THE SIGNATURE ART PRIZE 2013/14 THE FINALISTS
ABOUT THE SIGNATURE ART PRIZE
The Signature Art Prize is the only award of its kind that draws attention to emerging artist’s unique perspective, championing their signature themes and aesthetic - and as such the prize is only open to current students and artist who graduated within the last 3 years. Founded in 2007, the celebrated Signature Art Prize presents a fresh and exciting award for the most promising emerging artists of today. The competition invites artists worldwide to apply for a chance to win one of four £1,000.00 cash prizes, representation with DegreeArt, future exhibition opportunities and artistic support, as well as gifts from the prize sponsors. Following the huge success of the awards in 2011, the Signature Art Prize returned in 2012 with the added attraction of cash prizes as well as an opening gala held within a pop-up gallery space in Spitalfield’s Market, and we are now returning again for the 7th year to host the Signature Art Prize 2013/14. All entries are reviewed by an esteemed panel of industry judges, and shortlisted artists exhibit at the awards night, followed by an extended one-month exhibition at DegreeArt’s Execution Room in the cultural hub of Vyner St, East London The Signature Art Prize is administered by DegreeArt.com, the UK leader in graduate art representation, showcasing emerging art online, providing collectors with access to original art and supporting recently graduated artists all over the world. People’s Choice Award - Have Your Say: Alongside the finalists chosen by the judges, they will also be a ‘Peoples’ Choice’ winner from each of the four art work categories, voted for by the public from all of the competition entrants. Each winner will receive £250. Cast your vote for the Peoples’ Choice Award through our Facebook page. The winners will be announced on 18th February 2014.
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THE JUDGES Adrian Lourie
After years of working office jobs Adrian Lourie graduated from a photography degree at Newcastle College in 2007 at the age of 37. Two day’s later he moved to London to work as a photographer’s assistant, and six years on has established himself as a successful freelance photographer and publisher of cult gay pinup zine ‘Meat’. Adrian’s. work has been published in The Guardian Weekend, Sunday Times Culture, London Evening Standard, i-D, Beige Magazine, Attitude and Good Housekeeping. The zine Meat is sold in The ICA, Tate Modern and stores and galleries in New York, Chicago, Berlin and Paris.
Carol Robertson lives and works in London. She is a non-figurative artist, primarily a painter and a printmaker. She’s represented in the UK and USA by Flowers Gallery, by Galleri Weinbeger in Denmark and by Peter Foolen Editions in the Netherlands. In 2005 she won first prize in the Sunday Times Watercolour Competition. She was Research Fellow in Painting at Cardiff School of Art and Design from 2003 - 2008. Her work has been exhibited extensively internationally, most recently in Austria, Holland, Japan and USA.
Graham Crowley (b.1950) studied at St. Martin’s School of Art London 1968-72 and Royal College of Art London 1972-75, and is now regarded as one of the most distinguished living painters in the UK today. Since his art education he has held significant teaching posts, including Professor of Painting at the RCA (1998-2006). In April 2008 Graham Crowley had a letter published in Art Monthly entitled, ‘Can’t get NoSatisfaction’ in which he expressed his concerns about the state of art education in London. His letter precipitated a national debate both in Art Monthly and the wider art world.
In recent years Terry Smith has created large-scale installations and site-specific interventions producing work often inaccessible to the public. In 1994 Smith began a series of building interventions creating his first wall cuttings in houses ready to be demolished by gaining illegal entry and making the work in secret. Other works that evolved from this period include Capital, 1995 an intervention in Gallery 49 at the British Museum, six wall cuttings at Tate Modern during its reconstruction in 1996, and at MACBA, Barcelona where he fired 35,000 staples - 1m wide and 25m long - into the walls of the museum.
