䔀䴀䔀刀䜀䔀一䌀䔀 䈀䄀 ⠀䠀漀渀猀⤀ 䘀椀渀攀 䄀爀琀 䐀攀最爀攀攀 匀栀漀眀
唀渀椀瘀攀爀猀椀琀礀 漀昀 䌀甀洀戀爀椀愀Ⰰ 䈀䄀⠀䠀漀渀猀⤀ 䘀椀渀攀 䄀爀琀 䐀攀最爀攀攀 匀栀漀眀Ⰰ 愀猀 瀀愀爀琀 漀昀 琀栀攀 唀渀椀瘀攀爀猀椀琀礀 眀椀搀攀 묂䘀伀刀䴀밂 䔀砀栀椀戀椀琀椀漀渀⸀ 䄀 洀甀氀琀椀ⴀ搀椀猀挀椀瀀氀椀渀愀爀礀 攀砀栀椀戀椀琀椀漀渀Ⰰ 琀栀椀猀 椀猀 琀栀攀 挀甀氀洀椀渀愀琀椀漀渀 漀昀 琀栀爀攀攀 礀攀愀爀猀 眀漀爀欀 昀爀漀洀 愀 最爀漀甀瀀 漀昀 挀漀渀琀攀洀瀀漀爀愀爀礀 愀爀琀椀猀琀猀⸀ 倀爀攀瘀椀攀眀 一椀最栀琀㨀 匀愀琀甀爀搀愀礀 㐀琀栀 䨀甀渀攀 ㈀ 㘀簀㘀㨀 ⴀ㤀㨀 瀀洀 伀瀀攀渀椀渀最 吀椀洀攀猀㨀 䴀漀渀搀愀礀 㘀琀栀 琀漀 䘀爀椀搀愀礀 琀栀 䨀甀渀攀 ㈀ 㘀簀 㨀 愀洀ⴀ㐀㨀 瀀洀 䔀砀栀椀戀椀琀椀渀最 䄀爀琀椀猀琀猀㨀 倀栀椀氀椀瀀瀀愀 䄀猀瀀椀渀愀氀氀 䬀椀洀戀攀爀氀攀礀 䈀爀愀渀渀漀渀 䬀愀琀攀 䈀甀搀渀椀愀欀 䤀愀椀渀 䌀愀洀攀爀漀渀 䈀攀琀栀愀渀礀 䌀漀氀氀椀渀 䄀渀搀礀 䌀漀漀瀀攀爀 䠀愀渀渀愀栀 䌀 䠀愀渀渀愀栀 䌀漀琀琀漀渀 刀愀挀栀攀氀 䐀漀甀最氀愀猀 䰀愀甀爀攀渀 䘀漀爀搀 匀愀洀愀渀琀栀愀 䜀愀洀戀氀攀猀 一愀琀愀猀栀愀 䠀攀渀搀攀爀猀漀渀 䄀洀礀 䠀漀氀氀愀渀搀 䄀氀攀砀 䨀愀爀稀礀渀愀 䌀氀愀 䌀氀愀爀攀 䬀攀氀氀礀
䄀椀洀攀攀 䴀愀砀眀攀氀氀 䰀漀琀琀椀攀 䴀挀䤀渀琀漀猀栀 䨀愀搀攀 䴀椀渀攀爀猀 䬀愀琀椀攀 䴀甀爀爀愀礀 䈀攀琀栀愀渀攀礀 伀氀椀瘀攀爀 䈀攀琀栀愀渀礀 伀✀渀攀椀氀氀 䨀愀 䨀愀挀欀椀攀 伀眀攀渀 䄀戀戀礀 䨀愀渀攀 倀攀愀爀猀漀渀 䌀愀爀漀氀椀渀攀 刀甀搀搀椀挀欀 匀攀戀愀猀琀椀愀渀 匀洀椀琀栀 䐀愀渀椀攀氀氀攀 匀琀攀攀氀攀 䜀攀漀爀最椀渀愀 吀栀漀爀渀琀漀渀 吀栀漀爀最甀渀渀甀爀 吀栀漀爀猀搀漀琀琀椀爀 倀愀甀氀 圀攀攀搀猀
倀氀攀愀猀攀 渀漀琀攀 琀栀愀琀 愀爀攀愀猀 洀愀爀欀攀搀 椀渀 爀攀搀 愀爀攀 挀甀爀爀攀渀琀氀礀 漀甀琀 漀昀 戀漀甀渀搀猀 琀漀 洀攀洀戀攀爀猀 漀昀 琀栀攀 瀀甀戀氀椀挀⸀ 吀栀愀渀欀 礀漀甀⸀
㜀 㐀 㘀
㐀 ㈀ ㈀ ㈀
倀栀椀氀椀瀀瀀愀 䄀猀瀀椀渀愀氀氀 ㈀ 䬀椀洀戀攀爀氀攀礀 䈀爀愀渀渀漀渀 ㌀ 䬀愀琀攀 䈀甀搀渀椀愀欀 㐀 䤀愀椀渀 䌀愀洀攀爀漀渀 㔀 䈀攀琀栀愀渀礀 䌀漀氀氀椀渀 㘀 䄀渀搀礀 䌀漀漀瀀攀爀 㜀 䠀愀渀渀愀栀 䌀 䠀愀渀渀愀栀 䌀漀琀琀漀渀 㠀 刀愀挀栀攀氀 䐀漀甀最氀愀猀 㤀 䰀愀甀爀攀渀 䘀漀爀搀 匀愀洀愀渀琀栀愀 䜀愀洀戀氀攀猀 一愀琀愀猀栀愀 䠀攀渀搀攀爀猀漀渀 ㈀ 䄀洀礀 䠀漀氀氀愀渀搀 ㌀ 䄀氀攀砀 䨀愀爀稀礀渀愀 㐀 䌀氀愀 䌀氀愀爀攀 䬀攀氀氀礀 㔀 䄀椀洀攀攀 䴀愀砀眀攀氀氀 㘀 䰀漀琀琀椀攀 䴀挀䤀渀琀漀猀栀 㜀 䨀愀搀攀 䴀椀渀攀爀猀 㠀 䬀愀琀椀攀 䴀甀爀爀愀礀 㤀 䈀攀琀栀愀渀攀礀 伀氀椀瘀攀爀 ㈀ 䈀攀琀栀愀渀礀 伀✀渀攀椀氀氀 䨀愀 ㈀ 䨀愀挀欀椀攀 伀眀攀渀 ㈀㈀ 䄀戀戀礀 䨀愀渀攀 倀攀愀爀猀漀渀 ㈀㌀ 䌀愀爀漀氀椀渀攀 刀甀搀搀椀挀欀 ㈀㐀 匀攀戀愀猀琀椀愀渀 匀洀椀琀栀 ㈀㔀 䐀愀渀椀攀氀氀攀 匀琀攀攀氀攀 ㈀㘀 䜀攀漀爀最椀渀愀 吀栀漀爀渀琀漀渀 ㈀㜀 吀栀漀爀最甀渀渀甀爀 吀栀漀爀猀搀漀琀琀椀爀 ㈀㠀 倀愀甀氀 圀攀攀搀猀
∀吀栀攀 洀椀渀搀 椀猀 攀瘀攀爀礀琀栀椀渀最⸀ 圀栀愀琀 礀漀甀 琀栀椀渀欀 礀漀甀 戀攀挀漀洀攀∀ 䈀甀搀搀栀愀
