This is art by University of Chichester

this is art

fine art c.2009

this is art

fine art c.2009

Community This exhibition is an invitation from the artists for you to join them in the process of re-configuring the world. New connections, new interpretations, new insights and new associations enacted in the making of new work. This is our creative act, to re-think the world and, by seeing it differently, to change it. Each degree exhibition celebrates the excellence of each artist and the collective energy of their endeavour. This yearâ&#x20AC;&#x2122;s students have formed a cohesive and vibrant community with a dynamic ambition to take their talent to the highest level and to engage with the broad field of cultural practice. I would like to congratulate each and every one of the artists and wish them success in their futures. Their work is evidence of their impressive achievement. It will propel them forward to even greater rewards The notion of community is very much of our time. It is an aspiration of the moment to bring individual into dynamic relations with broader audiences to provoke dialogue and new insights. This exhibition marks the arrival of new artistic voices and a new set of perceptions. A set of perceptions that invite interpretations, and brings each of us into closer contact to provide a community of shared experience.

This exhibition also celebrates Fine Art in the new Faculty of Business, Art and Humanities. The faculty recognises the relationship between diverse areas and has established a framework of education and enterprise. It represents the dynamic relations and fluidity between different practices and across communities of expertise both inside the University and within larger regional, national and international contexts. The University of Chichester thrives on its sense of community and provides the creative and critical support that allows individuals their distinctive voice whilst also being part of a community of scholars, artists and creative thinkers. The diversity of the students’ work and their individual approaches invites participation from the viewer, a participation in the interpretation and ‘fathoming’ of the work. Each interpretation promotes a new set of associations in completing the meaning of the work. The act of interpretation brings each of us into an interactive community of creative reflection. Communities open out to include a plurality of groupings and shared experiences, no longer just a localized phenomenon or parochial, they are plural, fluid, global and networked. Contemporary artistic practice shifts art into an interactive social space This relational aspect of contemporary art is at the centre of the work made at University of Chichester. It is a community of individuals forming and reforming through the interaction of distinctive individual ‘voices’ and through the interrelations between the work and the dialogue that it promotes. For the faculty and for the University as a whole ‘unlocking the potential’ of every individual is at the very core of our endeavour. Community in its broadest sense is at the heart of a sustainable future. ‘The form of an artwork issues from a negotiation with the intelligible, which is bequeathed to us. Through it, the artist embarks upon a dialogue. The artistic practice thus resides in the invention of relations between consciousness. Each particular artwork is a proposal to live in a shared world, and the work of every artist is a bundle of relations with the world, giving rise to other relations, and so on and so forth, ad infinitum’. Bouriaud, N (1998) Relational Aesthetics Dijon. Les Presse du Reel, in: Bishop C (2004) Antagonism and Relational Aesthetics October 110 pp 51-79.

Steve McDade Subject Leader Fine Art

this is jane askew

Sentinel, oil on canvas, 150cm x 100cm My work is inspired by the view from my suburban home which overlooks a vestigial fragment of countryside gradually being subsumed by suburban sprawl. The view fascinates me, with its dissonant combination of banal 1970s suburban housing, majestic trees and distant landscape. The paintings I make are derived from photographs taken through a net curtained window and seek to enhance the sense of melancholy, distance and poignancy of the diminishing landscape as viewed from the domestic interior. The painting process of layering transparent oil glazes is also analogous with the veiling of the landscape. I am especially influenced by Cezanne, Peter Doig and the Swedish artist Karin Mamma Andersson. e: jane@smallhouse.co.uk

this is alice corby

Untitled, digital photography, 120cm x 160cm Grimy, threatening, seedy, mundane, this is how subways are often perceived. Through my photographs I investigate stereotypical attitudes towards the visual aesthetics of people and places. I seek to transform these civic, utilitarian subway structures into something alluring and beautiful. My life-size images endeavour to make the viewer feel disempowered by the pictorial space. I also aim to show the paradox between the high gloss beauty of the photograph and the reality of the subject. e: alicecorby@hotmail.com

this is hayley croft

Untitled, digital photography, video projection I am interested in the idea of taking a photograph and by using distortion and deconstruction transforming the image from its original state. My work consists of digital photographs of buildings; with these I create layered images that through manipulation and editing produce imagery that has subtle transitions of movement. Fragmentation and modification alters the imagery to a point of abstraction, encouraging the viewer to look deeper into the slow moving videos. e: haycroft20@hotmail.com | www.hayleycroft.wordpress.com

