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Interactive Arts /in-ter-ak-tiv/ /a:ts/ verb (the act of ) creating within a constant state of flux.


JON

B I D DULP H PROGRAMME LEADER

Welcome to the 2014 Interactive

and, as pioneers of the Faculty wide

Arts degree show. This exhibition

Unit X, have experienced working in

represents

supportive

the cultural and artistic fabric of the city.

group of students, many of who have

The developments in the School of

already laid the foundations of their

Art reflect fundamental and ongoing

future careers, practice and continued

changes in Higher Education and a

postgraduate study. On behalf of the

broader climate of social and economic

staff I would like to thank them for

change. The experiences these students

their enthusiasm, maturity and patience

have had will have prepared them for

in what has been a period of great

the challenges ahead and I am confident

change and development representing

that they will seize their opportunities

a new era of Manchester School of Art.

and take hold of their destiny.

Over the past three years these

We wish them every success in

students have studied through the

their future endeavours. Please, enjoy

reorganisation of the Faculty estate, the

their show.

a

mutually

opening of the new Benzie building


JAN E

B RAKE

Group projects are an established

This year it is right that we celebrate

aspect of contemporary education. We

our student’s indomitable spirit, their

know that by working alongside others,

utopian mindset. We are in awe of

students learn faster, better, more…

their determination to make things

But collaboration is not just a novel

happen: exhibitions, events, libraries,

way for individuals to operate more

buildings, collectives, artist’s studios,

efficiently within the system. In fact,

catalogues…They do all this with

collaborative processes can sometimes

warmth,

feel

and perseverance. They keep on

messy,

unproductive,

and

intelligence, lessons

enthusiasm

decidedly inefficient. There are risks,

discovering

in

apparent

too, for individuals, before a common

“failures”; questioning the value of

goal can be realised. Interactive Arts

apparent “successes”; believing in the

students have discovered that despite

possibility of change. And each other.

the challenges, experiments in unity

It is worth reminding ourselves that

can be rewarding and exciting. As they

the verb to collaborate originates in the

prepare to leave university they engage

Latin word collaborare, meaning united

in their final collective projects, such

labour. The united labour of our 3rd year

as this catalogue and their exhibition.

students, is a force to be reckoned with!


Saffina Bhatti Charley Blake Banks Kathy Bradshaw David Brookes Roger Bygott Elizabeth De Cent Emma Dinnen Shaun Duke Natalie Dunning Tom Davies Fisher Alexander Grant Lucinda Greenwood Georgie Hewitt Kayleigh Heydon Callum Higgins Emily Jackson Hayley Johnson Sean Kennedy Nicole Kent Rebecca Long Devin Loutitt


John Lynch Jess Marshall Ilias Mavrovas Conor McManus Daisy Ng Lucy Petts Hebe Phillips Isaac Priestly Dominic Revill Ffion Roberts Lucy Rogers Emily Rusby Ruby Shepherd Aaron Smith James Stevens Zedi Thomas Jake Tibbits Thom Valentine Tineke Van Boven Flo Whitworth


SA FFI NA

BHAT T I

I am a visual artist whose practice is

work that represents these journeys

based around sculpture and installation

and the narratives that are contained

art. Currently I am exploring issues

within them. Measures of distance,

in and around human migration,

time and the reasons for the migration

particularly migration from south

are intertwined with issues of gender

Asia to the United Kingdom. Creating

adaption into the adopted country.

rasmali@hotmail.co.uk

portsaffina.wordpress.com


C HAR LEY

My

creativity

manifests

B LA KE

itself

of technology. My work represents

through the disruption of visual

these

culture

the

within

the

everyday.

BANKS

unremitting digital

and

shifts

between

physical

worlds.

Social media is generating an infinite

Using the body as a medium, I

stream of opportunity to project

seek to manipulate its characteristics

oneself into the public domain. My

through

work responds to extroversion as trend,

experimental platforms. The presence

pushing privacy across the threshold

of spectatorship is heavily investigated

through

through

excess

and

distortion.