䴀礀 眀漀爀欀 漀昀琀攀渀 昀愀氀氀猀 椀渀琀漀 琀栀攀 猀瀀愀挀攀 戀攀琀眀攀攀渀 琀栀漀甀最栀琀猀Ⰰ 洀攀洀漀爀礀 愀渀搀 爀攀愀挀琀椀漀渀Ⰰ 攀渀挀漀甀爀愀最椀渀最 漀爀 挀漀攀爀挀椀渀最 琀栀攀 瘀椀攀眀攀爀 椀渀琀漀 洀漀瘀攀洀攀渀琀 漀爀 琀栀漀甀最栀琀昀甀氀渀攀猀猀 琀栀爀漀甀最栀 琀栀攀 甀猀攀 漀昀 椀渀猀琀愀氀氀愀琀椀漀渀 愀渀搀 猀漀甀渀搀⸀ 䴀礀 眀漀爀欀 椀猀 甀猀攀搀 椀渀 猀甀挀栀 愀 䴀礀 眀愀礀 琀栀愀琀 氀攀愀搀猀 琀栀攀 瘀椀攀眀攀爀 椀渀琀漀 愀 猀琀愀琀攀 漀昀 琀栀漀甀最栀琀 椀渀 漀爀搀攀爀 琀漀 昀甀氀氀礀 攀渀最愀最攀 琀栀攀洀猀攀氀瘀攀猀 椀渀 琀栀攀 眀漀爀欀⸀ 吀栀攀爀攀 椀猀 愀渀 椀渀琀攀爀攀猀琀 椀渀 栀甀洀愀渀 琀栀漀甀最栀琀 瀀爀漀挀攀猀猀 愀渀搀 挀漀渀猀挀椀漀甀猀渀攀猀猀 愀渀搀 栀 挀漀渀猀挀椀漀甀猀渀攀猀猀 愀渀搀 栀漀眀 椀琀 猀琀椀氀氀 爀攀洀愀椀渀猀 氀愀爀最攀氀礀 愀 洀礀猀琀攀爀礀 椀渀琀漀 ✀栀漀眀✀ 愀渀搀 ✀眀栀礀✀ 眀攀 眀漀爀欀 琀栀攀 眀愀礀 眀攀 搀漀⸀
䠀甀洀洀椀渀最 椀猀 琀栀漀甀最栀琀 琀漀 戀攀 愀 琀栀攀爀愀瀀攀甀琀椀挀 猀攀渀猀攀 愀渀搀 椀猀 漀昀琀攀渀 漀瘀攀爀氀漀漀欀攀搀⸀ 䤀 䤀 眀愀渀琀 琀栀攀 瘀椀攀眀攀爀 琀漀 琀栀椀渀欀 琀栀攀 琀栀漀甀最栀琀猀 漀昀 漀琀栀攀爀猀⸀ 吀栀椀猀 猀漀甀渀搀 瀀椀攀挀攀 愀椀洀猀 琀漀 琀爀愀渀猀氀愀琀攀 琀栀椀猀 愀氀洀漀猀琀 洀攀搀椀琀愀琀椀瘀攀 瀀爀漀挀攀猀猀 愀渀搀 甀渀氀漀挀欀 眀椀琀栀椀渀 琀栀攀 瘀椀攀眀攀爀 愀 琀爀愀渀挀攀ⴀ氀椀欀攀 猀琀愀琀攀 椀渀 眀栀椀挀栀 琀漀 挀漀渀琀攀洀瀀氀愀琀攀⸀ 吀栀椀猀 椀猀 愀 猀攀渀猀漀 猀攀渀猀漀爀礀 攀砀瀀攀爀椀攀渀挀攀Ⰰ 愀氀氀漀眀椀渀最 琀栀攀 瘀椀攀眀攀爀 琀漀 琀爀甀氀礀 挀漀渀猀椀搀攀爀 愀渀搀 戀攀 攀渀最甀氀昀攀搀 戀礀 瀀攀爀猀漀渀愀氀 愀渀搀 漀琀栀攀爀 瀀攀漀瀀氀攀ᤠ猀 琀栀漀甀最栀琀猀⸀
The theme of the project stemmed from a memory of when I was young; I was on a boat at night and I saw the lights of the harbour that, as we neared, appeared like fireflies dancing over the waves. The main focus of the wa project became how light has an impact on the darkness of night, I found that the bright lights of the city at night especially during heavy rain give off the same awe inspiring feeling that I witnessed years ago on the boat. The paintings help show the contrast between
the man-made lights and darkness with the bright vibrant colours giving off an energetic yet calming atmosphere. The work exhibited reflects on the calmer or dramatic nature in which we see light in whi darkness and offers a unique view at how light and dark intertwine.