After working with some major brands, Stanier entered the art world in early 2010 with the launch of Artbeat – a commercial gallery space in Covent Garden dedicated to the promotion of emerging artists. Artbeat was an opportunity for these up-and-coming artists to increase their profile and sell their work in a prime, Central London, location. After the success of Artbeat in November 2011, Stanier launched The Other Art Fair. A stand-alone fair that differed from its contemporaries, it was a place for artists to sell work directly to both established and first time buyers, as well as to gain exposure for galleries.
Matthew Spencer was born in Larne, Northern Ireland (1986) before moving to North Yorkshire at the age of 15, studying for a BA and MFA at Bath Spa University where he specialised in sculpture & installation. . His work has been exhibited widely across the UK and recently he had his first international exhibition in Berlin. He has been the recipient of numerous prizes and awards including the 2012 Signature Art Prize (mixed media category) and more recently he has been shortlisted for the 2013 New Lights Art Prize.
A Visit to the Hameau by Estella Castle Materials: Oil on Handmade Panel Size (H x W x D): 100 x 100 x 2.5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: A Visit to the Hameau. A note to buyers: This work has been nominated for the Signature Art Prize 2013/14. It can still be purchased (and we urge you to do so) but will need to be delivered at the end of March 2014 to ensure it can be exhibited in the gala and gallery exhibition if selected. Should you require it prior to this time, please contact us to discuss. ÂŁ2,500
Branch by Eve Laws Materials: Oil on Hand Stretched Canvas Size (H x W x D): 152.4 x 182.9 x 5.1 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Front by the Artist About this piece: Oil on canvas 5’ x 6’ (60” x 72”) 2013 About the piece: This painting, though beautiful in colour and form, is inspired by the decomposing nature of the human body. Anatomical drawings of the human torso, as well as a specimen of half a severed head and shoulders, inspired the brush strokes in this piece. I explore the relationship between beauty and death. I take inspiration not only from the specimens and cadavers in the Newcastle University anatomy labs, but also from the medical students; the casual conversation and unusual terms they use for parts of the body can be quite interesting. ‘Branch’, being one. Photographs of crime scenes and autopsies inspire me to make oil colour charts, in preperation for the paintings. The paint is thick and textured in some areas, whilst dissipating in others. Flesh-like mounds liquidate into thin streaks, heavy with Turpentine. The relation of the disintegrating and distorted figure. One of the significant fears of humanity is an awareness of its own mortality. £2,200 www.signatureartprize.com
‘Untitled 6’ by Gwenyth Fugard Materials: oil on hand stretched linen Size (H x W x D): 155 x 155 x 4 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: The square has provided Gwenyth a plane to explore and use as a means to depict her concerns about obstruction and intervention, which she believes in constantly active in her private life and in a greater social and geopolitical context. Her recent work is created with a system of criteria and boundaries to be observed while navigating the neutrality of the square format. Interventions and obstructions are imposed during the coverage of pigment, leaving borders and boundaries corroding. The notion of accumulation and dispersion are apparent. The illusionary space created through this process suggests the depiction of an existing social condition. Conflict and collaboration become apparent within the abstractions. Line and colour are minimal, but it is the occurrence of accidents and collisions within the imposed system during the coverage of paint that produces a complexity and quiet dynamic. The process of blocking and masking greatly informs her methodology. Gwenyth paints in oils on linen and canvas to explore these notions of interruption and obstruction. The process of folding into the linen and canvas brings a 3 dimensional element to her work, which enhances further the concept of intervention. £2.275 www.signatureartprize.com 11
Battle of the Planets by Harry MacPherson Materials: oil on board Size (H x W x D): 15 x 20 x 2.5 cm Year created: N/A KEY FACTS - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: My practice involves the selection of images based solely on an attraction towards something ‘restless’ or unsettling within them. This is then transcribed through a ‘shorthand’ painting process in which the visual information is treated as economically as possible. To present this obsessive collation of images, the paintings are shown as a disordered series. £200