Within my practice, notions of the self are explored. How we identify

an

the

array

camera

of

as

digital

a

tool

of intrusion. I am both the watcher and the watched.

others and ourselves is changing in response to the increasing role

charleyblakebanks@gmail.com

cargocollective.co.uk/blakebanks


KATH Y

B R ADSHAW

Essay writing and printmaking are

to work with materials such as wood.

the processes in which I find the

I see strength in repetition and attempt

most joy, but my practice can assume

to emulate this in my illustrative work,

many forms. My work is inspired by

in line with techniques pioneered

comparing nature's fragility to its

by the minimalist composers. At

strength and the various ways that this

this

comes to light in everyday life; from the

silent but I hope to soon enhance

observable effects of gravity on a pile of

my etchings in collaboration with

sand to the level of care that is required

musicians/sound artists.

kathyinteractive@gmail.com

moment

my

work

remains

kathyinteractive.wordpress.com


R OG ER

B YGOT T

Not so long ago I made a series of

its qualities and developing it into

giant nests and tree-hanging cocoons

suspended sculptures. There came

as part of an outdoor installation. The

a moment when I stood back to

work emerged out of my response to

consider the work. I hadn’t intended,

the given space, and an intuitive use of

or even wanted it, but there they

materials, both natural and man-made.

were

again:

nests

and

cocoons.

I wasn’t sure why I was making what I

Where do these cocoons and nests

was making, but I enjoyed the process,

come from? What do they say? Maybe

and

they enclose a

people

responded

positively.

vulnerable child,

Later, in a fresh project, I started to

sleeping animals, a mystery, or a gift. I

work with shredded paper, exploring

know they are quietly pulsing, waiting.

roger.bygott@gmail.com

rogerbygott.com


E L IZ A B ETH

DE

CENT

A versatile musician, poet and visual

secrets and double meanings and am,

artist, I use a wide mix of disciplines

at once, both motivated and impaired

in my practice, in which I reflect upon

by a continually occurring existential

contemporary social equality issues and

crisis. I create out of self-necessity; art

illustrate the autobiographical. I enjoy

is a survival tactic.

bethdecent@gmail.com


EMMA

D I NNEN

My practice is based around print

My current project is a collection of

and surface pattern design through

images designed for digital textile

multimedia technique. I work with

printing. These designs are individual

a

mediums

representations made to highlight

within image making: ranging from

elements from the urban environment

photography to illustrative qualities.

that go un-noticed day to day.

variety

of

different

emmadinnen@live.co.uk

cargocollective.com/emmadinnen


SH AU N

DUKE

I work with audio and new media to

My recent studies have led to

create installations that entice viewers

my exploration of the effects of

to question their surroundings. In

recycling and recontextualising video

recent years I have explored the

game

use of live, code-generated audio

questions regarding the possibility

to

artworks

of a digital dark age and what this

that investigate the not-so-distant

might mean for their artistic content.

create

interactive

audiovisuals

whilst

raising

relationship between sound and colour.

shaunduke@live.co.uk

lolartz.tumblr.com


NATA LI E

D UNNING

My name is Natalie Dunning and I’m

accessible. I hate pretentiousness,

a Visual Artist/Graphic Designer.

and with my practice, I try to toe the

Most of my work to date has centred

line between the facetious and the

on a narrative or a lack of narrative to

sincere. However, as seen in the first

generate an engaged response from

few sentences, despite fighting against

the audience. I intend for my work to

it, it is often hard to describe your

entertain and to begin a conversation.

work without sounding pretentious.

Above all else I want my work to be

nataliemarydunning@gmail.com

thegreatflaneur.tumblr.com


TO M

DAV I ES

FISHER

I have worked with the medium

work, I have been exploring locations

of photography as a

means of

inhabited by homeless people, visually

documenting and researching social

investigating these outwardly derelict

issues surrounding people and place.

places and concentrating on the

My current project is concerned

seemingly discarded objects present

with

investigating

there. Based on my observations

the lives of homeless people and

at these settings I have created

specifically how ‘home’ is established

abstract and pictorial patterns and

for these people, both emotionally

prints that comment on my findings.

and

homelessness:

practically.