this is dervis dervisoglu

Lovers Caught, clay sculpture, 30cm high These coil built earthenware contorted figures represent the mythological characters in a well-known European story. The myth of Mars and Venus getting caught in an invisible net by Vulcan has been re-written and told in many different cultures, altering throughout the generations of human history. A story about human nature and behaviour as relevant to contemporary times as when seeded from the origin of life. e: derviskenan@googlemail.com | www.dervisdervisoglu.blogspot.com

this is sam froelich

Untitled, airbrush on board, 70cm x 30cm The design originated from a number of drawings that came from my mind whilst I was studying the works of H.R.Giger. I wanted to examine the idea that the slightest changes (in design, colour, light) alter our perception. As the series progresses, the creature evolves by minute alterations to each painting from a blurry dark image to one which is vibrant and defined. I am not only demonstrating the progression of design, but how the visual language can change through the construction of its presentation and subtle development. It is the same image, but how does this transformation affect us? e: samfroelich@stocklands.me.uk

this is rosina godwin

main image: Untitled, mixed media, 30cm x 30cm The work explores the unconscious mind and the world of dreams, where fantasy prevails and normality is turned upside down. I am interested in exploring the darker elements that exist beneath the surface of society, where the seemingly naive can become tainted and hide a sinister intent. The pieces combine dolls, cuddly toys and internal organs, to play with the usual cosy associations of textiles, where seduction is juxtaposed with repulsion. e: rosina.godwin1@btinternet.com

this is jennifer howard

main image: Moving Forward, oil on canvas, 114cm x 153cm This poem for me has a resonance with my work, especially with my red and blue paintings. Time present and time past Are both perhaps present in time future And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been

Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. A segment from T. S. Eliot Poem Burnt Norton â&#x20AC;&#x2DC;The Four Quartetsâ&#x20AC;&#x2122;

e: jenny-howard@live.co.uk

this is fran jeffes

Untitled (detail), velvet, linen, thread, ribbon, silk organza, 100cm x 100cm The work is an exploration of the human condition, or what the philosopher Julia Kristeva calls the ‘subject in process’. C.S.Lewis wrote: ‘the nearest that a human being comes to consistency is wild oscillation’. The textile techniques used in my pieces include machine embroidery, hand embroidery, shadow work, cut work, staining and burning away. These techniques make evident the different phases of the creative process and the infinite possibilities of choice. Some are time consuming and laborious being made and manipulated by hand, whilst others, using modern technology, are speedily executed. The visual qualities contribute to the concept of my work. e: franjeffes@hotmail.com

this is sophie jordan

Growth, hand coloured etching, 10cm x 7.5cm Identity is the state of being exactly alike; the distinguishing characteristics of a person, personality; the state of being the same as a specified person or thing. My work investigates this by drawing from the hand as a foundation, using the idea of DNA, by exploring the lines formed by the hand to create a number of etched prints, which generates an illusion of germs. Symbolising that identities establish themselves through the process of growth and how they change over time, so we never truly know ourselves as we are shaped by the people and things that grow around us. e: sophie.jordan1@ntlworld.com | www.artistsophiejordan.blogspot.com

this is jennie kernutt

ProjectSilhouette, advertisement website ProjectSilhouette is an experiment into the way in which art affects advertising, and how these themes combined can be used to manipulate and fool an audience. It encourages people to challenge advertising, and the ways in which it can install and drive a personâ&#x20AC;&#x2122;s thirst for information, even when no information is available. ProjectSilhouette doesnâ&#x20AC;&#x2122;t exist as a brand or product; it simply leads its viewers from one form of advertisement to another in a never-ending loop. The site documents the various advertisements and identities of the project, some of which are real, and some of which are fabricated. e: jkhim13@aol.com | www.jennxyz-art.blogspot.com | www.projectsilhouette.co.nr

this is vikki leedham

“Blue Tits”, machine embroidery on printed fabric, 184cm x 129.5cm My work challenges the viewer’s perception of looking. I recreate intricate details through stitch, which are easily missed by a lethargic audience. I use familiar fabrics in order for the audience to recognise and form a connection with the work. Humour is important to me, and I seek to amuse the viewer through my art. I address issues which aggravate me personally, and seek to construct a juxtaposition between the serious content and the humorous manner in which it is put forth. I wish to entice the viewer into looking, and enjoy the reactions of those who look properly. e: vlleedham@aol.com | www.iamvikki.blogspot.com | www.vikkileedham.synthasite.com