ᰠ䄀爀琀 氀攀琀猀 礀漀甀 最攀琀 愀眀愀礀 眀椀琀栀 洀甀爀搀攀爀ᴠ 倀愀戀氀漀 倀椀挀愀猀猀漀
䴀愀渀ᤠ猀 愀戀椀氀椀琀礀 琀漀 琀愀欀攀 愀渀漀琀栀攀爀ᤠ猀 氀椀昀攀 椀猀 戀攀礀漀渀搀 琀栀攀 挀漀洀瀀爀攀栀攀渀猀椀漀渀 漀昀 洀漀猀琀 瀀攀漀瀀氀攀⸀ 䈀甀琀 椀琀 椀猀 愀 昀愀挀琀 漀昀 氀椀昀攀 琀栀愀琀 椀琀 栀愀瀀瀀攀渀猀⸀ 伀甀爀 氀甀猀琀 昀漀爀 琀愀氀攀猀 漀昀 洀甀爀搀攀爀 愀渀搀 洀椀猀挀栀椀攀昀 椀猀 猀攀攀洀椀渀最氀礀Ⰰ 椀渀猀愀琀椀愀戀氀攀⸀ 䴀愀搀攀 椀渀 䴀愀搀攀 椀渀昀愀洀漀甀猀 戀礀 琀栀攀 洀攀搀椀愀 愀渀搀 琀栀攀 攀渀琀攀爀琀愀椀渀洀攀渀琀 椀渀搀甀猀琀爀礀Ⰰ 猀攀爀椀愀氀 欀椀氀氀攀爀猀 愀挀栀椀攀瘀攀 猀琀愀琀甀猀 愀欀椀渀 琀漀 挀攀氀攀戀爀椀琀礀㬀 猀漀洀攀琀栀椀渀最 眀栀椀挀栀 洀愀欀攀猀 洀攀 猀焀甀椀爀洀⸀ 䄀猀 愀渀 攀 䄀猀 愀渀 攀洀瀀愀琀栀Ⰰ 䤀 昀攀攀氀 昀漀爀 琀栀攀 瘀椀挀琀椀洀猀Ⰰ 戀甀琀 漀挀挀愀猀椀漀渀愀氀氀礀 昀漀爀 琀栀攀 瀀攀爀瀀攀琀爀愀琀漀爀猀Ⰰ 洀愀渀礀 漀昀 眀栀漀洀 愀爀攀 戀爀漀欀攀渀 愀渀搀 瀀愀琀栀攀琀椀挀 挀栀愀爀愀挀琀攀爀猀Ⰰ 氀椀欀攀氀礀 猀甀昀昀攀爀椀渀最 昀爀漀洀 洀攀渀琀愀氀 椀氀氀渀攀猀猀Ⰰ 猀挀栀椀稀漀瀀栀爀攀渀椀愀 愀渀搀 瀀猀礀挀栀漀瀀愀琀栀礀 愀渀搀 椀渀挀愀瀀愀戀氀攀 漀昀 挀漀渀搀甀挀琀椀渀最 ᠠ渀漀 ᠠ渀漀爀洀愀氀ᤠ 栀攀愀氀琀栀礀 爀攀氀愀琀椀漀渀猀栀椀瀀猀⸀ 䴀愀欀攀猀栀椀昀琀 䴀攀洀漀爀椀愀氀猀 愀爀攀 愀 眀愀礀 琀漀 瀀愀礀 琀爀椀戀甀琀攀 琀漀 瘀椀挀琀椀洀猀 漀昀
愀琀爀漀挀椀琀椀攀猀 愀渀搀 瘀椀漀氀攀渀挀攀 愀渀搀 栀愀瘀攀 戀攀挀漀洀攀 愀 瀀漀瀀甀氀愀爀 漀挀挀甀爀爀攀渀挀攀 猀椀渀挀攀 琀栀攀 搀攀愀琀栀 漀昀 䐀椀愀渀愀 倀爀椀渀挀攀猀猀 漀昀 圀愀氀攀猀 椀渀 㤀㤀㜀 愀渀搀 琀栀攀 吀攀爀爀漀爀椀猀琀 䄀琀琀愀挀欀猀 漀昀 㤀⼀Ⰰ ㈀ ⸀ 唀琀椀氀椀猀椀渀最 唀琀椀氀椀猀椀渀最 琀栀攀 瘀椀猀甀愀氀 氀愀渀最甀愀最攀 瀀爀攀猀攀渀琀 椀渀 挀漀瘀攀爀愀最攀 漀昀 猀甀挀栀 琀爀愀最椀挀 攀瘀攀渀琀猀 愀渀搀 琀栀攀椀爀 愀昀琀攀爀洀愀琀栀Ⰰ 洀礀 洀椀砀攀搀ⴀ洀攀搀椀愀 眀漀爀欀 爀攀瀀爀攀猀攀渀琀猀 琀栀攀 挀甀氀琀甀爀愀氀 瀀栀攀渀漀洀攀渀漀渀 琀栀愀琀 椀猀 漀甀爀 猀礀洀戀椀漀琀椀挀 爀攀氀愀琀椀漀渀猀栀椀瀀 眀椀琀栀 琀栀攀 洀攀搀椀愀Ⰰ 洀甀爀搀攀爀Ⰰ 挀攀氀攀戀爀椀琀礀Ⰰ 昀愀猀挀椀渀愀琀椀漀渀 愀渀搀 昀愀猀挀椀渀愀琀椀漀渀 愀渀搀 愀眀攀㬀 渀漀琀 眀愀渀琀椀渀最 琀漀 最氀漀爀椀昀礀 猀甀挀栀 搀攀猀瀀椀挀愀戀氀攀 愀挀琀猀Ⰰ 戀甀琀 愀挀欀渀漀眀氀攀搀最椀渀最 琀栀愀琀 眀攀 搀漀⸀
䴀礀 瀀爀愀挀琀椀挀攀 搀攀愀氀猀 眀椀琀栀 琀栀攀洀攀猀 漀昀 渀漀猀琀愀氀最椀愀Ⰰ 洀攀洀漀爀礀Ⰰ 攀猀挀愀瀀椀猀洀Ⰰ 愀渀搀 椀猀漀氀愀琀椀漀渀⸀ 䴀礀 眀漀爀欀 椀猀 栀攀愀瘀椀氀礀 椀渀昀漀爀洀攀搀 戀礀 洀甀氀琀椀瀀氀攀 洀攀搀椀愀 甀猀攀搀 椀渀 挀漀渀瘀攀礀椀渀最 昀椀挀琀椀漀渀 渀愀爀爀愀琀椀瘀攀Ⰰ 猀甀挀栀 愀猀 戀漀漀欀猀Ⰰ 挀漀洀椀挀猀Ⰰ 洀漀瘀椀攀猀 愀渀搀 挀漀洀瀀甀琀攀爀 洀漀 最愀洀攀猀⸀ 䤀 琀爀礀 琀漀 挀漀渀瘀攀礀 栀漀眀 攀猀挀愀瀀椀猀洀 挀愀渀 戀攀 戀漀琀栀 愀 瀀漀猀椀琀椀瘀攀Ⰰ 愀渀搀 渀攀最愀琀椀瘀攀 椀渀昀氀甀攀渀挀攀Ⰰ 戀礀 挀漀洀戀椀渀椀渀最 椀洀愀最攀猀 眀椀琀栀 琀栀攀 瘀愀爀椀漀甀猀 昀漀爀洀猀 漀昀 攀猀挀愀瀀攀 䤀 栀愀瘀攀 瀀攀爀猀漀渀愀氀氀礀 甀猀攀搀 椀渀 甀猀攀搀 椀渀 洀礀 氀椀昀攀 琀漀 搀椀猀琀爀愀挀琀 昀爀漀洀 琀栀攀 瀀栀礀猀椀挀愀氀 眀漀爀氀搀⸀
While walking in the fells I came across an amazing location hidden miles away from anything else. I later found out that it was in fact an abandoned mine office. The way this mine is co completely unseen with in the beautiful Pennine fells really made me think about the pollution that can be hidden by the magnificence of the landscape and how this may affect the future. This led me to look at ideas of over industrialisation and a rusty post-apocalyptic view of this iconic place with in
the Pennines through photography and painting and using ideas of romanticism and scale to portray the feeling and sense of this landscape and location.
