drawing & printmaking
DESCRIPTION
The Longlist for the Signature Art Prize 2015 Drawing & Printmaking CategoryTRANSCRIPT
LONG LIST
PAINTING I DRAWING & PRINTMAKING I SCULPTURE I
PHOTOGRAPHY & FILM
2
DRAWING &
PRINTMAKING
3
ABIGAIL BEATON
Sister in Thought
About this piece:
“Someone's expression can say so much yet so little. It can reveal
much yet can hold back a lot. It can suggest doubt,
pensiveness, reflection, insecurity or contentedness. I wanted my
piece make the viewer wonder what the subject may be thinking
and feeling.”
Pencil and Wax Crayon
21 x 29 x 0 cm
£50
4
AGNIESZKA BRZOZOWSKA
Pioneer
About this piece:
“On this linocut is a pioneer of the Yellowstone National Park. I
really love making art connected with nature, and this person
means for me the protection of natural beauty and recalling how
people living in cities will always miss the wildlife. I also like to
make precise works with strong contrast to catch the eye.
Realistic work gives me satisfaction, especially human faces. I
enjoy portraying faces because we can see in them the entire
history of life.”
Linoleum, Paper, Burins
23 x 35 x 0 cm
£50
5
AGNIESZKA STROJNA
Mrs E.
About this piece:
“The presented work is the result of an earlier experiment with
different materials and techniques. My interests have always
included the portrait, but in my work I try to move away from the
classic depiction. The portrait was created in two phases. The
first of them was a direct contact with the model – it was then
that I created a sketch. The next phase was to oppose the
sketch with memories which reminded in my mind after the
previous experience. Models of those portraits were not chosen
at random. They are my family, some friends and also people
whom I highly value.”
Paper, Ecolina
49.5 x 53.5 x 0.01 cm
£300
6
ALAKINA MANN
Bodies
About this piece:
“Ongoing themes in my work include the body, self-scrutiny, the
senses and memory. In short; imagining how it feels to be human
today.
‘Bodies’ explores the outside influences that shape our bodies
and our view of them. I want to establish a positive connection
to the body, to see it as a complicated, changeable, fleshy
thing, not as a vessel for improvement or punishment. The
obsessively detailed pencil drawing mirrors the nature of body
culture, how we intensely analyse the body and attempt to
sculpt them in ways often out of our control.”
Paper and Pencil
120 x 150 x 0 cm
£950
7
ALAN BAKER
Untitled 70, Trap and Snare Series
Graphite Pencil
29 x 42 x 1.5 cm
£400
About this piece:
“In my recent practice I have been exploring the idea of the
animal as practitioner and how different species might shape,
frame and make space in our everyday urban environments
through methods of sculpture and drawing. As human beings we
share our urban environments with a variety of different species
whether they are domestic, wild or farmed for their produce, most
of them contributing to our own survival, but when does a wild
animal like a rabbit or a bird for example become
domesticated?
My practice has aimed on exploring these issues by not only
creating sculptures that are works of art but are also spaces for
an encounter between species. As a part of this project I came
across the term ‘Vermin culture’. This term is given to various
species of animal which are considered a nuisance or a ‘pest’.
This inspired me to produce a number of sculptures made from a
variety of found objects that I placed in a deranged manner to
give the illusion of an unstable structure that could trap or snare
an animal. From these sculptural spaces, I have used traditional
drawing techniques with a contemporary aesthetic to document
and record these temporary structural forms. “To consider the
boundaries of what it means to be human rather than animal”
(O’Reilly,2009,p.149.) is a quote I have used as a guiding
principle in my work to address questions about the residual
traces left by animals, looking at the spaces animals inhabit and
turning them into sculptural forms.”
8
ALEKSANDRA BURY
Semi II
About this piece:
“This piece depicts an abstracted human head almost packed
into a box.
Ambiguous graphic forms reveal to us cares of human everyday
life, shyly reveal another layer of ordinary and unusual hopes
and dreams and loose thoughts permeating involuntarily in the
structure of objects that appear in the production line”
Paper 300g/m, Charbonnel Ink for Etching, Aquatint, Etching
100 x 70 x 0 cm
£200
9
ALICE DU PORT
Everything is Turbulence
About this piece:
“The process of printmaking has always intrigued me, as it
combines the methodical act of layering colours and line with an
element of chance. The inks are merged together with each pass,
so the images become uncontrollable, imperfect and dynamic. I
take my colour palette from a collection of my own pinhole
photographs. The dappled light and abstract washes of colour
inspired this ambiguous act of mark making. The three rectangles
are clean and minimal, yet within each shape, tiny details give
an impression of a landscape awash with colour. The title is
taken from 'The Sea Inside' by Philip Hoare; the contradiction of
'turbulence' against the stillness of the straight edges points out
the spontaneity of printmaking.”