this is nikki levett

Broken Ohms, sound and video installation I like people. I am interested in people and love to talk, to them and myself sometimes. The use of the spoken word has featured prominently within my work, I have taken an ongoing audio journey into the relationship of the spoken word and its ability to create a sense of place, belonging, comfort and repulsion. “Human beings are not fully conscious of their real life – usually groping in the dark; overwhelmed by the consequences of their acts; at every moment groups and individuals find themselves confronted with results they have not wished.” (1959 Situationists International Online www.cddc.vt.edu/SIOnline/si/passage) e: walburga_68@yahoo.com | www.nikkilevett.wordpress.com

this is erica mathewson

main image: Lest we Forget, digital photograph, 84cm x 119cm “… Then they came for me and there was no one left to speak out for me.” Pastor Niemoller My prints are concerned with our treatment of the environment. Deliberately distorted, with a ghostlike quality to emphasize it’s disappearance and fragility. Mimicking bold newspaper images, the black and white work reflects the sentiment. No shades of grey. It seems to me we are lacking respect in and for this world. With this in mind I do not dictate but hope to bring an awareness and consideration to this cause. e: ericamathewson@yahoo.co.uk

this is james norton

Untitled I, newspaper, cable-ties, ribbon, tags and fabric, 500cm x 40cm x 40cm These works have been informed by my fascination with natural and organic forms combined with my interest in multiple utilitarian objects as material. The forms and colour combinations within my work have been greatly influenced by aspects of nature. In making work I challenge the function of materials and explore the relationships between them and the way they connect. Using weights and gravity to pull the pieces down I create tension throughout the work. e: info@jamesnorton.org | www.jamesnorton.org

this is katie parfey

Tester- Untitled/My Winter, oil on canvas, 61cm x 41cm My work explores the current Art Market from the perspective of an artist who is new and ‘unbranded’; “In Contemporary Art, you are nobody until somebody brands you” 1, but “I’m one of a kind, I’m designer!” 2. I have sought to open a discourse with the viewer on the value of art and the Gallery’s role in how we judge an object’s worth. 1 Thompson, D. ‘The $12million Stuffed Shark’, Aurum Press, 2008 2 Homme, J. ‘I’m designer’ lyrics, Queens of The Stone Age, ‘Era Vulgaris’, 2007 e: humanmanga@aol.com

this is elizabeth parkinson

main image: Untitled, fine art textiles, 31cm x 41cm My work is all about stitch. I have always been interested in embroidery, I enjoy the process and the surface thatâ&#x20AC;&#x2122;s created with stitch. I am fascinated with making up images purely in thread, the needle is my drawing tool. My work centres around memory. I use figures from old family photographs, images taken long ago to be within my own memory bank. I sew onto various fabrics that we associate with the home and the body, they have personal value. I stitch in monochrome to emphasise the era of some of the photographs. I want the figures to be lost in the space they inhabit, almost floating in time. e: ElizabethParkinson@live.com

this is christoph rigert

main image: Uncanny Spaces, digital photograph, 147.5cm x 95cm My work is about creating new uncanny spaces. I take photographs of the world around me and seamlessly stick them together digitally, to create new fictional photographs. Some of the pictures I have constructed are a combination of up to 50 different photographs, which I have taken of my surroundings. The world and what I see of the world is a mystery to me and I want my images to feel the same. I am trying to show through pictures what I cannot express in writing. What is true? What is real? e: toff@gmx.com | www.akatoff.com

this is james simmons

main image: Untitled, plywood and pine, 122cm x 122cm The recycling of ideas and understandings over time creates a sedimentary layering of meaning. My work can be viewed in part as an attempt to reveal these layers. A cultural relationship to nature and the cyclical nature of culture are central to my interests. The human need to rationalise and codify logical patterns in the chaotic is represented for me by the floral designs of William Morris. His work is in the tradition of reducing nature to repeating patterns and/or of clarifying patterns present in nature. One of his patterns in particular has personal historical relevance for me representing a romanticized relationship to the past. e: jaris42@googlemail.com

