Week twenty
BLOC EXHIBITION A Collaborative effort from year 2 Fine Art Elicia Chelsea Molly Vicky Courtenay Jason Joe Emily Olivia Beth Hannah Tassie Alexandra Jack Liv Emily Laura Kate Daisy Hermioney Ammaarah Petros Molly Sam Anne-Marie Elizabeth Steve Olga Shez
Agar Aheran Anderson Andrusyschyn Bes-Green James Burdett Butler Carlson Cummings Del Herrera Drobinski Flanagan Hinson Jenks Kempster Kingston Marszalek Mellor Gunn Mills-Rogers Nazir Nikalous Pemberton Reed Russel Sparks Wood Young Zaidi
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Chelsea Aheran Lauren Jones Jack Hinson
Molly Pemberton ‘Handmade vs. Digital’
Whenever there are major periods of transformation in society, from the Industrial Revolution of the 19th century to the prolifAmmaarah Nazir eration of mass market production and ‘Can hands explain anything?’ consumerism in the 60s and 70s, there is Exploring the idea of using the use of the always a resurgence of textiles, craft and hand as a form of communication rather the handmade. An inevitable reaction than making it visible with words. By putwhich occurs in response to the escalation ting hand signs in form of art, I’m trying of technological manufacture and which explore also how everyone has different habitually causes the artists of the time to eye of art, and not everyone sees art in the return to focus on detail, craftsmanship same way and tactility. This rejection of mass production has once more resurfaced as we make Shez Zaidi huge and rapid advances in modern technology. The work I produced for this exhibition has originated from ideas regarding Joe Burdett This series of black and white photography texture and tactility as well as documenting the ubiquitous nature of digital technology relates to the concept of removing stigma in quotidian life. from gender non- conforming individuals (that are most commonly misrepresented in the media) providing a more sensitive Tassie Drobinski and personal insight into the emotional and ‘Eat the rich before they eat you’ physical experience of what it means to be Vote Labour alienated by your own skin. The use of matt finished paper softens the depiction of Olivia Carlson a harsh reality within the composition of each image and the intention of the series ‘Distress’ The goal behind my work is for the audiis to flow in such a way as to tell a story that allows the spectator to feel as though ence to become unnerved yet intrigued, their own eyes are the lens of the camera. similar to the effect of horror movies on many people. I decided to use film photogA subtle yet unsettlingly set of snapshots raphy and distress the negatives in differtaken in the privacy of my own space to ent ways such as scratching and burning. create conversation around the issues of As in this piece I burnt most of the face gender dysphoria without overwhelming away and scratched an ‘X’ over the face as the viewer with size, scale or intensity of well. When I printed the photo I had it incolour- the context of the images themverted to bring it back to the look of the selves achieve this more effectively. classic film negatives. The burning, scratches, and inverting combine to create an unnerving image where you know it’s a
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human but are unnerved by what’s happened to their face as if it could happen to our own. People find it easier to relate to other people more so than inanimate objects because they can imagine themselves in that other person's position. For that reason I used people as my subject matter, focusing on the framing and facial expressions to help aid in the creation of uneasiness.
the present day. The delicacy and antique nature of each print depicts an intimate yet faded memory that leaves the audience to question their knowledge and feelings towards these places; they become distorted by time and recollection. It is not only the distortion of time and narrative that these pieces play with. The prints capture architectural structures in Italy, and in particular examine their relationship with their natural Daisy Mellor Gunn surroundings. Texture and structure are key to capturing these images, where the “rectilinear” forms Kate Marszalek of architecture can either be mirrored in the ‘Breakthrough’ natural landscapes, or contrast them. The This piece I made was to express the feel- fascination for ing of letting yourself love, how the feelings rustic and cultured street architecture beof butterflies in your stomach break free all comes the base for this project, but the over and give you the power to define your way they are presented and the medium used to create them transfeelings.’ form the pieces out of the gallery and into a page in the Vicky Andrusyschyn audience’s photo album.