Silk Screen Print on Bread and Butter 200gsm paper
26.5 x 37 x 0.05 cm
£200
10
ALICE FREEMAN
Corrosive Stage 11
About this piece:
“The Corrosive series focus on diseased cells and malformations
in Nature. Allowing the alchemy of etching to overtake my
original drawing, the boundaries and restrictions of the plate
decompose, leaving behind the appearance of an organic,
natural print.
The fine line between the beautiful and the grotesque intrigues
me; how an image can simultaneously attract and repel.”
Etching on Paper
56 x 75 x 10 cm
£500
11
ANDY DINH
His Momentous Burden (Atlas)
About this piece:
“My works often develop into playing with traces of the past, and
through this act I celebrate the activities that govern and
construct who we are as human beings. In my current works I
have ironically drawn internal organs appended with tattoos,
which are generally inscribed on the external of the body. I've
imprinted internal thoughts, used irony, known text, classic
metaphors and subverted specific motifs in Greek mythology to
assert my own idiosyncratic visual language. Each organ is
selectively chosen to represent a significant character from a
Greek myth, that myth then dictates what kinds of images are
inscribed onto the organ. This form of body modification
becomes an expression or identification of the fictional
character. The myth and the imagery of tattoos become the
template for expressing my own cultural and linguistic systems.
The notion of these expressive tattoos being placed underneath
the skin rather than externally suggests deeper thoughts, inner
reflection, viewing the internal as a way to understand the
external, and the microscopic versus the macroscopic. The use of
internal organs is to exaggerate the concept of being human
and human beings ("we're all the same inside"). However, by using
the unique and intimate qualities of tattoos I have ironically
personified these organs that were deemed to be once a
component of an individual. The organs also furthers this idea
that death and decay is inescapable, and immortality is a fool's
dream - flesh is the very death of the body.”
Pencil on Paper
76.2 x 50.8 x 0 cm
£449
12
ANITA ROZENTALE
I Remember, Therefore I Exist
About this piece:
“I have always been focusing at memory, nostalgia and what
makes us - us.
I consider this as my signature piece as I am working with such
mediums that have been around for centuries which allow me to
further develop my relationship with the ongoing theme in all of
my works. I consider my more recent works as turning point in my
artistic career as I used to (and still am) using photographs from
my family archive, but have expanded my research into
cyanotype to push myself further.”
Cyanotype, Watercolour on Plywood
61 x 61 x 1 cm
£450
13
ANNA IRENA TOMICA
Essentia
About this piece:
“’Essentia’ was created using acid techniques such as aquatint,
aqua fort, soft vanish and split. I wanted to express my relation
to the creative process and its connection to my personal
feelings. I named the piece ‘Essentia’ to outline the fleeting
importance of this work. In this work, I aim to share deeply
concealed emotions, over which I want to take control by
materialising them. "We fear violence less than our own feelings.
Personal, private, solitary pain is more terrifying than what
anyone else can inflict." - Jim Morrison
Etching
13 x 13 x 0 cm
£45
14
ANNETTE FERNANDO
It's Changed from Something Comfortable, to Something
Else Instead V
About this piece:
“I draw from film stills that I carefully select. I can only take these
stills after I have absorbed their content. These scenes are
always moments that resonate with me. The core of my work is
biographical but I draw from appropriated mediated images,
sourced primarily from archives, television and film. I believe that
relating to these stories exposes the way in which our desires,
intimate relationships and the way we behave is all conditioned
by culture. By selecting these images I re-expose them, calling
them into question. ‘It's Changed from Something Comfortable to
Something Else Instead V’ is a lyric from the Pulp song 'Live Bed
Show'. I'm making connections between themes in this song and
the imagery I select to draw. For anyone who knows the song, it
gives a second narrative and way to look at the work.”
Ink on Paper
23x 30 x 4 cm
£200
15
ANNIKA REED
Southerly Veering South Westerly for a Time, 6 at a time 7
About this piece:
“I am interested in the question of life’s seeming absurdity. The
absurd may make itself known at any moment and this is what I try to
describe in my work; those vacant gestures of silliness, which remind
us that our days are woven with strands of meaningless events. I
record my daily experiences mindful of the idea that life is irrational,
incongruous and illogical. I use a combination of drawing, print and
stop-frame animation to force unexpected visual dialogues into the
same pictorial window, assuming new meanings and narratives
through familiar objects and everyday scenarios. The series of
uncomplicated line drawings, while suffused with playfulness
reference unimportant events and repetitions of everyday life.