“Yesterday, upon the stair, I met a man who wasn't there. He wasn't there again today, I wish, I wish he'd go away...
Last night I saw upon the stair, A little man who wasn't there, He wasn't there again today Oh, how I wish he'd go away...”
When I came home last la night at three, The man was waiting there for me But when I looked around the hall, I couldn't see him there at all! Go away, go away, don't you come back any more! Go away, go away, and please don't slam the door... ‘Antigonish’ - William Hughes Mearns
My work explores movement in the form of dance and choreography through the use of video and screen printing. Inspired by Yvonne Rainer and Allan Kaprow the work addresses task-like, movements along feminine m with the mundane by looking at monotonous domestic tasks. The sickly pink used throughout the work reflects the feelings we get when completing these tasks. Repetition is key to visualising how the mediums of dance and movement can be translated into the static form
of prints. The use of industrial lines is intended to aid an understanding and visualisation of a suggested moving human form.
My practice involves the exploration of the deterioration of relationships, particularly friendships. The current evolution of my practice has focussed on the breakdown of one of my own friendships and the f damage it instigated. Originally this work used the cycle of parasitism and the destruction caused to the host (or victim) as context. It has developed into ‘What is f a friend?’ and ‘What friends are?’ and how society classifies them and their importance through the study
of Victorian taxonomy of insects. These key factors will continue to influence my practice and future works due to the relatability and poignancy to everyday life.
I primarily work with moving image and sculptural installations. My work creates situations in which everyday objects are altered or detached from their natural function, by applying specific speci combinations and certain manipulations. My work explores themes that transgress and threaten our sense of cleanliness, particularly referencing the body and bodily functions. Opposing ideas contained in the film see my seemingly normal acts, become a
contrasting subject between the interior and exterior of grooming and domestic chores. The acts are somewhat of a timeless cycle. By recreating these actions we are exploring the abject through these realities. Whilst exploring the ideas of abjection around domestic cycles, the plug-hole has being a main focal point for my practice. The Pipe Line is taking an object from its natural belonging and form and recreating it in a new environment.
My practice is based on the idea of turning technology in to a religion, this concept is taking from how we are becoming depended on technology to live our day to day lives as it has become obvious that our technology ob has exceeded our humanity. These pieces are inspired from how we live from our phones, thou the apps of snapchat and facebook.
I am a conceptual artist who is investigating film in art. Aground is a film installation which is a specific response to a personal experience, translating a metaphor of been decentred.
The installation of the film and how it is positioned in its surroundings are of key interest, questioning how those textures promote engagement with the artwork..
The kaleidoscopic aesthetic and pattern formations removes the central point of focus. Using media application techniques to cause visual disruptions that purposely break the rhythm of the film to represent the need to readjust and regain equilibrium.
My work is an exploration of the artistic process, and a critique of the institution for which it is produced. I believe beli that in order to make successful work, an artist must constantly question and critically evaluate what the work is doing, who the work is made for and what it achieves. For me, part of this pr process involves an element of institutional critique.
methodology and approach to producing work? These types of questions have led me to explore themes within my practice such as monotony and repetition, and have acted as a springboard from which to ensure I am continually producing work in a variety pr of media.