Untitled by Johnny HĂśglund Materials: Acrylic, masking tape, varnish on canvas Size (H x W x D): 195 x 150 x 3.1 cm Year created: 2013 About this piece: This painting is an attempt to put the human face on the verge of breaking apart onto itself. Where the uncanny presence of the ever waiting rupture creates an aggressive headlock. KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist ÂŁ3,000
Wanderer by Laimdota Steke Materials: Pencil, watercolour, oil/ panel, Gesso ground, pepper Size (H x W x D): 29 x 22 x 0 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: ”Wanderer (1.) - a person who travels aimlessly; a traveller.” (Oxford dictionaries) The line/the ink trace/brushstroke. It is a mark, from a brush or pencil touching the surface. It is a record of how the hand moves, how calm or intense the person has been while doing it - seeing how slowly or quickly, precisely or aggressively, passionately or superficially a line has been made. It represents decisions; it represents the time spent with an object and substances. These lines can show every single breath as a momentum; the brush shows every little movement as an articulator. These lines are a record of past experience, proof of past moments and the past’s existence with us in the present time. £3,000
The Lost World by Luna Jungeun Lee Materials: Acrylic, Tape, Enamel Paint, Paint Marker, Screen print on Black Perspex Size (H x W x D): 120 x 164 x 5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: Every morning, while still half-asleep, I have a discipline of spending an hour trawling the Internet for new images, appropriating anything that catches my attention as I slowly shifts from a semi-dream state to full waking consciousness â€“ a process that might be understood as a contemporary equivalent of the surrealists automatic writing technique. I utilise early forms of mass reproduction, represented by various handcrafted painting and printing techniques, to print the resulting images onto acetate or perspex; the layered, semi-transparent collages mimicking the digital imagery that flows through our consciousness via our now-ubiquitous and ever-present personal glowing screens. I want to create things that exist and traverse between the margins of two worlds. It is familiar and yet strangely out of place, just as those fragile, arbitrary images, navigating out on unknown paths. ÂŁ6,000
Grow by Maria Salgado Materials: oil and chalk on linen Size (H x W x D): 190 x 140 x 2 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Front by the Artist About this piece: This painting was made in London in 2013, due the final project of the Master in Fines Arts at Chelsea College of Art and Design - University of the Arts London. The projectâ€™s main subjet was the boundaries between humans and animals, and relationships between them. ÂŁ2,990
Big Orange by Theresa Poulton Materials: Acrylic, emulsion and coloured pencil on hand stretched canvas Size (H x W x D): 158 x 212 x 5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: ‘Big Orange’ is a canvas painting which was part of my Master of Fine Art final exhibition at Newcastle University, 2013. This work is an evolution of how I previously painted, the freedom of abstract expressionism, combined with precise, controlled, hard- edged geometric abstracted forms. Brightly coloured and informed by objects within the final exhibition, which surrounded me at the time of creation, the geometric forms hover on the vibrant colour field surface. Finely coloured lines emulating shade and light which fell onto the canvas as I worked were exaggerated in order to connect the compositional forms. A sense of perspective is apparent through the use of line in conjunction with the geometric forms and contrasting styles and colour. £3,500
Water Garden by Tom Waring Materials: Oil on hand-stretched linen canvas Size (H x W x D): 84 x 132 x 5 cm Year created: 2013 KEY FACTS - Requires Framing or Mounting - Original painting - Signed On the Front by the Artist About this piece: My painting approach is born out of the process taken by the American Hudson River School. There naturalistic mountain vistas are composite images created in studios made from several plein air sketches. Today the use of montageing photographs and plein air studies gives me the freedom to create any imaginary landscape. This paiinting was inspired by the work of the architect Frank Loyd Wright. He designed the house Fallingwater in 1935 and it is built in southwestern pennsylvania. The use of traditional aesthetic, Modern subject matter and contemporary technology in the creation of this painting celebrates the old and the new. ÂŁ2,000