Throughout

tomfisher5@hotmail.com

this

homelessdocumentary.tumblr.com


A LEX A N D ER

Self-branding

has

become

GRANT

and

our own version of self-branding to

integral part of people’s lives. On

further influence our work and to

platforms like Facebook and Twitter,

make ourselves more memorable.

we see participants choosing only

In response, visually merchandising

their best characteristics to share.

an

I have explored this concept and

we see it, the environment and

have

that

atmosphere we experience within it,

branding and the self play a key role

the clothes we wear and the people

in an individuals chosen aesthetic.

we encounter. The inhabitant then

We, as artists, are obliged to form

becomes the less critical shopper.

come

to

comprehend

alexgrant62@gmail.com

institution

affects

the

way

alexgrant62.wix.com/alexanderneil


L UC I N DA

G R EENWOOD

Individual spaces, personal history,

will remain long after we leave. They are

the

banal.

the permanent, invisible fingerprints of

These fragments of identity are all

memory engraved onto our landscape.

encapsulated within one specific space.

Using fabric and traditional craft

My work explores the traces we leave

techniques, I aim to obscure and

behind, the personal landmarks we

highlight hidden secrets held within a

hold close and the public domain

space, to make the viewer question the

in which they inhabit. They coexist

space they occupy to appreciate it for

unknowing of the other’s presence and

it’s entirety.

significant

and

the

lucie_greenwood@hotmail.co.uk

cargocollective.com/lgreenwood


G EO R G I E

HEWIT T

My current work is looking at how we

My work is mixed media using

can map memories of relationships.

maps and threads to try and piece

I am interested in the relevance

together my memories. I’m hoping to

and importance of location in our

create a map of the people that I have

fragmented memories and why I

encountered and remembered.

choose to associate people with places.

gin.georgina@gmail.com


K AY LEI G H

When we look at space we become comfortable,

and

expect

these

HEYDON

and how you react and move with it. To

experiment

with

different

mundane encounters to continue.

materials is an integral part of my

When a change occurs we are

practice. This allows me to explore

destabilised, we see a familiar area

ideas of space manipulation, by using

as a new one and are encouraged

structural forms and natural materials

to understand a space differently.

with subtle and sometimes upfront

Botanical environments, such as

approaches. My work seeks to evolve

wood-lands, allow light through its

and replenish an environment by

structural forms. Conversely archi-

means of simple gestures.

tecture typically obstructs our view. I like to play with these two

5/9/5

opposing themes by exchanging their

To enter a space,

natural habitats, encouraging you to

Different today than yesterday,

understand the space you are within,

And notice the cracks

kayleigh.heydon@gmail.com

kayleigh-heydon.com


CA LLU M

H IGGINS

In previous years I have developed

me to a more focused look on brutalist

my work as a sound artist to include

buildings and the social aspects and

elements of field recordings, found

implications to those residing in

sounds, electronics and DIY circuitry,

these structures. This subject area has

installations and sculpture pieces.

taken my practice in a new direction

Through various solo shows and

by introducing concrete as a prime

residencies I have explored a number

material. I have been making various

of concepts as well as experimented

small concrete objects and have been

with elements of human interaction.

experimenting

with

incorporating

More recently I have been researching

electronics into these objects. My work

the history of modernist architecture

with concrete continues to expand

and how this can link with the work

as I am continuously pushing the

of sound artists. My research has led

material into different applications.

callum.higgins@yahoo.com

callumhigginsartist.wordpress.com


E M I LY

JACKSON

I am driven by context and take a very

experiences have always triggered

strategic approach to my work, which

my initial secondary research. Recent

aims to start a conversation through

explorations of different musicians’

photography, video and/or sound. My

relationships with technology have

recent anthropological research into

been at the forefront of further

music culture in the city has been

discussion. My work reflects upon

inspired by a personal involvement

issues of intellectual property, cultural

in the Manchester music scene and

construction and the development of

through working as a VJ. Personal

creative processes in current media.

emilyjackson92@gmail.com

cargocollective.com/ekjackson


HAY LEY

J O HNSON

My creative practice examines the

interest stems from my experiences

relationship between Eastern and

being raised in the Middle East,

Western culture. My work is currently

whilst

having

British

heritage.

exploring the representation of the

Living in Saudi Arabia and the

veil and the impact of westernisation

United Arab Emirates has fuelled

on

my

Middle

Eastern

custom.

curiosities

in

contemporary

In our multi-cultural world, my

Middle Eastern art. My practice

subject draws attention to current

channels these interests, as a multi-

and

disciplinary artist and aspiring curator.

often

poignant

issues.

hayley.louise.johnson@hotmail.com

My

hayleylouisejohnson.wix.com/ hayleylouisejohnson


SEA N

Being

proficient

scriptwriting,

perception and then represent them,

theatre production, photography and

leaving the final interpretation up to

videography, I am a creative person

the viewer. My work always contains

working across many mediums but

some kind of performance aspect and

with the single aim of presenting

is usually served with a side of humour.

a

story.