Another part of this process is an internally reflective one. How effective is my own
✀椀 挀漀洀戀椀渀攀 挀愀爀琀漀漀渀猀 眀椀琀栀 洀漀爀攀 挀漀渀猀椀搀攀爀攀搀 搀爀愀眀椀渀最猀 琀漀 挀愀瀀琀甀爀攀 琀栀攀 挀漀挀欀猀 漀昀 琀栀攀 挀爀漀眀渀 栀漀琀攀氀✀
My work is a representation of the disembodied mind. It shows mental trauma created by sexual harassment on the body. The physical nature of flesh like materials create something familiar, something relatable, yet som something intrusive. Glitch is a word I have kept in mind throughout the discourse. Meaning a sudden, usually temporary malfunction or fault. The work is displaying a type of malfunction between the brain and the body. My work has become a state of the uncanny due to the juxtaposition of the materials and the human body. It has become uncomforting. My paintings depict the human form in its base elements, meat,
bone and sinew. Using portraiture I have obscured the male and female balance creating a non-gendered series. This allows the viewers to relate and sympathize to both male and female victims of sexual ha harassment. Creating something figurative yet abstract allows the malfunction to become more apparent. The glitch is a burden, which is consumed throughout.
䴀礀 瀀爀愀挀琀椀挀攀 椀猀 戀愀猀攀搀 漀渀 䌀愀爀氀椀猀氀攀 愀渀搀 琀栀攀 爀攀挀攀渀琀 昀氀漀漀搀 琀栀愀琀 氀攀昀琀 搀攀猀琀爀甀挀琀椀漀渀 椀渀 椀琀猀 瀀愀琀栀⸀ 䤀 栀愀瘀攀 挀愀瀀琀甀爀攀搀 琀栀攀 昀氀漀漀搀猀 琀栀爀漀甀最栀 瀀愀椀渀琀 琀甀爀渀椀渀最 琀栀攀 愀眀昀甀氀 挀漀渀搀椀琀椀漀渀猀 琀栀愀琀 琀栀攀 昀氀漀漀搀 氀攀昀琀 椀渀琀漀 爀漀洀愀渀琀椀挀 昀愀渀琀愀猀礀 氀愀渀搀猀挀愀瀀攀猀 眀椀琀栀 昀愀渀 最氀漀猀猀礀 氀甀洀椀渀攀猀挀攀渀琀 挀漀氀漀甀爀猀⸀ 䤀 栀愀瘀攀 昀漀挀甀猀攀搀 漀渀 刀椀挀欀攀爀戀礀 倀愀爀欀 愀渀搀 琀栀攀 氀愀爀最攀 挀漀洀洀攀洀漀爀愀琀椀瘀攀 猀琀愀琀甀攀 䤀 栀愀瘀攀 琀愀欀攀渀 椀渀猀瀀椀爀愀琀椀漀渀 昀爀漀洀 琀栀攀 琀愀氀氀 琀漀眀攀爀 琀愀欀椀渀最 椀琀 昀爀漀洀 椀琀猀 甀猀甀愀氀 猀甀 猀甀爀爀漀甀渀搀椀渀最猀 愀渀搀 瀀氀愀挀椀渀最 椀琀 椀渀 洀礀 漀眀渀 昀愀渀琀愀猀礀 氀愀渀搀猀挀愀瀀攀⸀
ᰠ倀攀琀猀 瀀爀漀瘀椀搀攀 愀 猀漀洀攀眀栀愀琀 渀漀猀琀愀氀最椀挀 猀攀琀 漀昀 漀氀搀ⴀ昀愀猀栀椀漀渀攀搀 挀漀洀昀漀爀琀猀⸀ 吀栀攀礀 洀愀欀攀 氀漀渀最ⴀ琀攀爀洀 戀漀渀搀猀 眀椀琀栀 琀栀攀椀爀 栀甀洀愀渀 挀漀洀瀀愀渀椀漀渀猀㨀 琀栀攀礀 爀愀爀攀氀礀 爀甀渀 漀昀昀 眀椀琀栀 漀琀栀攀爀猀㨀 琀栀攀礀 愀爀攀 愀氀洀漀猀琀 愀氀眀愀礀猀 瀀氀攀愀猀攀搀 琀漀 猀攀攀 묂琀栀攀椀爀밂 栀甀洀愀渀猀㬀 琀栀攀椀爀 愀瀀瀀愀爀攀渀琀 氀漀瘀攀 椀猀 甀渀挀漀渀搀椀琀椀漀渀愀氀 ⠀愀渀搀 琀栀攀爀攀昀漀爀攀 猀攀挀甀爀攀⤀ 愀渀搀 琀栀攀礀 最椀瘀攀 琀栀攀 猀琀爀漀渀最 椀洀瀀爀攀猀猀椀漀渀 琀栀愀琀 琀栀攀礀 渀攀攀搀 栀甀洀愀渀猀 愀猀 洀甀挀栀 愀猀 栀甀洀愀渀猀 渀攀攀搀 琀栀攀洀⸀ᴠ
䴀礀 挀甀爀爀攀渀琀 愀爀琀椀猀琀 瀀爀愀挀琀椀挀攀 椀猀 昀漀挀甀猀攀搀 漀渀 琀栀攀 爀攀氀愀琀椀漀渀猀栀椀瀀 眀攀 栀愀瘀攀 眀椀琀栀 漀甀爀 瀀攀琀猀⸀ 䤀 栀愀瘀攀 戀攀攀渀 猀琀甀搀礀椀渀最 栀漀眀 愀猀 愀 猀漀挀椀攀琀礀 眀攀 愀爀攀 戀攀挀漀洀椀渀最 洀漀爀攀 愀渀搀 洀漀爀攀 爀攀氀椀愀渀琀 漀渀 琀栀攀 愀渀椀洀愀氀猀 眀攀 欀攀攀瀀 椀渀 漀甀爀 栀漀洀攀猀Ⰰ 猀漀洀攀琀椀洀攀猀 昀愀瘀漀甀爀椀渀最 琀栀攀爀攀 挀漀 挀漀洀瀀愀渀礀 漀瘀攀爀 琀栀攀 挀漀洀瀀愀渀礀 漀昀 愀渀漀琀栀攀爀 栀甀洀愀渀⸀ 䤀 栀愀瘀攀 戀攀攀渀 瀀爀攀搀漀洀椀渀愀渀琀氀礀 挀漀渀挀攀渀琀爀愀琀椀渀最 漀渀 琀栀攀 爀攀氀愀琀椀漀渀猀栀椀瀀 戀攀琀眀攀攀渀 眀漀洀攀渀 愀渀搀 挀愀琀猀 愀渀搀 琀栀攀 猀琀椀最洀愀 爀漀甀渀搀 琀栀椀猀⸀ 䄀氀氀 琀栀攀 椀渀猀瀀椀爀愀琀椀漀渀 昀漀爀 洀礀 眀漀爀欀 椀猀 戀愀猀攀搀 漀渀 瀀栀漀琀漀最爀愀瀀栀猀 䤀 栀愀瘀攀 昀漀甀渀搀 漀渀 琀栀攀 椀渀琀攀爀渀攀琀 漀昀 眀漀洀攀渀 愀渀搀 琀栀攀椀爀 瀀攀琀 挀愀琀猀㬀 愀氀氀 琀栀攀 椀洀愀最攀猀 搀攀洀漀渀猀琀爀愀琀攀 琀栀攀 洀漀爀攀 攀砀琀爀攀洀攀 琀礀瀀攀 漀昀 爀攀氀愀琀椀漀渀猀栀椀瀀⸀ 吀栀攀 猀攀挀漀渀搀 瀀愀爀琀 漀昀 洀礀 瀀爀愀挀琀椀挀攀 栀愀猀 戀攀攀渀 挀漀渀挀攀渀琀爀愀琀椀渀最 漀渀 栀漀眀 眀攀
栀甀洀愀渀椀稀攀 漀甀爀 愀渀椀洀愀氀猀⸀ 圀攀 最椀瘀攀 琀栀攀洀 栀甀洀愀渀 渀愀洀攀猀Ⰰ 椀渀 猀漀洀攀 挀愀猀攀猀 ⠀愀最愀椀渀猀琀 琀栀攀 愀渀椀洀愀氀猀 戀攀猀琀 椀渀琀攀爀攀猀琀⤀ 昀攀攀搀 琀栀攀洀 栀甀洀愀渀 昀漀漀搀 愀渀搀 琀爀礀 琀漀 最椀瘀攀 琀栀攀洀 猀漀瀀栀椀猀琀椀挀愀琀攀搀 栀攀愀氀琀栀挀愀爀攀⸀ 䤀 栀愀瘀攀 愀氀猀漀 戀攀攀渀 最爀攀愀琀氀礀 椀渀琀攀爀攀猀琀攀搀 漀渀 栀漀眀 眀攀 挀愀渀 甀猀攀 漀甀爀 瀀 甀猀攀 漀甀爀 瀀攀琀猀 琀漀 爀攀昀氀攀挀琀 漀甀爀 漀眀渀 攀洀漀琀椀漀渀猀 愀渀搀 甀猀攀 琀栀攀洀 愀猀 愀渀 漀甀琀氀攀琀 昀漀爀 漀甀爀 愀昀昀攀挀琀椀漀渀 椀渀 愀渀 椀猀漀氀愀琀攀搀 洀漀搀攀爀渀 眀漀爀氀搀⸀
As an artist I enjoy depicting the human body in weird and wonderful ways. I am a multidisciplinary artist although my strengths lie mostly with painting and pencil drawing but I have chosen to venture into something I am not accustomed to, 3D sculptures and video. In this project I have used various materials to create parts of the body and mimic their functions. This is mo mostly achieved through repurposing pieces of technology and using
different plastic items. My work has developed into replicating organs in abnormal sizes, shapes, and colours, using everyday items not usually associated with the body. The end results of my work combine both my practices of technology and plastics to form artworks in constant flux.
The work is loosely based on the John Wyndham novel ‘Day of the Triffids’. The world that has been created consists of a ‘Guy with a pink balloon’ and how he survives in this Post Capitalistic society. In this Capi place there is only this character who is slowly slipping into insanity and believes that his job is to document the world as it sits, releasing balloons as ma markers for the places he has been. Since the balloons would float away or burst it becomes a repetitive job a constant cycle into madness.