What a Wonderful World by Amy Edwards Materials: Digital Camera Size (H x W x D): 84.1 x 118.9 x 0 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original photography - Signed On the Back by the Artist About this piece: What a Wonderful World. (www.) Found image from the internet, taken with a digital camera. A man hanging from a bridge in Mexico. ÂŁ600
Melancholia #6 by Corinne Perry Materials: Hand coloured (water colour and acrylic paint) silver gelatin darkroom photograph printed on Semi-Matt Fine Grain paper Size (H x W x D): 28.4 x 21 x 0.05 cm Framed Size 42cm (H) x 37cm (W) x 2.5cm (D) Year created: 2013 KEY FACTS: - Ready To Hang/Display - Limited edition of 6 - Signed On the Back by the Artist About this piece: This piece forms part of my newest works ‘Melancholia’, a series based upon the exploration of my natural melancholic temperament. As an artist I am interested in the merger of my body in relation to the space it inhabits. This display of merging moves beyond the visual representation into the tactile reality of the emotional constructed space. This influence can be seen with the creation of a doorlike shape upon the wall, as I stand in front of it; this becomes a literal tactile interpretation of my desire to dissolve into my surroundings. My body is bare, like the wall it assimilates, fragile, exposed and laden in my most inner feelings. £300
Field Day: Descent by Kevin Dowd Materials: Using photos collected from Field Day, this piece is a composite of different visual components brought together to capture the ‘Descent’. Size (H x W x D): 100 x 70 x 0 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Limited edition of 10 - Signed On the Back by the Artist £440
“Sophie” from “Uncertain” by Luba Kozorezova Materials: Projection on a backdrop Size (H x W x D): 150 x 100 x 0 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original photography - Signed On the Back by the Artist About this piece: “Uncertain” is a project about reflections. First, specular ones, as the people from these portraits did not see the camera, when being shot. They were looking into the mirror that was placed between them and the photographer. Initially, it was an attempt to observe their behavior in the situation, when they were faced with their own gaze, the gaze of someone behind the reflecting surface and finally the mechanical gaze of the photographic apparatus. In the case of the viewer it is a reflection of another sort: on the differences and similarities between the natures of the still and moving image. The technologies of film and photography that have been tightly bound together throughout the history, here are juxtaposed. Their coexistence in one piece allows to explore the two ways of our perception of time, showing something that has once happened and something that is happening right now, when we are looking at it. SOLD
Mr Pinner & Smudge, Woodside, 2013 by Christopher Mear Materials: Nikon D7000 Size (H x W x D): 30 x 42 x 0.1 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Limited edition of 21 - Signed On the Front by the Artist About this piece: This is a picture of Mr Pinner, holding a framed print that he had made of another picture that I made of a cat named Smudge. Smudge lived two doors down from Mr Pinner, but he visited Mr Pinner everyday - donating a little of his time, in return for a little of someone elseâ€™s time. ÂŁ42
Totem III - Large Perspex by Natalie Tkachuk Materials: Photograph Size (H x W x D): 101.6 x 76.2 x 0.7 cm Year created: 2012 KEY FACTS: - Requires Framing or Mounting - Limited edition of 10 - Signed On the Back by the Artist - Digital C-type, Durospec Reverse perspex mounted. About this piece: ‘Totems’ is a series of constructed still life mechanical parts which explores the machine as a non-functional object in order to see them as a new machine. These discarded parts of machinery have been collected, disassembled and reconstructed to create new forms which are often reminiscent of familiar shapes, or even other worldly. These mechanical totems have been erected using several elements that are placed and balanced on top of each other, indicative of and echoing the totem pole, the Totem pole being a sculpture that consists of different components normally representative of animals and of spirits, this is also reflected by the tribal look to the images. Totems III - Large Perspex £1,900
