a performance which attempted to explore the mind of Alphonse Le Gastelois who was exiled to a similar reef, the Ecrehous reef, for 14 years amongst false allegations. The site specific work also explores dada poetry, the poetry which is deciphered from writings about the Minquiers by Victor Hugo in the book Ninety Three, who also lived in exile in the Channel Islands.
www.chavski.com info@chavski.com
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‘UNTITLED’ PHOTOGRAPHY
‘NO MAN IS AN ISLAND’ FILM/VIDEO
CHRISTOPHER ORKISZEWSKI
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Self-imposed rules and systems are applied to a variety of drawing materials, including anything from darts to soot, creating non-representational 2D and 3D works. Driven by a concern with materiality, residues of investigative processes evidence a directness of learning, as mediums and tools define themselves. Kate J Parrot often incorporates the use of mechanical devices, such as photocopiers, tools become an extension of the human hand. Gesture intersects mechanisation as controlled parameters of selection, accumulation and reduction, are interrupted by glitches in the systems. Repetition is used to measure change, capturing transitional moments between the perpetual exchange of control and chance.
www.katejparrott.com kate.parrott@hotmail.co.uk
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KATE J PARROTT
‘RITUAL’ JESMONITE PLASTER
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Krupa Patel’s practice is driven by an interest in architecture and societal culture, the work revolves around responding to environment. Having developed a visual language over the years, she has a systematic approach to drawing, which has been informed by the appropriation of existing systems. Everyone wants to live in a system that works around them but that doesn’t mean it would work for someone else. By using principles and philosophies of existing systems, there is an aim to create an abstract idea of an all round “working system”- a play on the idea of utopia. These systems inhabit the notion of balance and harmony. She uses bold and structural geometric shapes which are contrasted against soft and loose organic forms, playing binary opposites against each other as a means for balance. The colour palette of choice is a reoccurring theme, significant to depicting how she sees and experiences the world.
krupapatel07.weebly.com krupa_7@hotmail.co.uk
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‘STABILITY’ WOOD — TISSUE PAPER — ACRYLIC PAINT — SCREEN PRINT — GLUE 50CM X 50CM X 50CM
‘GLU ‘N’ FIX’ ACRYLIC PAINT — MARKER PEN ON WALL 3.5M X 2.5M
KRUPA PATEL
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Chelsea Peacock is fascinated by the materiality of paint and she likes to investigate the endless possibilities of what she can do with paint. Current work focuses around decay and history of walls. Chelsea builds up different textures on top of each other and works it back to reveal the layer underneath, which gives the effect of a decayed crumbling wall. Giving a fake history to what was originally a blank piece of board. Chelsea likes to bring real architectural materials into her paintings, such as plaster. She likes to represent decay as a thing of beauty that reveals a history of a place.
chelsea_peacock@yahoo.co.uk
‘UNTITLED’ MIXED MEDIA ON BOARD
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CHELSEA PEACOCK
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“The slickness of clear resin, the crispness of crafted geometry against the jolt and chance of luminous spray paint. Human architecture and technology pitted against (or with?) the architecture and technology of the natural world. Grooves and furrows and structure of insect cities provide a formal backdrop to raw animal subject. What sometimes is a restricted order and other times the disintegration and decay of material, provides a fragile and unstable midpoint, an unreliable hinge of disjuncture that blurs the natural with the unnatural. If one was to remix a 1950’s SIFI horror poster, the composition and weight of Goya with the treatment of Rammellzee, you’d probably still be way off the mark but would have something of the flavour of a Lucas Peverill.” (STEVE MOBERLY 2013)
lucaspeverill@yahoo.com
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‘TOPIAS’ 1-3 CHARCOAL ON PAPER 70CM X 50CM
LUCAS PEVERILL
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An exploration of male and female, masculine and feminine. The soft and delicate, juxtaposed with the strong and powerful, where two worlds collide, and perhaps create harmony. Through the act of painting and carefully considered display, Lydia Reeves reinterprets crude, sexualised imagery photographed by the subjects, and gives them a whole new meaning. They are no longer aggressive and intimidating photographs, but romantic, beautiful creations which entice the viewer in to study every aspect. Lydia aims to keep her work open-ended on the surface whilst raising social and gender related issues. Working with the miniature, Lydia really feels as though it forms an intimate and physically close relationship between the viewer and subject. “A lot of my paintings produce this attract and then repel notion of being drawn in by the beauty and technicality of the painting and really wanting to look, but then suddenly being aware of what you’re looking at and realising that you’ve been staring at a penis for an uncomfortable amount of time…”