Installation: The combination of woodcut prints with stop-frame
animation generates multiple visual collisions between the time it
takes to make the work and the time it takes to see the work. The
slowness of the woodcut drawing sits in contrast to the speed of the
stop-frame drawing, which is static and in constant flux, both
analogue and digital.
Sound: The sound of the animation brings a further complexity, they
are recorded from life and arranged into a compositional framework
tending towards the ephemeral and avoiding the referential. This
creates more ambiguity and the feeling of the absurd is not just
anchored to the line of sight, the low level noises and murmurs
amplifies the multiple contrasts in rhythm and chaos within the work.”
Follow this link for supporting video
Woodcut on Somerset Satin Paper and Moving Image Projection
350 x 280 x 100 cm
£150
16
CAROLINE DERVEAUX-BERTÈ
Jolly Jolie
About this piece:
“’Jolly Jolie’ is about the exuberance of happiness.
"What is your most ecstatic childhood/adolescent memory?" From
the answers, twenty-five scenes have been created expressing the
bipolarity within the work and the artist - the gloomy and doleful
black-and-white style of drawing and the euphoric narrative of the
installation. The title plays with the dichotomy of the artist's
language - French and English - and the same resonance of the
word 'Pretty Happy'.”
Black Pen on White Cardboard
625 x 750 x 1 cm
£2800
17
CHARLIE JAMES
The Eclipse: Courtship of the Sun and Moon
About this piece:
“This drawing was inspired by a French silent film of the same name,
made in 1907 by director Georges Méliès. The drawing began life
as a collage and the process of making the piece was inspired by
the hand drawn collage ‘Narkissos’ created by San-Francisco
based artist Jess between 1976 and 1991. Jess was inspired by
the myth of Echo in Ovid’s version of the myth in ‘Metamorphoses’. A
curse akin to selective mutism is placed upon the nymph Echo
who is doomed to repeat the last words spoken. Jess imposed
similar restrictions upon his work by only allowing himself to use only
images created by others. Like Echo he overcomes these limitations
by only appropriating elements of the whole that can be used to
express his own ideas. In my piece I adopted a similar strategy and
collaged found images that represented my imagination of the
story into my own configuration.
I have chosen to enter this piece for the Signature Art Prize as it is
the culmination of a month’s work and has inspired a new way of
thinking as well as many other works to come. The work is filtered
through my own perspective whilst referencing an original idea
using other people's imagery. It is therefore a third hand
interpretation of an event, emotion or idea and accepting these
limitations within my practice felt important. On a practical level, it
means I can recycle existing imagery to quickly represent an
abstract thought or feeling.”
Graphite on Paper
59 x 84 x 0.1 cm
£500
18
CHARLOTTE LUCY WHITEHEAD
Old Man Mick
About this piece:
“Old Man Mick was a known wanderer of Brick Lane, London. I
befriended him for a couple of hours, where he allowed me to carry
out a few sketches and photographs to work from. Aside from his
somewhat out of sort appearance amidst the East London hipster
scene, I was drawn to him by his choice of head gear. A plastic
Viking helmet was tipped jauntily upon his head, he informed me it
was made in china, a fact he seemed especially proud of. I never
found Old Man Mick again, this piece is a reflection of my strife to
create the truest representation of a man I barely knew, but our
meeting inspired the way for my current art practise.”
Graphite, Pencil and Charcoal on Paper
64 x 80 x 0.1 cm
£600
19
CLAIRE LEACH
WSA Window View
Pen on Paper
60 x 50 x 0 cm
£2000
About this piece:
“This collective of small drawings was made for my Fine Art MA final
exhibition. The drawings are fragmented views from the window of
my studio space at Winchester School of Art. I made them in
response to the space. I've been interested in trees and woodlands
for a long time, when it came time to choose my exhibition space
and studio for the final semester of my MA I chose a space that
overlooks the River Itchen and trees.
The drawings are quite delicate in appearance with almost a lace
like quality to them. I draw in a slow and precise way, it's almost like
a meditation. The small circles and shapes make up an image, it's a
practice in mark making.
The six individual drawings are displayed together, the six squares
make up segments which mimic a window, taking me back to when I
made them. They are not framed but simply pinned up on the wall,
when displaying them I didn't want there to be any distraction. The
photographs that I have attached show the drawings individually,
in my final exhibition they were presented along the wall but would
be presented grouped together, two rows of three drawings”.