Pop by Seren Radley Materials: 35mm film Size (H x W x D): 40 x 30 x 3 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Limited edition of 25 - Signed On the Front by the Artist About this piece: Taken in Paris by Seren Radley. ÂŁ100
Ubiquitous by Tibor Galamb Materials: It was shot by NIKON D800 camera in Lithuania. Edited in Photoshop after. Matte print, aluminium Dibond mounting. Size (H x W x D): 71.2 x 107 x 2 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Limited edition of 4 - Signed On the Back by the Artist About this piece: Concept and photography by Tibor Galamb. It has been shot and organized in Lithuania in 2013. ÂŁ1,444
From the series “Finding Tom Calvert’ by Tom Calvert Materials: Giclée Print Size (H x W x D): 97 x 97 x 0 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Limited edition of 5 - Signed On the Back by the Artist About this piece: It is funny how a simple search on the Internet can lead on to bigger things. After searching my name on a popular auction website, I ended up spending £6.99 on a secondhand book. A few days later, it was delivered to my house. The book I’d bought proposed a 180-mile walk over 14 days. I saw this walk as a pilgrimage, shared from one Tom Calvert to another. What better way to find myself than to go on the same journey as another Tom Calvert – a seemingly tried and tested route for all Tom Calverts alike. The images I created on this journey show a silliness and playfulness – not only found in the proposition of my journey, but also on the journey itself. This image was created on that journey. Before I went on this journey, I had never been to the Lake District nor had I ever walked up a mountain. After completing it, I still can’t read a map properly, my waterproof trousers remain unused and I have a compass that doesn’t point north. Have I found myself? Who knows. £750 www.signatureartprize.com 45
I Know That These Will All Be Stories Some Day by Charlotte Cousins Materials: Photography Stills, Size (H x W x D): 1.67 x 3.35 x 0.5 m Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original photography - Signed On the Back by the Artist About this piece: This is a large scale Photographic Installation. It is an exploration into the ideas of expanded cinema. Concerning itself with ideas of memory developed through interventions with lost media and sculptureal form. Inteded to evoke query into memory as a human mechanism and its relationship, while also having a strong relationship with nostalgia that my chosen materials create. ÂŁ1000
Richard III by Bex Massey Materials: Oil, enamel, ink and spray paint on canvas with newspapers Size (H x W x D): 310 x 80 x 30 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Original sculpture - Signed On the Back by the Artist About this piece: Bex Massey’s work is based on the copious stories found within newspapers and on occasion the broadsheets themselves as physical entities. Massey appropriates images from Media headlines and translates them through paint. She combines these canvases with objects which reference British nostalgia. Moreover she often couples entities that talk of a mass produced 80’s childhood in which she grew up. In so doing she cements our recent history in a slower, naively easier and more playful tense. Massey’s installations question the ideals of expectation, with impetus to manner of display and art history: In so doing she transforms these once 2D works into sculptural arrangements which balance precariously. The inclusion of components integrating the canvases landscape distort the press imagery and its account further. As such she aims to create a platform for the viewer to translate the installation independently as to their own personal connection to item and image: Thus enabling the audience to manufacture their own personal narratives. £2,000
Untitled (174 Hours, 34 Minutes and 37 Seconds) by Emily Furnell Materials: Copper, Copper Sulphate, Perspex, Glass, Stop-out Fluid, Aluminium Rivets, Car Battery Charger Size (H x W x D): 30 x 25 x 25 cm Year created: 2013 KEY FACTS - Ready To Hang/Display - Original sculpture - Signed On the Back by the Artist About this piece: Copper objects as by-products of a process of electrolysis through copper sulphate, encased in a glass cocoon. I have included an image of the process itself taking place. My work questions electromagnetism as an esoteric phenomenon. It explores the struggle to discuss intermolecular interactions between charged particles by their imperceptibility to human visible extremities. ÂŁ875