www.lydiareeves.com l.reeves@hotmail.co.uk
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LYDIA REEVES
‘3’
‘CAST2’
ACRYLIC ON MDF
ACRYLIC ON CLEAR RESIN
9.5CM X 13CM
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Isobel Ross’s work takes the form of a narrative, a series of stories or notes on everyday situations. She enjoys researching the past, creating an archive – a conceptual and physical space where memories are preserved. Isobel examines the representation of buildings, often abandoned hotels, as sites of memory and metaphor, absence and presence. With the suggestion that past activity leaves a resonance, she explores the hidden stories that become lost in the changes around us, sometimes blurring the line between truth and fiction. Isobel uses photography and often her own family photographs. She is intrigued that the opening and closing of the camera shutter transforms a moment of everyday life in to something special, offering the viewer an apparently authentic window into another time and place and an opportunity to connect emotionally and visually with events and personalities of the past.
www.isobelross.co.uk isross9@gmail.com
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ISOBEL ROSS
‘DIARY OF A SMOKER’ BOOKWOOK
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JASMINE O’ROURKE ‘TRANSLATE’
Jake Ruddle is a maker at heart; objects are at the core of his practice. There is a strong philosophy within the work, but it is the object that takes centre stage. The methods used to create Jake’s work are always physical, and often brutal, but always practised with control and focus. He works with resistant materials, particularly metals, thriving on the struggle of working with such argumentative substances. Jake tries to create objects that, while not directly frightening, make one uneasy: ‘Das Unheimliche’, the Uncanny. His work is built out of macabre subjects, bones and specifically skulls playing a key roll in his imagery. Jake tries to push the juxtaposition between terrible and beautiful, to make his work a celebration of that contrast.
‘CRADLE 1’ 30CM X 23CM X 36CM.
‘FLORA’ 31CM X 31CM X 28CM
jakeruddle.tumblr.com jake_ruddle@hotmail.com
‘FAUNA 2’ 17CM X 28CM X 29CM
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JAKE RUDDLE
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Rachel Sheldrake makes work about being a woman, and her personal experiences as a woman. Taking pre-existing hard, solid objects and making them soft and feminine is her practice. Rachel employs conventional casting methods and materials that are normally used in the preparation of sculptures rather than the finished object, such as silicone, resin, and rubber, to create symbolic systems representing the inner workings of the body. The work explores the social roles that are projected onto people within today’s society, stereotypes of gender and the relationship between man and woman.
www.rachelsheldrake.com rachelsheldrake@hotmail.co.uk
102
‘EFFEMINATE’ SILICONE
RACHEL SHELDRAKE
103
Still and moving image and compiling the two to create video projections forms the basis of Cat Smith’s work. She explores the implications the still has on the moving, and how it captures and freezes time, as well its relationship with the animate and inanimate; giving duration to the still image and allowing it to exist in time and space, which informs the final outcome. Structure and form feature heavily, stemming from an interest in mathematical systems and order, often outlining the configuration of the video work. Creating pieces that focus on the attention of the viewer, the outcome give duration to still imagery and directly contrasts it with the representation of real movement in real time. These projections then manifest themselves in white cube installations, using the projection as a window into her own modes of looking and allowing the viewer to do the same.
www.catsmithart.co.uk catsmith22@gmail.com
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‘UNTITLED’ 22 MIN DIGITAL PROJECTION STILLS
CAT SMITH
105
Francesca Stewart’s work is about how colour and light have such a significant effect on its surroundings and how this plays an important role with the audience. She usually asks herself, does the artist hold all the answers to the questions related to their own work, or does the viewer? Her work is usually experimental but is always executed with quality. Light is something that is overlooked daily, used to aid rather than captivate; Francesca wishes to put a spot light to this. Francesca’s motive is to have her audience take her work out in to the outside world and for people to start appreciating the mass of colour and light that surrounds them.