this is mat stanton

main image: Lost, oil on canvas, 115cm x 155cm The theme of clubbing is an important unifying factor in my work; a concept considered a way of life for young people and a reflection of current complex times. People go out to cope with personal troubles or dilemmas. To experience a club scene for the first time can be spectacular but can slowly become repetitive and mundane. Not only do I want my artwork to be open to multiple interpretations or narratives but I also hope to reignite a passion for clubbing in people who have lost all interest through showing the thrills, colours and excitement of the nightlife. e: M.Stanto1@hotmail.com

this is louisa thompson

A Goodnight Kiss, ticking, cotton thread and small glass beads My work uses a mixture of hand sewn and machine embroidery alongside the theme of domestic violence, to recreate the stains that would be produced through the act of physical and sexual abuse. Adding detail in some areas using glass beads and ink stains, adds an element of beauty amongst the suggestion of stained bedding. Taking inspiration from artists like Nava Lebowski and Lee Birkett, I have been working on materials such as bedding, ticking and an old discarded mattress. For me the laborious task of stitching stains onto the pillow is a total juxtaposition to the quick violent act of how a real blood stain would appear on a pillow. e: louisathompson@hotmail.com

this is amelia tuttiett

main image: One Hundred Memories I Don't Have, found objects and textiles, 40cm x 150cm x 75cm (wardrobe) "Memory is not just formed when we were being born; it comes from far away has stored basic experiences and attitudes that have accumulated in thousands of years" Anselm Kiefer. I want to explore the idea that materials and memories are for me indelibly interrelated. That patterns and colours are as evocative of past events and experiences as more prosaic or tangible evidence such as photographs. That we are infused at a very young age with stories about events and people whom we have never met and yet they are interwoven into our upbringing and swiftly become part of our own identities. They are part of my story. e: ameliatuttiett@hotmail.co.uk

this is amy waters

Classical Earth, oil paint on canvas, 168cm x 168cm The illegibility of text is the foundation of my work. My intention is to disable the viewer from being able to interpret the content within my paintings. The abstract oil paintings are personal to me, the canvases are my height by my arm span and the text and font were chosen in relation to me and my life. Furthermore, the colours were informed by the four human elements (Earth, Air, Fire and Water). â&#x20AC;&#x153;We are all unique. It is a precious thing to compare ourselves to nothing else.â&#x20AC;? Robert Rauschenberg. 1999. Anagrams (A Pun). e: amywaters@hotmail.co.uk | www.amysart.wordpress.com

this is michelle watson

main image: Untitled, oil paint on canvas, 135cm x 122cm In isolating the image of middle aged women upon the canvas, I aim to capture and convey the struggle many women experience in their attempts to conform to society's expectations of performance and of body perfection. Occasionally mothers suffer and may be scarred both mentally and physically from the anguish of change and pressure resulting from pregnancy, birth and subsequent parenthood. The use of diverse mark making in oil paint and of strong pigments in creating the flesh colouration of the skin, together adds to the process of projecting these scars. e: Clem.66@hotmail.co.uk

directory of staff Academic Staff Steve McDade Chris Aggs Victoria Brown Shirley Chubb Chris McHugh Rachel Johnston Tim Sandys-Renton

Associate Lecturers Elizabeth Colley Jez Stevens Mary Stephens

Art Technicians Di Hockin Nik Jewell Bob Marshall Anne White

Media Specialists Neil Bryant Matthew Hall Nicki Norris Damian Wiles Sarah Wright

External Examiner Professor David Manley University of Derby

Course Administrator Christine Ferguson

Subject Librarians Ruth Twiss & Cameron Smith

Visiting Lecturers Richard Billingham Lee Birkett Nick Bodimeade Michael Brennand-Wood Les Buckingham Matthew Burrows Robbie Bushe Susan Collis Professor John Gibbons Angela Kingston Walter van Rijn Jackie Sarafopoulos

Otter Gallery Exhibitions • Art & Migration: Work by Refugee Artists from Nazi Germany in Britain • The Permanent Collection • William Fediw - Transition: Elements of Landscape • Vanessa Ibsen • Robbie Bushe • Brien Neish • Claire Philips - The Human Face of Death Row • Christopher McHugh - Exegesis • Fine Art Students - Frame

Catalogue Credits Roy Donaldson Finola Gaynor Bob Marshall Fine Art Students

this is art

fine art c.2009

For more information on Fine Art at the University of Chichester, please visit: www.chiuni.ac.uk/fineart

this is art fine art c.2009 University of Chichester, artOne, Bishop Otter Campus, College Lane, Chichester, West Sussex PO19 6PE Tel: 01243 816000 www.chiuni.ac.uk