Skin Of Nature: Gravity II by Ian Tricker Materials: Resin, Iron Powder, Sliver Nitrate Size (H x W x D): 300 x 100 x 180 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Limited edition of 8 - Signed On the Back by the Artist About this piece: This body of work is using sculptural language such as balance, tension, mass, structure, texture and form, my work pays particular attention to surface and the ‘skin’ of the sculpture. My methodology focuses on the changing surface, which here interacts with imagined forces similar to gravity; the skin becomes stretched almost to breaking point, being pulled off from the sculptural form beneath which appears to be floating. In this sense, the sculptures seem to completely defy the laws of gravity, all capturing an individual moment of in time. £4,500
Temporary Loom by Jackie Sewell Materials: Recycled Carrier Bags Size (H x W x D): 240 x 950 x 5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original installation - Signed On the Back by the Artist About this piece: I have a deep rooted passion for fabric and the structure that is the weave and weft. Weaving is an ancient practice that is incorporated in our everyday lives in many ways. My work evolves in a conceptual space where social and economical ideas encounter the material processes of handwork and industry. I investigate how everyday items and found objects can be married together using this technique. The use of frames serves as a window as well as a tool, functionally isolating individual studies. ÂŁ2,000
The Chairmanâ€™s Family Portrait by Melanie Gurney Materials: shirts, fabric dye, thread Size (H x W x D): 240 x 180 x 5 cm Year created: 2012 KEY FACTS: - Ready To Hang/Display - Original sculpture - Signed On the Back by the Artist About this piece: These shirts have been hand dyed individually and sewn together to create a pixlated portrait. ÂŁ650
Entity002 by Neil James Materials: 25 Layers of 4mm Opti-white Glass. Airbrushed Resin from Hand Cut Stencils. Aluminium Base. Size (H x W x D): 30 x 38 x 18 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original sculpture - Signed On the Front by the Artist About this piece: This is the third artwork in the ‘Entity’ collection. It’s inspired by the mysterious beauty that a conceptual shape presents and the intrigue surrounding its engagement. Motion capture software has been used to capture the flowing movement of a dancer; with a series of complex animation techniques following. This has allowed a process of analysis, construction and reassembly of the image; forming a parallax of 2D airbrushed resin images on glass, built up on multiple layers to complete the 3D artwork. The artwork works exceptionally well with natural light from behind or artificial light from above. SOLD
Kernel by Rogan Brown Materials: Handcut paper, foamboard, glue Size (H x W x D): 110 x 140 x 10 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original sculpture - Signed On the Front by the Artist About this piece: This piece is part of a series of large-scale, layered, hand cut relief sculptures that I have been working on for the past four years. It is by far the most complex sculpture I have made and took five months of intensive labour to complete. I think it should be considered for the competition because it is a highly unusual and original hybrid of sculpture, design and craft. The beauty of this work was hard won, a key factor for me in my ongoing examination of the relationship between the contemporary artist and nature. ÂŁ17,000
Superb Parrot and Steel by Sam Carvosso Materials: Taxidermy Parrot, Steel Size (H x W x D): 173 x 134 x 120 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original sculpture - Signed On the Back by the Artist About this piece: My practice uses the history or genres of sculpture to make a sculpture readable. As artists and viewers we understand the use of material and the use of form in sculpture and we are comfortable with this type of art. For example, we understand minimalism and we are comfortable with its concepts - ‘less is more’ and so on. However, I find these are somewhat dead forms of art, genres that have happened. We can talk about why an artist would choose this form over that and why its this material and not that material, but this all disappears when you put something as absurd, as distracting as a bright green parrot atop it. Suddenly everything we understand about form and material becomes irrelevant and we begin to question the parrot’s existence. This sculpture becomes nothing more than a mere piece of ‘steel’, perhaps off cuts that have just been tossed aside. The effort that has been made to cut the angles, weld them together and polish the steel becomes meaningless; our attention is completely averted to the parrot. £2,200