I am currently venturing into Theatre

Predominantly in an entertaining

in Education with a touring show

capacity, my background is in the

in production, have a short film in

performing arts and this remains at the

post production and am planning our

forefront of my work. I build ideas from

second event with Immersive World.

situation,

or

in

K ENNEDY

telling

a

an initial concept, introduce my own

seankennedy999@hotmail.com

immersiveworld.co.uk/stagesquad.co.uk


N I C O LE

KENT

The approach to my work is self-

the substrate. This allows me to work

expressive

of

in the moment rather than foresee

movement. I decided to work in an

a piece that has not yet come to

unstructured way and allow my tool,

exist. I feel the work comes together

a traditional fountain pen, to decide

naturally rather than being pressured

where the marks would fall upon the

to become a successful drawing;

page. I choose not to work upright

this gives me a sense of liberation.

due to my desire to feel closer and

By employing chance it allows the

more immersed in the drawing. By

unpredictable elements to arise from

placing the paper on the floor I am

events that cannot be controlled.

and

a

celebration

driven into direct interaction with

nickykent@icloud.com

cargocollective.com/nicole-kent


REB EC CA

LONG

I am opportunistic in my approach to

idea or process and sometimes the

practice. When an idea comes along, I

process

determines

the

outcome.

go after it until I exhaust it. What unifies

I found these air vents. They have

my work is my methodology: I make

such a vast presence and importance

things to bolt onto the environment

in Manchester yet they are unknown

enabling me to offer a different

to many of the city’s inhabitants.

perspective on a particular space.

A building needs a vent to breathe

In my practice I am inseparable

and I am using a camera obscura

from materials. I am enthusiastic

to document the inner journey of

for tangible materials to evidence an

the pipes. I have become the pipe.

r.jadelong@gmail.com

rebeccalong.co.uk


DEV I N

LOUT T IT

My recent work has drawn upon the

In trying to encourage people to enjoy

visual phenomena commonly known

the little details of visual phenomena,

as moirĂŠ; the interference between the

there is a neo romanticist aim to my work.

two nets creating a vibrant formation

This degree show piece harnesses

that

moves

in

counterintuitive

these effects and delivers them in

directions, never holding a fixed space.

a way that is instinctively playful.

devinlouttit@hotmail.com

devinlouttitiarts.wordpress.com


J O H N

LY N C H

I walk these streets, wander through

for

books, talk, listen and look. Then

layers. The immediate, tangible and

I produce stories. Stories about my

obvious, the more subtle inevitably

discoveries, about spaces or places

lying beneath. Explanations that on

or history or science, but really about

occasion, are enigmatic and meander,

people. How we make sense of our

but are never misleading, never overly

world, and communicate with others.

cryptic. I employ the senses, researching

The traces we leave, the ideas inscribed,

our

the structures and ephemera passed on.

always a temptation, but honesty

Certain motifs, like images in glass,

and sincerity are my watchwords.

reappear in my work, but I will use

If I was to describe what I do in

whatever suits. Materials appropriate

one word it would be Interpreter.

johnjameslynch@wordpress.com

meaning.

The

perceptions.

meaning

Authenticity

in

is

johnjameslynch.co.uk


J ESS

MA RSHALL

My work revolves around issues of

of these flexible structures. I am also

mental illness and mental health. The

interested in using these time intensive

process of production plays a central

processes to visually represent the

role in my work and within this

hours spent in these cyclical and

are themes of ritual, repetition and

repetitive states. I have recently been

obsession. I am currently focussing

experimenting with photography and

on

works

video to document my test pieces as

employing paper as building material,

well as producing wearable items.

large

scale

sculptural

playing with the shape and pattern

jessicamarshall@live.com

jessmarshall.co.uk


I LI A S

MAVROVAS

I am a designer under construction.