20
ELEANOR ANGELINETTA
Connected
About this piece:
“This is an original dry point etching focusing on the relationship
between mother and child in the womb. It is one of a pair. As the
child is facing in towards the mother it could be seen that there is
a positive connection between the two. This contrasts with the
other piece in the pair where the baby is facing away from the
mother. I decided to use the medium of etching as it is delicate
and precise, almost scientific.”
Etching on Somerset Paper
74.5 x 75 x 2 cm
£450
21
EMMA VIDAL
Babel
About this piece:
“’Babel’, which references the Biblical story, is a large charcoal
made during my stay at the artist residency Paul Artspace in the
USA, awarded after my graduation from Central Saint Martins
earlier in June.
In my practice, I aim to explore the tension between civilization,
beliefs and nature. Representing a disintegrating world where
humanity had gone awry, I question the vulnerability of humanity
and its ultimate quest. As monuments get lost through time, these
feral children are left there; aimless, ultimately waiting for a new
order to come, lost between chaotic ruins and wild nature.
Nurtured from various religious experiences through my childhood
in a Catholic family and my travels, I have an obsession for
religious symbolism, questioning the reason and primary quest of
human beings for faith and transcendence.
While there is a sense of fairy utopia nature in my latest body of
work, there is also a foreboding horror, like an ominous and ever-
present conscience pulling us back from the sublime into the
dread reality. I break from the traditional and obliterates selected
details of the figures, replacing them with blurry and expressionless
gestures. The identity of the figure disappears in crowded
compositions, creating a sinister effect of the intimidation of the
unknown. The common place is gone and the mystical is revealed.”
Charcoal on Paper
152 x 108 x 0 cm
£1250
22
FLORENCE LOCKWOOD
Noeud
About this piece:
“’Noeud’ is a line drawing that has been edited in Photoshop.
Ambiguities to be supplied by the lines; the decisions that are
made become intrinsic to the work and how it looks at the end.
How much I want each line to be aligned, or how much emphasis I
want to give to certain marks.”
Digitalised Drawing Printed on Gloss Paper
69 x 49 x 0 cm
£300
23
GARETH BUNTING
The Golden Circle
About this piece:
“The Golden Circle is a large scale ink drawing, based on a
recent road trip around Iceland. It is a sprawling, vast and
dreamlike landscape which roughly maps out areas and
documents my experience travelling. I drew from life and my own
imagination, depicting a detailed, fantastical world, loosely based
on reality. The landscape itself is impossible as I play with scale
and perspective, disorientating the viewer, but at the same time I
allow the viewer to follow repeating and evolving imagery along
lines and interpret their own narrative.
This piece has been exhibited at the Millennium galleries Sheffield,
and the 20-21 Gallery in Scunthorpe.”
Ink on Paper
250 x 150 x 0 cm
£7000
24
GILL SMITH
Synergy (Diamonds)
About this piece:
“I am fascinated by visual perception - how the eye and the brain
work together either in harmony or to create tension. I have
created a series of abstract works called Synergy that question our
ideas of reality & illusion. All are created to engage the viewer,
making them part of the effect.
I have created objects that are real and present where the illusion
of movement is transitory and apparent. As the viewer moves
around the piece the image appears to change and move. Each
work explores a different effect - with this piece, the idea of
iridescent colour change and movement. The works are created
with a printed back layer (with this piece a digital print created
using anaglyph techniques) and a front grid of laser cut Somerset
Velvet paper.
The images attached are of one work - but show the change in
colour when the viewer moves from side to side.
The price given is for the work framed with non-reflective art glass.”
Digital Print with Laser Cut Somerset Black Velvet Paper
50 x 50 x 3 cm
£700
25
HANNAH MCKINLAY
Brother
About this piece:
“I have always been interested in using the human form in my work. I
find nothing more compelling than a portrait, in all forms. An ancient
painting, a contemporary sculpture a modern installation. I however
almost exclusively use the medium of drawing in my work, as I feel the
meticulousness and time spent in creating a pencil portrait is
appropriate to the subject matter. A person is a multi-faceted,
curious and fascinating creature and taking the time to put every
physical feature in place is a process duly fitting to the subject, I feel.
But a person is not a perfect beast, and at the end of drawing the
piece, I blow tendrils of jet-black ink on the portrait- sometimes
completely ruining the work- just to nod to the unpredictability of a
human being.
I find the process of drawing a face incredibly therapeutic. The tiny
details added at certain points can completely define the overall
feel of a drawing. An infinitesimal patch of shading around the mouth
can change the face from a smile to a grimace or a frown to a look
of concern- and this completely absorbs me. Creating complete
characters from a few patches of graphite pencil on paper. Showing
a captured moment in time from a person’s life just from a couple of
carefully placed lines. I often become very attached to the pieces I
generate, and this care is something I want to emulate through the
drawings.