francesca-stewart@hotmail.com
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‘EVERLASTING TRAVELS’ MIXED MEDIA
FRANCESCA STEWART
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Robin James Sullivan spans across mediums from Performance and Film, to Installation and Text. Although his medium is constantly changing Sullivan’s subject matter stays the same, Himself. Though predominantly working in Performance, Robin has recently taken an interest in the narrative agency within objects, and uses connotation as a means of visual communication. Questioning ideas around Gender in our ‘#modern and yet still oblivious Society’. Robin’s works can be seen as a kind of collective thought, an assemblage of ideas. Social complexities shown through playful simplicity.
‘MY RECTUMS NOT A GRAVEYARD, NOT MY BLADDER A WOMB’ DOCUMENTATION OF PERFORMANCE
“We’re born naked, and the rest is drag!” - RuPaul ‘I WANT TO CARVE LIKE A MAN’
lifeasbromate.tumblr.com robinjames.sullivan@icloud.com
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DOCUMENTATION OF PERFORMANCE
ROBIN JAMES SULLIVAN
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Florence Sweeney’s practice investigates Japanese terminologies that are engrained into eastern cultures from a westerner’s point of view. With aesthetics that cannot easily be translated and with elements that are lost, Florence is searching for the collective consciousness that the Japanese hold; ‘The Wabi Sabi’’. From looking at the incredibly small in comparison of larger issues her work features an autobiographical theme which reflects on found objects that studies a gentle sadness of the temporary qualities of ephemera in our everyday lives, which Florence responds to with drawings and mixed medias. Influenced by the pathos of life, the drawings show existential acceptance, a sensibility about fragility, and transience of ‘mono no aware’.
‘UNTITLED’ MIXED MEDIA ON PAPER 1.60M X 1.22M
‘PAPA’ GRAPHITE ON PAPER
www.florencesweeney.com www.florence-sweeney.tumblr.com florencesweeney@me.com
110
50CM X 40CM
FLORENCE SWEENEY
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The inherent desire to draw penises is a distinctly masculine trait, one which Sam utilises to produce large, detailed graphite drawings. These drawings embrace the concept of ‘bigger is better’ and bring what was once relegated to the bathroom stall door to the viewers’ immediate attention. The process of creating the drawings uses the phallus as a starting point for creatures, machines and objects which become involved in their own activities revolving around predominantly sexual actions, often incorporating bodily fluids.
samalextaylor@hotmail.co.uk
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‘UNTITLED’ DETAILS GRAPHITE — CHARCOAL — GROUND ON PAPER 215CM X 153CM
SAM TAYLOR
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Ayla Terzi’s practice focuses on exploration of the authenticity of the photograph, predominantly achieving this through the combined use of narrative, prop use and photography. Her images are designed to capture the viewer’s imagination; to encourage them to study and question what they are seeing, rather than simply accepting them due to the innate urge to believe all photographs are based in truth. Ayla’s use of props instil a sense of theatre in her images, which when combined with the underlying narratives creates a tapestry of forgery which refuses to be accepted, and begs to be questioned.
www.aylaterzi.co.uk aylamelisaterzi@hotmail.com
114
AYLA TERZI
HAKAM AGE 8 — 15 — 22
PHOTOGRAPHER: MATT RICHARDSON
DIGITAL PHOTOGRAPHS
PHOTOGRAPHER ASSISTANT: ROSIE WOOD
60CM X 84CM
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Within Michelle’s practice she has always been interested in the body and the social, emotional and physical implications the contemporary world has on a women’s self-image. In her latest work she has explored relationships that people have with food and how her own thoughts about female identity and strive for perfection changes her own eating habits. Working with food stuff as a material she explores the child like notion of ‘playing with your food’, and the dialectic between guilt and cravings. Using food stuff makes the work a temporary occurrence which plays on the tension between disgust and pleasure.