Untouched...A Small Violence by Susan Fletcher Materials: Paper, thread, ink, gouache, photographic transpariences viewed through a 1950 Sawyers Bakelite View-Master Size (H x W x D): 9.5 x 10.5 x 5.5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original sculpture - Signed On the Back by the Artist About this piece: These sculptural drawings use subtle and handcrafted materials to explore personal narratives which are often at odds with the work’s delicate formations. The View-Master waits dependently for the participation of the spectator. There’s something about the act of looking and touching, the curiosity and the discovery. Now so easily led into visual consciousness through mobile phones and digital cameras in easy reach, my work asks more from the observer... £2,200
The Other Side by Timothy Elisha-Lambert Materials: Polyurethane with an other side of AR programme. Size (H x W x D): 54 x 40 x 18 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Limited edition of 9 - Signed On the Front by the Artist About this piece: The sculpture depicts a woman reclining in the grass of an Inner-city Park; she has a book open resting upon her chest, having fallen asleep, dreaming, in the ideal summer scene. The dreamer is lying on pavement slabs. The sculpture will be predominantly cement Slabs, however when viewed through a smart phone or tablet, equipped with the Augmented Reality (AR) programme, the viewer will observe lush moving grass around the woman. ÂŁ4,800
DRAWING & PRINTMAKING
DRAWING & PRINTMAKING
Italy by Beverley Gene Coraldean Materials: Rotring Rapidograph technical pens on 600gsm Hot pressed watercolour paper and coloured digitally on Photoshop. Archival quality Giclee print on matte watercolour paper. Size (H x W x D): 59 x 84 x 3 cm Year created: 2011 KEY FACTS: - Requires Framing or Mounting - Limited edition of 50 - Signed On the Front by the Artist About this piece: Having Studied Game Art and Design at BA level, I am fascinated by creating environmnents with levels and intertwining paths. Furthermore I have developed a love of Italy and have spent several years studying it’s architecture, cities, how it makes me feel and what makes it tick. This piece is inspired by Florence and Venice and is derived from my urban sketches and photos that I took. I wanted to convey the overwhelming emotion felt as you first set eyes on a city. I hope that an audience will feel ambitious, inspired and anxious as they face a playground of possiblitity. With this feeling will come rejection too. A frustration will develop as we are confronted with complexity, narrowing the image to a blur or ‘pattern’. We find ways to opt out of the responsibility of choice through denial, distraction and restriction. £75
DRAWING & PRINTMAKING
The Returnee by Anna Glantz Materials: Acrylic, Ink, Graphite and Photo Transfer on 250 gsm Somerset Paper Size (H x W x D): 65 x 49 x 1 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original limited_edition_print - Signed On the Back by the Artist About this piece: The Returnee (2013) is a mixed media image. The techiniques used are; Acrylic, Ink, Graphite and Photo Transfer on Somerset Paper. This is a unique art piece and only one original exists. The image is float -mounted in a bespoke black wooden frame with non reflective glass, made by Hawkswells framers in Canterbury. The Returnee is signed, stamped and dated at the back of the frame. SOLD
DRAWING & PRINTMAKING
The Shipping Forecast by Charlotte Lucy Rosemary Whitehead Materials: Charcoal on brown parcel paper and calico Size (H x W x D): 305 x 366 x 0.5 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original drawing - Signed On the Back by the Artist About this piece: My work is focused on the social bonds that we make in our day-to-day lives, ranging from the close relationships with friends and family to the associations created with figures in the community. Threaded through the everyday lives of ordinary people are examples of extraordinary relationships that come in many forms. I consider each subject independently and my portrayal of them is concluded through an experimentation of all possible mediums and processes in order to appropriately depict the individual. ÂŁ2,000
DRAWING & PRINTMAKING
Nostalgia by Claire Anscomb Materials: Graphite and 2b pencil Size (H x W x D): 27.9 x 35.6 x 0.1 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Original drawing - Signed On the Back by the Artist About this piece: An ode to the ephemeral nature of memory in the ephemeral form of pencil on paper. ÂŁ500