People are precious, they are loved, and every human being in this
world is important, regardless of age, sex, gender, religion or race. It
is this value for life that I wish to show in my work, and this project has
always been grounded in human significance.”
Pencil, Charcoal, Ink on Paper
29 x 42 x 0 cm
£150
26
HARRIET HORNER
Expansion II
About this piece:
“This piece was developed over a series of months working with
the simple object of a piece of paper. Through destroying it,
crumpling and transforming its shape into something three
dimensional, it was then flattened again through the screen print.
The paper has been expanded into an object in and of itself,
creating movement and depth, tension and release. There is a
juxtaposition between the fragmentation of the image and the
order it demands from the methodical technique of silk screen-
printing.”
Acrylic and Screen Print Medium
84 x 119 x 0 cm
£150
27
HENRY HUSSEY
The Guardian
About this piece:
“The artwork was made in response to my grandfather almost dying, I
wanted to capture this point in his life and have him face his own
sudden fragility. I was inspired by the story of Constantine The Great
who had a 40ft statue in Rome, which was destroyed when the city
was pillaged. The only remnant of this once colossal figure is his
head. This sense of a noble man brought to his knees is what I
identified with and how I wanted to portray my grandfather, it is both
a fragmentation of his self and memories.”
Textiles
150 x 200 x 1 cm
£5000
28
JESSICA SMITH
A Parliament of Owls
About this piece:
“Painting, printing, drawing, embroidery and sculpture;
for me this piece is all of the above. My language is the thread, this
is my medium. The stitches become the narrative. I have inscribed
eyes, eyes that I was drawn to when looking at a parliament of owls. I
am inspired by all things tangible, the loose thread insinuates an
incompleteness but to me it represents ambiguity.
The history of embroidery and the feminine is recurrent within my
studio work this year, and this work was produced for my painting
elective, where we investigated the concept of a painting, paint,
and painter. The oil paint was applied to a board and then printed
by rolling over the fabric with a roller, and then it was stitched into.
Originally the work began on the opposite side but I was more
enthralled by the back where the paint had bled through as it was
much more subtle and offered more space to embroider the many
eyes into the Muslin sheets.
I am very happy with this piece and think it looks best attached
directly onto a wall, it shouldn't be framed because then it becomes
a piece similar to what girls were made to produce many decades
ago to keep them busy. I am completing these embroidered pieces
for my own pleasure of keeping busy, no one has forced me to make
this, and I think there is a beauty in that, of wanting to stitch, and not
worrying about tying off ends and framing the piece produced.”
Muslin, Cotton Thread, Oil Paint
73 x 92 x 0.2 cm
£75
29
JULIA MENZIES
3 Minutes
About this piece:
“This piece was made in response to the listed WW2 hangar situated
at Brooklands Museum in Weybridge Surrey. It depicts the connection
between places and people. There was a fine balance between
entrapment and security within the buildings. The work carried out by
the young women on the Wellington Bomber involved danger but
also lionheartedness. Unfortunately, many of the women were often
oblivious to their contribution or worth in the war effort. The work uses
the original canvas used in the restoration of the Wellington Bomber,
only two of its kind left in the world that saw active service. “3
minutes” signifies the amount of time it took for Brooklands to be
bombed during the war when 83 people died. This is one of four
pieces, which was displayed earlier this year in the actual war bunker
next to the hangar. This piece signifies the fragility of connections.”
Archived Photograph, String, Canvas
29 x 24 x 2 cm
£350
30
KATE FAHEY
Seeing is Believing
About this piece:
“This is a laser cut wood cut on birch plywood. Is has its origins in a
small graphite powder drawing that was a response to a found
satellite image of the lost Malaysian Airlines Flight last March. The
image resonated with me as it was pixelated and obscure, yet it
claimed strongly to identify the wreckage, which appeared as a few
white and grey marks on a vast dark ocean. However, the plane has
never been found, nor have traces of the wreckage. The vague
drawing was entirely fabricated and invented by me. The fact that
something could disappear without trace, and defy today's satellite
and scanning technology impacted on me deeply.
This piece is my 2015 Signature piece as it marks a turning point in
my practice. I have used scanning and the modern technology of the
laser cut to create an entirely fabricated image which sits in many
realms, an object in the night sky, an ultrasound scan, a satellite
image. It is searching and grasping both conceptually and formally.
The dialogue of using a non-traditional woodcut technique on the
traditional medium of birch plywood has opened up a wealth of
possibilities for me. This presented me with challenges both in the
cutting and printing from which I have learned new ways of making
which tie in conceptually with my ideas. It marks a way forward as I
begin to think about my final show at the Royal College of Art in
June 2015. It has inspired and changed my practice while sitting
comfortably within my way of making and conceptual interests.”