‘Untitled’
My art practice focuses on my Ukrainian culture and what it is to be Ukrainian. This piece I have exhibited is a working progress of my grandma who was born in Ukraine and for me represents the start of my Ukrainian culture and existence. The floral and geometric patterns around her figure represent the traditional Ukrainian embroidery, which I carefully hand painted each dot on to create a stitch like effect.
Beth Cummings
Elizabeth Sparks Laura Kingston ‘Footprint’
"It's just one plastic bottle" - said 8 billion people. Our plastic footprint on the world is larger than we can comprehend and it's only one of the leading human causes of climate change, yet it's one of the easiest things to change. I want to challenge your view on plastic and it's effect on world around you, by suffocating the nature we were given and unearthing just a handful of the bottles we use.
Exhibited is a triptych of screen prints that embed themselves deeply into the audiences long term memory. Taken from holiday photographs, these images have been transformed into four colour Olga Young screen prints, altering the colour, texture and narrative of each piece. Now presentSteven Wood ed are prints that hold warm, comforting hues of yellow and ‘Not a dream’ The Artist has worked with images formed orange and are transformed into vintage images instead of
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Orla Beaulieu
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Elicia Agar
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from his emotions and feelings to produce an abstract sculpture .This is not a dream but a tempestuous surreal journey into the mind of the creator
Some of the people involved in these acts are still adhered today by people across the globe. I find this fascinating and unbelievable. It certifies the evil that I believe is embedded in all of us- which people often choose to Hermioney Mills Rogers ignore. I believe they should not ignore it, for when Petros Nikalous they do, they deny the horrors they are ‘Emotional Scars’ capable "Don’t judge a book by its cover" .Through of; thus portraying a false embodiment of our acquaintances we tend to judge a per- enlightenment. son only by his outward appearance and I use the theme of soviet art satirically and not by his character. We never know what ironically where communism was thought people carry inside them. Unfortunately, all to these traumas and psychological circumsave the proletariat from aristocracy howstances coming from personal fears and ever, became the hands that were bloodpast experiences, scar our character and ied by the emotions in lots of different ways. murders of no less than 20 million citizens. This is just one of the ways I plan to porMolly Anderson tray narrative in order to displace the viewer from their comfortability. Jason James
‘Neurosis’ A self reflective piece on dealing with an increase of paranoid thoughts and the weight that this brings.
Sam Reed Orla Beaulieu ‘Do you see Christ when you look in the mirror?’ Influenced by Russian Soviet artwork. I take great interest in the notion of evil surfacing in ordinary people for causes they are certain are good. Conventional people throughout the 20th century committed atrocious horrors blinded by the façade of altruism.
Elicia Agar ‘’The Word Vomit Initiative’, run by the Solicited Advice Bureau’ A small selection of works from a wider art practice, taking a satirical look at themes such as Authorship, Commodification, Hyper Normalisation, yuppies and ideas of an ideal state. ‘For 1 week and 1 week only, the Word vomit initiative turns it’s back on you’
Anne-Marie Russell ‘Origin’ The original version of being before I understood anything external to myself. I marked my boundaries in colours and light. A place of unconscious wonder, some-
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Anne-Marie Russell
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-where before 10 years old. Before I emerged from the illusion of safety. Before I knew what drinking tea was like. The eve of transition to a state of being, where I would say it was essential. I feel a dissonance between the remembered self, and the reality of a life lived. Still resisting compression of social expression, I drink tea and go and make Art.
Emily Butler ‘STICKER BOX’ back yourself and be unapologetically you! Sticker Box is taking the ethos of camp owning what it is and embracing the best of ourselves
Emily Kempster Courtenay Bes Green Liv Jenks What is it you see through the mirror? Do you observe others with the same pressures that you put on your own reflection? This series of photos observes a group of individuals within ordinary moments that have only been brought to light through the lens of the observer
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