DRAWING & PRINTMAKING
Apron Strings by Deborah Ward Materials: Charcoal on Fabriano paper Size (H x W x D): 60 x 80 x 0 cm Year created: 2013 KEY FACTS - Ready To Hang/Display - Original drawing - Signed On the Back by the Artist About this piece: The drawing is the final frame from the drawn section of a stop-frame animation, done using an additive and reductive process with charcoal and an eraser. The aprons used belonged to close female family members. The provenance of objects I use is significant and of grat importance to me. ÂŁ275
DRAWING & PRINTMAKING
Postproduction VIP Feat. V.Kh by Gilbert Richards Materials: Bromoil Print on Silver and potassium salts. Size (H x W x D): 58 x 68 x 8 cm Year created: 2010 KEY FACTS: - Ready To Hang/Display - Original painting - Signed On the Back by the Artist About this piece: Mixed Media print on silver salts and fiber based paper, mounted in a perspex case. Exploring the limitations of chemical development and application of ink to the surface by hand. This image brings together elements of dream, memory, the past, present, future, and the interplay between mechanical and human expression within a given space. Although an older work, I feel this represents my signature style. My practice is exploitation. An exploitation of exact execution of mechanical reproduction with the subtlety and originality of the human hand whilst exploiting writers of critical theory to underpin the conceptual project. ÂŁ800
DRAWING & PRINTMAKING
Christine and Andrew by Laura Ann Coates Materials: Calico, embroidery thread. Size (H x W x D): 27 x 50 x 4 cm Year created: 2013 KEY FACTS: - Ready To Hang/Display - Original drawing - Signed On the Back by the Artist About this piece: Hand- embroidered certificate, documenting the marriage of my parents in 1985. Calico on box stretcher, presented in a matt black float frame. ÂŁ450
DRAWING & PRINTMAKING
Glacier Maze by Sherrie-Leigh Webb Materials: Screenprint with interference inks, metallic inks and silver metallic foil, 59 x 84cm, 2013. Edition of 15 on Snowdon Cartridge Paper Size (H x W x D): 59 x 84 x 0 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Limited edition of 15 - Signed On the Front by the Artist About this piece: Sherrie-Leigh Webbâ€™s work is situated between states of consciousness and dream. Fragments of collaged material, perspective, colour, space and scale mix in a fluid manner skewing our preconceptions between objective and imagined realities. Often serene and playful, undefined by time or space, a sense of escapism is aroused with imagery that is familiar yet distant. Suggested narratives offer a transportation to mythological realms, made tangible through personalised and fantastical portals. ÂŁ325
DRAWING & PRINTMAKING
Think For Yourself Not About Yourself by Mike Ainsworth Materials: 4 colour silkscreen print Size (H x W x D): 40 x 40 x 0 cm Year created: 2013 KEY FACTS - Requires Framing or Mounting - Limited edition of 5 - Signed On the Front by the Artist About this piece: A lot of my work revolves around text, sometimes things i find or see in society, often in highly saturated areas that impose on our retinas at every glance, such as newspapers or TV or advertising of all kinds really. So I began to adopt this vernacular of contemporary popular culture to attempt to comment and highlight aspects or problems of society. Often taking layouts and colour schemes also from these same locations in an attempt to camoflage the work as another element of popular culture, to attempt to be subtle than scream from the rooftops. “Think for yourself not about yourself” is a phrase I came up with, and I guess I was being very literal with it, to not be selfish with the freedoms our democratic system allows however to not become complacent also. Not to accept this democracy as an end goal and a final solution, to not be tricked into turning in on ourselves and away from others and no longer question a system or strive for evolution of such a system, as it would be in my opinion that democracy is not an end goal. £100
DRAWING & PRINTMAKING
Why Are We Waiting? by Leah Crews Materials: Lino print on paper Size (H x W x D): 63 x 295 x 0 cm Year created: 2013 KEY FACTS: - Requires Framing or Mounting - Original limited_edition_print - Signed On the Front by the Artist About this piece: Influenced by group psychology and unspoken rules of social conduct, this piece focuses on an everyday occurance that is often seen but seldom considered: the queue. The image shows in split in two. ÂŁ400
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