䴀礀 眀漀爀欀 爀攀瘀漀氀瘀攀猀 愀爀漀甀渀搀 愀渀 椀渀琀攀爀攀猀琀 椀渀 琀栀攀 搀漀洀攀猀琀椀挀 愀渀搀 琀栀攀 攀瘀攀爀礀搀愀礀⸀ 唀猀椀渀最 瀀攀爀昀漀爀洀愀渀挀攀 愀渀搀 昀椀氀洀 䤀 昀漀挀甀猀 漀渀 洀愀欀椀渀最 愀 猀椀洀瀀氀攀 攀瘀攀爀礀搀愀礀 琀愀猀欀Ⰰ 猀甀挀栀 愀猀 愀 琀爀椀瀀 椀渀琀漀 琀漀眀渀Ⰰ 洀漀爀攀 搀椀昀昀椀挀甀氀琀 戀礀 琀栀攀 愀搀搀椀琀椀漀渀 漀昀 眀攀愀爀椀渀最 瘀攀爀礀 琀栀攀 愀搀搀椀琀椀漀渀 漀昀 栀攀愀瘀礀 戀漀漀琀猀⸀ 䤀 挀爀攀愀琀攀搀 瀀愀椀爀猀 漀昀 挀漀渀挀爀攀琀攀 戀漀漀琀猀 椀渀 瘀愀爀礀椀渀最 猀椀稀攀猀 昀漀爀 琀栀椀猀 瀀爀漀樀攀挀琀㬀 眀攀氀氀椀渀最琀漀渀猀 愀渀搀 眀愀氀欀椀渀最 戀漀漀琀猀 栀愀瘀攀 戀攀攀渀 戀甀爀椀攀搀 椀渀 氀愀爀最攀 焀甀愀渀琀椀琀椀攀猀 漀昀 眀攀琀 挀漀渀挀爀攀琀攀⸀ 䔀愀挀栀 愀搀甀氀琀 戀漀漀琀 眀攀椀最栀猀 愀瀀瀀爀漀砀椀洀愀琀攀氀礀 ㈀ ㈀ 欀最⸀
吀栀攀 昀椀氀洀 搀漀挀甀洀攀渀琀猀 琀栀攀 氀漀渀最 眀愀氀欀 䤀 琀漀漀欀 琀栀爀漀甀最栀 䌀愀爀氀椀猀氀攀Ⰰ 眀栀椀氀攀 眀攀愀爀椀渀最 琀栀攀 挀漀渀挀爀攀琀攀 戀漀漀琀猀Ⰰ 昀爀漀洀 琀栀攀 匀愀氀氀礀瀀漀爀琀 匀琀攀瀀猀 琀栀爀漀甀最栀 琀栀攀 挀椀琀礀 挀攀渀琀爀攀 琀漀 琀栀攀 戀漀琀琀漀洀 漀昀 䘀椀猀栀攀爀 匀琀爀攀攀琀⸀ 吀栀爀漀甀最栀 洀礀 眀漀爀欀 䤀 栀漀瀀攀 琀漀 吀栀 猀栀漀眀 琀栀攀 搀漀洀攀猀琀椀挀 愀渀搀 琀栀攀 攀瘀攀爀礀搀愀礀 椀渀 愀 搀椀昀昀攀爀攀渀琀 氀椀最栀琀Ⰰ 栀椀最栀氀椀最栀琀椀渀最 琀栀攀 猀琀爀甀最最氀攀 琀栀愀琀 瀀攀漀瀀氀攀 最漀 琀栀爀漀甀最栀 椀渀 琀栀攀椀爀 搀愀椀氀礀 氀椀瘀攀猀⸀
“Members of the LGBT community unfortunately often have to learn how to lie before they learn how to love.” Evelyne Brochu 1
In my current practice I am taking the subject of queer and trans representation in film and television and have been trying to turn it on its head to create something more accessible and friendly to LGBT people, the ‘new no normal’ as it were. In my experience the representation of lesbian, gay bisexual and trans (LGBT) people in film and television is somewhat lacking even in 2016. Films and television shows are either lacking in LGBT characters altogether or when there are LGBT characters their storylines are rooted in coming out stories or internalized homophobia based anguish. LGBT characters are rarely just well rounded characters living
their lives and working through the same troubles and issues that straight characters do. h I have taken film posters from popular modern romantic comedies, posters that feature heterosexual couples and reshot the photographs and replaced the couples with LGBT people, I have also included some that are ju just LGBT people on their own to convey how LGBT people are more than just their relationships.
1Brochu, E. (2015) 'Evelyne Brochu on her new queer-themed suspense thriller “Tom at the Farm”’. Interview with Evelyne Brochu. Interview by Valerie Anne for AfterEllen.com August 18. Available at: http://www.afterellen.com/tv/448577-evelyne-brochu-new-queer-themed-suspense-thriller-tom-farm
ABBY JANE PEARSON
䤀渀 洀礀 瀀爀愀挀琀椀挀攀Ⰰ 䤀 搀爀愀眀 甀瀀漀渀 琀栀攀 挀漀洀瀀氀攀砀 爀攀氀愀琀椀漀渀猀栀椀瀀 眀攀 栀愀瘀攀 眀椀琀栀 渀愀琀甀爀攀Ⰰ 攀砀瀀氀漀爀椀渀最 琀攀渀猀椀漀渀猀 愀渀搀 椀渀琀攀爀愀挀琀椀漀渀猀 戀攀琀眀攀攀渀 洀愀渀 愀渀搀 琀栀攀 渀愀琀甀爀愀氀 眀漀爀氀搀Ⰰ 椀渀挀氀甀搀椀渀最 攀挀漀氀漀最礀 愀渀搀 猀瀀椀爀椀琀甀愀氀 挀漀渀渀攀挀琀椀漀渀猀 琀漀 戀漀琀栀 渀愀琀甀爀愀氀 洀愀琀攀爀椀愀氀猀 愀渀搀 渀愀琀甀 渀愀琀甀爀攀 椀琀猀攀氀昀⸀ 伀昀琀攀渀 琀栀攀 攀洀瀀栀愀猀椀猀ᤠ猀 漀昀 洀礀 眀漀爀欀 栀愀猀 戀攀攀渀 昀漀挀甀猀攀搀 漀渀 渀愀琀甀爀愀氀 戀漀搀椀攀猀 漀昀 眀愀琀攀爀 愀渀搀 昀氀漀眀 瀀愀琀琀攀爀渀猀Ⰰ 倀爀攀瘀椀漀甀猀 眀漀爀欀 昀漀氀氀漀眀攀搀 琀栀攀猀攀 氀椀渀攀猀 漀昀 攀渀焀甀椀爀礀 愀氀漀渀最 眀椀琀栀 琀栀漀猀攀 漀昀 洀愀琀攀爀椀愀氀椀琀礀 猀瀀椀爀椀琀甀愀氀椀琀礀 愀渀搀 愀氀挀栀攀洀礀⸀ 䔀砀瀀氀漀爀椀渀最 琀栀攀 琀栀攀洀攀 漀昀 琀爀愀渀猀昀漀爀洀愀琀椀漀渀 愀渀搀 琀栀攀 攀氀攀洀攀渀琀猀 氀攀搀 琀漀 愀渀 攀砀瀀攀爀椀洀攀渀琀愀氀 瘀椀搀攀漀 瀀椀攀挀攀 眀栀攀爀攀 戀礀 琀栀攀 爀攀昀氀攀挀琀椀漀渀 漀昀 洀漀瘀椀渀最 眀愀琀攀爀 漀渀 愀 眀愀氀氀 椀猀 昀椀氀洀攀搀Ⰰ 琀栀攀渀 琀爀愀渀猀昀漀爀洀攀搀 琀栀爀漀甀最栀 攀搀椀琀椀渀最 最椀瘀椀渀最 琀栀攀 椀洀瀀爀攀猀猀椀漀渀 漀昀 昀氀愀洀攀⸀ 吀栀椀猀 琀栀攀洀攀 漀昀 琀爀愀渀猀昀漀爀洀愀琀椀漀渀 爀甀渀猀