Japanese Paper, Deep Space Ink. AP (Artist Proof)
162 x 117 x 0 cm
£1600
31
Lino Cut, Bronze
73 x 110 x 2 cm
£3000
KRISTINA CHAN
Topographics
About this piece:
“Maps hold power, or inherit it rather. Taken as truth, it lays out a city
in a plain, comprehensive system of streets names and crossroads.
The holder of the map adopts expansive dominion over an area with
a moment’s glance. It indulges the viewer and lifts him up:
Cartography is synonymous with voyeurism. And yet despite this
authority we imbue, these lines began as mere conjecture etched in
by explorers as wind patterns and inappropriately scaled kingdoms
bordered by large expanses of unexplained unfamiliar “Bavaria,” and
a whole world comprised only of two continents. This project was an
exploration into the abstraction and de-familiarization of
cartography.
I am interested in this modified topography of space: The fractured
momentary outlines that repeat and run a city. The urban has
become synonymous with the continuous and shifting, and thus the
rules we construct to navigate such impossible borders.
‘Topographics’ is composed from blind contours derived from
elevation maps of different city borderlands—Florence, London, Hong
Kong, Vancouver, and Paris—transferred onto lino cut plates,
moulded and finally cast in bronze as reliefs. These plaques can be
rearranged at will, allowing for new cities, borders, and landscapes
to be discovered. The piece was then created into an edition of 10
by digitally scanning the plaques and 3D Rapid Form printing each
piece which were then electroplated in bronze. The material
transformation within this piece represents my attempt to chart such
boundaries.”
32
LAUREN HELLIER
Tarot
Copic Multi-liner Illustration Laser Etched into Cherry Wood
187 x 17.2 x 0.3 cm
£2500
About this piece:
“This was the piece I exhibited at my first solo exhibition during the
summer in Berlin. The piece is a personal interpretation of the major
arcana picture cards from the classic Tarot playing card deck. The
imagery takes inspiration from occultism and 18th century mysticism
with a twist of Memento Mori motifs such as skulls and bones. Each
image has been laser etched into a cherry wood panel reminiscent
of the etched wood blocks used to print illustrations in early forms of
printing. The cards are designed to be functional in tarot card
readings with symbolic elements directly relating to the original
meanings of tarot used for divinatory purposes. The cards work
aesthetically in union with each other. Themes and motifs are
repeated throughout the deck and when exhibited together they
combine various illustrative techniques to produce beautiful textures
through laser etching. I encourage people to touch them which is
often a faux pas in gallery exhibitions. As tarot cards are meant to
be handled I want the same for my cards, I want a sensory response
to the texture of the wood, not just the symbolic imagery. For this
reason I chose wood instead thick card or paper illustrations.”
33
NINA SCHULZE
Abasement of Morality
About this piece:
“Nowadays fashion is much more than just clothes. Fashion designers
are able to create fantasy worlds with their works to escape the
drab monotony of everyday life. Through this they serve the humans
craving for escapism but convey as well a dangerous, idealised
idea of beauty. Nevertheless the fashion industry works with
euphemistic marketing and obscures its frequently tough, slave-
driven aspects.
My submission illustrates the abasement of morality in our today’s
society in regard to abusing the desperation of less privileged
populations. We are aware of the circumstances some of the low
cost fashion is produced in but accepting this exploitation of
labour for the benefit of cheap clothes. In my image the spoilage of
the oranges and its vanitas symbolism illustrates this topic –
beginning with the orange blossom symbolising innocence and
ending with the by maggots infested orange symbolising the loss of
that innocence.”
Giclee Print on Hahnemühle Photorag Fineart Paper, Digital Collage of Mixed Media Drawing and Painting
58 x 76 x 0.1 cm
£120
34
OLIVIA BETTS-DAWSON
Dreaming for Peace
About this piece:
“The idea which came to me whilst dreaming, reflects the concept of
childhood and the imagination.
All things are possible to a child, until an adult tells them is isn't. This
illustration represents belief beyond human understanding. Faith
beyond human logic.”
Watercolour, Pen
29.7 x 42 x 0 cm
£650
35
PAUL MITCHELL
An Illegal Urban – Taipei City
About this piece:
“My work incorporates spaces which can be viewed as potential
sites of an event that has happened, or is just about to happen.
This signature piece reflects my interests in uncanny resonance –
perhaps both abject and beautiful at the same time.