‘UNTITLED’ SUGAR
michelle-toal.weebly.com michelletoal1992@hotmail.co.uk ‘SUGAR BURST’ SUGAR
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MICHELLE TOAL
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Although superficially flippant my work explores the synergy between material and emotion. My work seeks to dissolve the boundary between the painterly and the sculptural. Emotional intellectual journey juxtaposed with hard rigid inflexibility. We are only human in a brutal world. Moments captured, memories frozen.
mark.vanwingerden@ntlworld.com
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MARK VAN WINGERDEN
‘UNTITLED’ ACRYLIC ON CANVAS — SCULPTURAL PAINTINGS
119
Having gone through several house moves while growing up in Greece and the UK, Angeliki is constantly interested in the understanding of space. Through her work she questions the sense of the word “home� and what it means to her. Angeliki often incorporates elements of her national heritage in her pieces such as myths of ancient Greece. Focusing on small objects, she makes drawings that illustrate their relation to a space. Her pieces are autobiographical and based on her journey through life as a linear story telling. Using a continuous line, she makes drawings in a small amount of time typically using pens and markers. Alongside this, Angeliki also applies these same influences to make short films expressing the same ideas.
aggivrettou.tumblr.com sway4.tumblr.com avret@hotmail.com
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ANGELIKI VRETTOU
‘IMMERSION’ SHORT FILM STILL
121
Rachael Ware is a British painter, born in Bristol and currently living and working in Bournemouth, UK. Rachael’s work explores and records the nature of trace, specifically the hints that life leaves behind on spaces and objects. The ‘Still Life’ series makes reference to the history and tradition of Still Life Painting whilst bringing it into a modern domestic setting. Through the depiction of chosen objects Rachael captures a trace of people, a trace of time and a trace of life. This comes together to form a symbolic language referencing momento mori (remember you will die); a theme commonly tackled in 16th Century Still Life painting. Rachael is influenced by film in her choice of dynamic lighting and cropped framing that does not always follow traditional rules of painted composition. Imagery from horror films is used by Rachael to suggest a dark, unsettling narrative to the viewer of something that has, or is just about to happen.
www.rachaelware.weebly.com rachael_ware@hotmail.co.uk
122
RACHEL WARE
‘CHASING SCARS’ ACRYLIC ON CANVAS 1 02CM X 71CM
‘STILL LIFE WITH LIPSTICK’ ACRYLIC ON GESSO PRIMED BOARD 21CM X 16CM
‘STILL LIFE WITH BLADES’ ACRYLIC ON CANVAS 26CM X 20CM
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Steve Webber uses paint in an illusionistic way offering an insight into an alternative reality that treads a line between abstraction and figuration. The works he produces pay homage to the rigorous processes of the old masters whilst remaining post-modern in their content. He has become inspired by the intense detail found in the small organic forms within nature and attempts to transform the meaning and scale of these structures through painting. By forcing a juxtaposition of forms together and transforming their meaning the paintings become ambiguous puzzles and form a conceptually rich dialogue between artwork and viewer.
cargocollective.com/webber babysvens@hotmail.com
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STEVE WEBBER
‘UNTITLED’ 1-2 OIL ON BOARD
125
Chloe Whittaker is a multi collaborating artist from Birmingham, the second biggest City in the UK. The amount of people she grew up developed her interest in social relations, in particular the collectivity within community. Chloe explores her own idealism of an active utopian society through constructing performative situations and spectacles. The live experience of her constructed situations are completed with audience engagement questioning performance within society.
www.chloewhittaker.co.uk chloelouise92@hotmail.co.uk
126
‘ROSE TINTED SPECTACLES’ SITE SPECIFIC PERFORMANCE IN VENICE
CHLOE WHITTAKER
‘ORACLE’ COLLABORATIVE PERFORMANCE — INSTALLATION
‘FIX FACTORY’ COLLABORATIVE PERFORMANCE
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PUBLICATION DESIGNED BY: LUKE GRIFFITHS — SCOTT HELENIAK
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Acknowledgements Richard Waring Paul Finnegan Tom Hall Dominic Shepherd Sim贸n Granell Dr Pauline Rose Patrick Taylor Jack Honeysett Mark Berry
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