琀栀爀漀甀最栀 椀渀琀漀 洀漀爀攀 爀攀挀攀渀琀 眀漀爀欀 攀砀瀀氀漀爀椀渀最 琀栀攀洀攀猀 漀昀 猀栀愀洀愀渀椀猀洀 愀渀搀 栀攀愀氀椀渀最⸀ 䤀渀 爀攀瘀椀猀椀琀椀渀最 瀀愀猀琀 眀漀爀欀 䤀 愀氀猀漀 甀猀攀搀 眀愀砀 琀漀 瀀爀漀搀甀挀攀 猀挀甀氀瀀琀甀爀攀猀 琀漀 挀愀瀀琀甀爀攀 琀栀攀 昀氀漀眀 瀀愀琀琀攀爀渀猀 椀渀 眀愀琀攀爀Ⰰ 戀漀爀爀漀眀椀渀最 昀爀漀洀 琀栀攀 爀椀琀甀愀氀椀猀琀椀挀 攀氀攀洀攀渀琀 椀渀瘀漀氀瘀攀搀 椀渀 琀栀攀 洀愀欀椀渀最 瀀 琀栀攀 洀愀欀椀渀最 瀀爀漀挀攀猀猀⸀ 䤀 甀猀攀搀 䄀氀甀洀椀渀椀甀洀 愀猀 䤀 昀攀氀琀 琀栀椀猀 最愀瘀攀 琀栀攀 眀漀爀欀 琀攀渀猀椀漀渀 戀攀琀眀攀攀渀 琀栀攀 洀愀琀攀爀椀愀氀 愀渀搀 猀甀戀樀攀挀琀⸀ 吀栀攀 爀椀琀甀愀氀椀猀琀椀挀 瀀爀漀挀攀猀猀 椀渀瘀漀氀瘀攀搀 椀渀 琀栀攀 洀愀欀椀渀最 漀昀 琀栀攀 ㌀䐀 瀀椀攀挀攀猀 瀀氀愀礀猀 愀渀 椀洀瀀漀爀琀愀渀琀 瀀愀爀琀 漀昀 琀栀攀 爀攀猀甀氀琀椀渀最 瘀椀搀攀漀 眀漀爀欀 爀攀猀甀氀琀椀渀最 椀渀 琀栀攀 洀愀猀欀猀 眀漀爀渀 椀渀 琀栀攀 昀椀氀洀⸀ 䈀愀猀攀搀 漀渀 瀀猀礀挀栀漀搀爀愀洀愀 愀渀搀 爀椀琀甀愀氀 琀栀攀愀琀爀攀 琀栀椀猀 搀爀愀洀愀 攀砀瀀氀漀爀攀猀 琀栀攀 挀漀渀挀攀瀀琀 漀昀 刀椀琀甀愀氀Ⰰ 愀渀搀 椀琀猀 椀 漀昀 刀椀琀甀愀氀Ⰰ 愀渀搀 椀琀猀 椀洀瀀漀爀琀愀渀挀攀 琀漀 栀攀愀氀椀渀最 瀀爀漀挀攀猀猀攀猀⸀
I am a fine art photographer and new media artist. My art references classic street photography and film while simultaneously working with new technologies within a globally connected network. My work reflects my identification with a new global generation living within multiple cultures.
My work focuses on abstract-ism, moods and textures through painting, I create paintings from the beach near where I as a personal location. I use different mediums such as Acrylic paint, Oil paint, Ac Gouache and Ink all mainly on canvas. My main artist influences are Gerhard Richter for his use of textures, Len Tabner for the mood he creates in his paintings and Ian Davenport for his use of colour.
ʻI believe that sometimes it can be necessary to sacrifice one means for the sake of another.ʼ Evaristti
For the past year I have been studying the use of live animals for art and the issues around this, considering how it affects an artist’s career. I am passionate about animal rights and I feel the public need to be educated ar around this subject matter. My work intends to provoke the question, in the name of art, is playing with an animals life ok? One particular artist, Marco Evaristti and his work ‘Helena’ developed the main motivation of my practice. Having previously studied Child Development and Health and Social Care, it was clear to me that I wanted to focus h a child would react or on how understand this kind of artwork,
which evidently puts an innocent animals life in danger. Mr Goldfish meets Helena is the storybook I wrote and illustrated, aimed at children aged 5 to 10. It follows the life and death of an average goldfish that is used in Ev Evaristti’s Helena, the book is written to demonstrate the emotions of this chosen goldfish and his artistic journey. I wanted to understand how a child would comprehend art along these lines. A short documentary film on my artwork shows my illustrated story alongside a child whom I read my story to.