I’m concerned with the ambiguity of communication; what we choose
to say and not say, choose to remember and to forget – leave out,
turn a blind eye to, and events we imagine, embellish and invent.
I use both self-generated and found images. I have used three self-
generated images in my signature piece. I manipulate pictures
manually and digitally, working with overlapping textures, marks and
colours, resulting in an enigmatic, timeless quality.”
Giclee Ink Jet Print on Hahnemuhle 310 GSM Paper
60 x 84 x 0 cm
£400
36
SALIHA EL HOUSSAINI
Flux Waves 1
About this piece:
“Instead of using computer generated compositions, I use my own
intuitive algorithms to explore and stretch the limits of the mind.
There comes a point in Flux Waves where I being human could no
longer see the path, as a result I let the line take charge and guide
me, therefore allowing the lines to merge with each other in a
synchronistical manner. It was as if the Line defined its own path.”
Indian Ink on Mount Board
86.5 x 117 x 4 cm
£1950
37
SAMUEL TURPIN
Apocalypse: 16.05.14?
About this piece:
“Water and paint colliding, creating chemical reactions and chance
happenings, where pools, stains, marks, harmonies and conflicts share
the same surface. Lines of graphite, ink and acrylic emerge from the
chaos, serving to define and form the space on the picture plane. A
drawn black outline resembling a tiger is seen, wraith-like, through
skeins of paint, its totality fading, covered by the bright colours that
resonate around it. From afar the abstract marks can appear to follow
natural forms as if a landscape, where the planes of washes blend
together. In some instances contour lines have been drawn beneath
the sedimentary manifestations, relating material relationships to the
natural world. Other detailed images, often digitally abstracted and
hand copied in carbon or graphite from media sources, can be seen
when close to the picture-plane. These are connected through varying
lines, glances and actions and situated based on their hypothetical
ties and the material surface of which they interact. The connections
can be hard to follow, the images frequently obfuscated by the
dominant flat paint. The monumental scale of the paper creating an
embodied experience; a vast field of tension between flatness and
illusion where close-up the details of the picture escape the periphery,
engulfing the viewer with a bombardment of information.
My practice stems from a strong interest in the over-saturation of
images in contemporary society, including their circulation and the
influence this has on creating pictures. I use a multi-disciplinary
approach to image making to investigate my interest in different ways.
My current focus has been on my drawing practice which has recently
blended into the realm of painting; exploring mark-making, when line
becomes splash becomes spill.”
Mixed Media on Paper
370 x 240 x 0.1cm
£10000
38
SANJA FERATOVIĆ
Wire This, Tesla!
About this piece:
“The main drawing is one of the sixty drawings I presented as part
of my graduate work at Academy of Fine Arts, where the passion
and love for theatre and drawing were merged in one. There are no
boundaries in the theatre, as well as drawing.
The paper becomes a stage moulded by the actors of lines and
shapes and it is a living tissue. Drawings become some stolen
moments and stopped time. Some drawings represent my dreams
that are my personal performance of which only one small piece is
materialized and placed on the paper. They are the sketches of my
dreams. I do not interfere more in it, I do not try to transfer it on a
larger format or test it how will the drawing look like in other
techniques. I don't add anything. This scene is over. Here, a so
called production B, becomes what is most important and original. It
carries an aura because it is the first and authentic.
The words or sentences I use are generally determined before or
during the process of drawing and they are treated as a part of
the drawing. The base in my art are children's drawings and
prehistoric drawings which are deprived of any academic training
and without affecting an adult, already shaped mind. Therefore I
draw with my left, primitive hand instead my right hand with which I
usually write. As I let my thoughts to flow where they want, I also let
my left hand to make all the 'errors' which have added more
spontaneity to my drawing. The hand is free from accuracy, security
and supervision. I tend to always accentuate the drawing, the basis
of everything that is slowly vanishing because of accessibility and
popularity of new media and new options provided with them.”
Paper, Pencils, Ink, Watercolours
46.5 x 32 x 0 cm
£52
39
SHIVANGI LADHA
Unending Scroll
About this piece:
“What interests me is the complex relationship which Nature has with the
ever expanding technologically advanced lifestyle and urban
landscape and the way they coexist. Currently I am interrogating some
extreme scenarios where humans are controlling and violating nature
to a point of reduced diversity and extinction. Thus my art raises
various political and social concerns in terms of wanting to preserve
nature.
I challenge drawing at every step in my practice and thus it has
become an essential medium to convey a message. I try to push the
boundaries of drawing by using it in a form of installation which
enables the viewer to experience my artwork while sharing a common
physical space. My drawings often are in the form of a narrative .Also
the intricate details in my drawings invites the viewer to come closer to
the subject, thus creating an intimacy between the viewer and the
work. Repetitiveness at this scale makes my work extremely laborious
and time consuming. This style of working helps me to meditate in my
own ways and helps lower down my anxiety, which I usually suffer from.”