1Evaristti, Antenna, 2008, page 32
ᰠ䤀 栀愀瘀攀 昀爀攀焀甀攀渀琀氀礀 眀漀渀搀攀爀 椀昀 琀栀攀 洀愀樀漀爀椀琀礀 漀昀 洀愀渀欀椀渀搀 攀瘀攀爀 瀀愀甀猀攀 琀漀 爀攀昀氀攀挀琀 甀瀀漀渀 琀栀攀 漀挀挀愀猀椀漀渀愀氀氀礀 琀椀琀愀渀椀挀 猀椀最渀椀昀椀挀愀渀挀攀 漀昀 搀爀攀愀洀猀Ⰰ 愀渀搀 漀昀 琀栀攀 漀戀猀挀甀爀攀 䠀⸀倀⸀ 䰀漀瘀攀挀爀愀昀琀 眀漀爀氀搀 琀漀 眀栀椀挀栀 琀栀攀礀 戀攀氀漀渀最ᴠ
吀栀攀 匀焀甀愀爀攀 䌀愀琀 椀猀 愀渀 椀渀琀攀爀愀挀琀椀瘀攀Ⰰ 瀀漀猀琀ⴀ挀愀瀀椀琀愀氀椀猀琀Ⰰ 瀀漀瀀ⴀ甀瀀 猀栀漀瀀 氀椀渀欀攀搀 眀椀琀栀 琀栀攀 愀挀琀椀瘀椀琀礀 漀昀 搀爀攀愀洀椀渀最⸀ 吀栀攀 戀漀漀琀栀⼀猀栀漀瀀 椀猀 猀甀瀀瀀氀椀攀搀 眀椀琀栀 漀戀樀攀挀琀猀 挀爀攀愀琀攀搀 漀瘀攀爀 愀 琀眀漀ⴀ礀攀愀爀 瀀攀爀椀漀搀Ⰰ 愀爀琀眀漀爀欀猀 琀栀愀琀 攀砀瀀氀漀爀攀 琀栀攀 眀漀渀搀攀爀猀 琀栀愀琀 琀栀愀琀 氀椀攀 戀攀栀椀渀搀 琀栀攀 攀瘀攀爀礀搀愀礀⸀
唀猀椀渀最 瀀栀漀琀漀最爀愀瀀栀礀 愀猀 洀礀 洀愀椀渀 洀攀搀椀愀 䤀 琀礀瀀椀挀愀氀氀礀 眀漀爀欀 眀椀琀栀 愀渀搀 洀愀渀椀瀀甀氀愀琀攀 攀瘀攀爀礀搀愀礀 漀戀樀攀挀琀猀⸀ 䴀礀 瀀爀愀挀琀椀挀攀 昀爀攀焀甀攀渀琀氀礀 攀砀愀洀椀渀攀猀 琀栀攀 愀戀猀甀爀搀椀琀礀 漀昀 攀砀椀猀琀攀渀挀攀Ⰰ 琀栀攀 戀漀爀搀攀爀猀 戀攀琀眀攀攀渀 爀攀愀氀椀琀礀 愀渀搀 搀爀攀愀洀猀Ⰰ 愀渀搀 漀甀爀 愀戀椀氀椀琀礀 愀渀搀 搀 琀漀 搀椀猀琀椀渀最甀椀猀栀 漀渀攀 昀爀漀洀 琀栀攀 漀琀栀攀爀⸀
䄀氀氀 漀戀樀攀挀琀猀 愀渀搀 搀爀攀愀洀 猀漀甀瘀攀渀椀爀猀 椀渀 吀栀攀 匀焀甀愀爀攀 䌀愀琀 愀爀攀 昀漀爀 猀愀氀攀Ⰰ 椀渀 攀砀挀栀愀渀最攀 昀漀爀 礀漀甀爀 漀眀渀 搀爀攀愀洀猀⸀ 䈀甀礀攀爀ᤠ猀 搀爀攀愀洀猀 挀愀渀 琀栀攀渀 挀爀攀愀琀攀 愀 戀愀猀攀 昀漀爀 渀攀眀 漀戀樀攀挀琀猀 琀漀 戀攀 猀漀氀搀 椀渀 琀栀攀 猀栀漀瀀⸀ 䠀⸀倀⸀ 䰀漀瘀攀挀爀愀昀琀Ⰰ 䈀攀礀漀渀搀 琀栀攀 圀愀氀氀 漀昀 匀氀攀攀瀀
My current practice employs sculpture to depict renewable technologies utilising natureâ€™s forces as a way of communicating the concept of renewable energy. Sustainability is imperative in conservationism im inspiring my work with the controversial subject of renewable energy sources. Influenced by Danish artist Olafur Eliasson these sculptural mechanisms propose a visual and interactive experience that is intended to engage the viewer. With the intention of
encouraging thought and debate regarding energy and how it is at the centre of environmental and economic challenges facing us today.
䈀夀 䌀䄀刀 䘀爀漀洀 琀栀攀 匀漀甀琀栀 䔀砀椀琀 䴀㘀 愀琀 䨀甀渀挀琀椀漀渀 㐀㌀ 䌀漀渀琀椀渀甀攀 漀渀 䄀㘀㤀⸀ 吀愀欀攀 䄀㜀 琀漀 䈀爀愀洀瀀琀漀渀 刀搀⼀䈀㘀㈀㘀㐀 吀栀攀 甀渀椀瘀攀爀猀椀琀礀 椀猀 漀渀 礀漀甀爀 氀攀昀琀 䘀爀漀洀 琀栀攀 一漀爀琀栀 䔀砀椀琀 䴀㘀 愀琀 䨀甀渀挀琀椀漀渀 㐀㐀Ⰰ 吀愀欀攀 琀栀攀 䄀㜀 攀砀椀琀 琀漀 圀漀爀欀椀渀最琀漀渀⼀䌀愀爀氀椀猀氀攀 䄀琀 琀栀攀 爀漀甀渀搀愀戀漀甀琀Ⰰ 琀愀欀攀 琀栀攀 ㈀渀搀 攀砀椀琀 漀渀琀漀 䄀㘀㠀㤀 䄀琀 琀栀攀 爀漀甀渀搀愀戀漀甀琀Ⰰ 琀愀欀攀 琀栀攀 ㌀爀搀 攀砀椀琀 漀渀琀漀 䈀㘀㈀㘀㐀 吀栀攀 甀渀椀瘀攀爀猀椀琀礀 椀猀 漀渀 礀漀甀爀 氀攀昀琀
䈀夀 吀刀䄀䤀一 伀甀爀 渀攀愀爀攀猀琀 猀琀愀琀椀漀渀 椀猀 䌀愀爀氀椀猀氀攀 刀愀椀氀眀愀礀 匀琀愀琀椀漀渀Ⰰ 猀琀愀琀椀漀渀 挀漀搀攀 嬀䌀䄀刀崀⸀ 吀栀攀爀攀 椀猀 愀 琀愀砀椀 爀愀渀欀 漀瀀瀀漀猀椀琀攀 愀渀搀 琀漀 琀栀攀 氀攀昀琀 漀昀 琀栀攀 猀琀愀琀椀漀渀⸀
圀䔀 䄀刀䔀 䠀䔀刀䔀
䈀夀 䈀唀匀 吀愀欀攀 琀栀攀 㜀㤀 䄀渀渀愀渀 䈀甀猀 昀爀漀洀 匀琀愀琀椀漀渀 䈀愀礀 㠀Ⰰ 琀漀 ᠠ圀攀氀氀 䰀愀渀攀ᤠ 愀琀 㔀㨀㔀㔀瀀洀
䠀伀圀 吀伀 䘀䤀一䐀 唀匀