Permanent Ink and Watercolour on Gateway Paper
70 x 305 x 0 cm
£4000
40
SONYA WHITE
Trail
About this piece:
“We all share the same spaces, past and present.” My inspirations come
from the mysteries of the universe, our incredible world and origins of
life. I question the scientific and spiritual elements of our existence. I am
interested in the passing of time, journeys of life and memories that we
pass on through our cultural traditions.
I use various materials to create my work including dye, ink, bleach,
water, ice, vinegar, metal (rusty objects), cyanotype (light sensitive
chemicals) and pyrography (writing with fire). I primarily use cotton
cloth as a support. I usually create my work outdoors, which engages
me with the natural elements; the scientific aspect of the climate is
significant to the outcome of the work. The sunshine, ice, rain and
temperature all play a part in how the work develops. I feel that I am
connecting to a source of power, touching on alchemy in my work.
When I am creating I am on a journey, I allow my impulses to guide my
experiments. I am moving forward and learning, I am captivated by the
biological elements that contribute to my work but also I am
intertwined with the unknown which feeds my curiosity and helps me to
understand my spirituality, our past and the sacred in our cultural
traditions.
Rust Print, Pyrography and Dye on Vintage Cotton Cloth with Metallic Textile Backing.
40 x 40 x 3 cm
£250
41
STEPHANIE HADINGHAM
With or Without Aura 2
About this piece:
“This piece is a continuation of experimentation from my practise at
university. My art is based on medical conditions that intrude and
alter our experience of the external world. The need to capture or
translate a purely sensory experience is an impossible task. One of
the main reasons for this ‘impossibility’ is that each experience is
subjective, no one experience to a sensory trigger be it a piece of
music, colour or imagery will have the same effect to everyone’s
experience and reaction. This is because we are constantly recalling
on an unconscious level similar situations and experiences to help us
approach the trigger of the sensation in the same way.
This ‘impossibility’ is important in my work because my subject matter
has been trying to translate the visual obstructions that manifest
during the medical condition - the migraine. This is mainly collected
from my own experiences of this condition, at the start is was driven
from my own understanding of what the experience I was having felt
like and the impossibility of finding the right descriptive words to
relate it to others to truly understand. I fully understand this type of
experience is truly subjective as the experience is internal and
something only I can see. I fully believe that I can never create a
‘true’ translation of this experience but my drawings act as a type of
archive of shapes and patterns that appear in my vision which help
to try and capture a close replacer of the essence of the movement
and nature of the visual obstructions.”
Pen and Paper
42 x 59.4 x 0 cm
£400
42
SUSAN EYRE
Paradise HP2
About this piece:
“My practice explores ideas of paradise in relation to landscape,
reward and transformation. I have been visiting locations called
Paradise to take photographs which I then respond to in my work.
This work responds to the Chapel of Rest found in Paradise Industrial
Estate, Hemel Hempstead. It is a soulless building in an
unprepossessing area. I used etching to add history and iridescent
interference pigment on the windows to give an otherworldly quality
to a place for souls to rest.”
Soft Ground Etching with Chine Colle and Interferance Pigment on Pescia Grey Paper
42 x 59.4 x 0 cm
£400
43
THOMAS FOWLER
Quantum Flux String Vibration Field
About this piece:
“A drawing intended to show motion and also the idea that time is
not necessarily real; there is no past or future, just the moment you’re
in. I like to think of this drawing as representing quantum
entanglement in some way.”
Graphite and Various Rubbers
50 x 69 x 0 cm
£1000
44
TIM KLOEUD
Discord
About this piece:
“Artists' block is a big factor within every creative’s practice. This
piece was the beginnings of a project documenting my frustration
with this, developing into an exploration within the everyday emotions
we go through as people within society. This was one of the first
pieces where I felt I truly embraced my method of working in a strong
contextual sense.”
Pencil
30 x 40 x 1 cm
£330
45
TREVOR ABBOTT
Niagara Falls VII (a)
Screen Print on Paper
71 x 71 x 2 cm
£475
About this piece:
“This piece comes from a larger series of works concerned with the
use of photography by tourists and the effect this has on the
destination or event and the images that proceed it. More broadly,
these are technical images being images extracted from the system
or program within which all such images now circulate. I use print to
recover or fix these images as they circulate endlessly in an inchoate
state, always available but never resolved being subject to
distortion, fragmentation and recombination.”