used and enjoyed. I am confident in

I think of myself as a designer with a

print-making and use various methods,

sweet tooth for art. My work doesn’t

including laser cutting and silk screen

fulfill me if it is not functional or if

printing. I feel the need for progression

it is just aesthetic with no meaning.

and this drives me in my work. I am

My work has an industrial element

effective working on my own, but I

and often uses patterns and geometry,

also really enjoy working with other

motifs reflections and repetition. A

people, sharing ideas, and how this

key element of my work is to promote

process can create unexpected results.

interaction with the viewer, for it to be

iliasib@gmail.com

lightandunderstanding.tumblr.com


C O N O R

MCMANUS

My current work explores themes of

between various types of digital

meaning and identity pertaining to

production and academic percepts.

communication, as well as the discourse

conormcmns@gmail.com

deathtothevillians.com


DA I SY

NG

My creativity manifests itself My

had a life cycle which revolved around

work is predominately based on the

metamorphosis, because of this I could

movement and bodies of living things.

record the biological processes and

My main focus is to explore and capture

relatively abrupt changes in the animals

magnified detail through drawing

body structure. A process that inspired

and print. I then use digital media to

me to move my designs through their

manipulate my original drawings to

own ‘metamorphosis’ from the primary

create mandala like designs which

record of a drawn image, which I then

illustrate the circle of life. To emphasise

evolved through the use of print.

this process I choose organisms which

daisy_ng_247@hotmail.com

daisyng247.wix.com/zejinng


LU CY

Wallpaper. Its traditional connotations are typically concerned with pattern,

PET T S

and

three-dimensional

Rather

repetition, and its design as a decorative

existing

commodity.

creates

I

have

challenged

than

adding

environment, an

wallpapers.

interactive

to my

an work

experience,

these expectations, also exploring

sometimes

its sense of smell, touch and taste.

people with sensory impairments.

My material exploration employs

Whilst applying the appropriate

both hand and digital techniques

combination of creativity, originality

and has led to unexpected discoveries.

and functionality, I intend on creating

For example, I have designed and

innovative commercial papers with

made

edible,

a twist for use in domestic and

tactile

corporate settings.

UV,

bespoke glow

in

scented, the

lucy.petts@outlook.com

dark,

communicating

with


H EB E

PH ILLIP S

I am a mixed media artist now working

of identity, grief and mental health and

mainly in illustration who is also a

use my illustration to make sense of

passionate facilitator of community and

painful and difficult topics. In some

youth workshops, focusing on themes

ways, this work is a far departure from

of art therapy, drawing and feminism.

the workshops i facilitate, although

Making my illustration work is a very

both sides of my work are very much

solitary and personal practice which

influenced and informed by similar

enables me to reflect on my experiences

themes,

hebegrace@gmail.com

messages

and

purposes.

hebephillips.co.uk


D OMI N I C

REVILL

Within my work I want raise awareness

it much time to appreciate. I like to

of how we are blind to everyday

look for beauty within the mundane,

beauty. I usually work from natural

by creating imagery from familiar

forms and like the range of different

forms in unfamiliar ways. My aim is to

ways they change over time. My work

remind people to appreciate nature in

tends to focus on the effects of decay

day to day life, by presenting it to them

and growth, as we encounter this

in a way they have not seen before.

process all the time but don’t give

dominio1992@hotmail.com

itsdominicrevill.tumblr.com


F FI ON

R OBERT S

My paper cuttings are based on

to interact, yet also pushing them to

fractal patterns, units that multiply,

a further distance. This visual game

divide, grow and shrink. I explore

causes the viewer to become part

the

of

of the work. The viewer completes

geometric and organic shapes, while

the work in the dialogue between

considering the visual and conceptual

the shadows and the longing to want

control of pattern, repetition and

to get nearer. The mind contributes

challenging

of

to the forms and textures that

waste. The time consuming process

appear and disappear and the viewer

suggests a development over a period

becomes aware of their involvement

and a sense of growth and inclusion.

in the space between the layers,

My work encourages viewers to

seemingly making the invisible visible.

simple,

universal

our

beauty

perceptions

take a closer look, enticing the viewer

ffionceri72@hotmail.com

ffionceri72.wix.com/ffion


LU CY

I

think

R OGERS

of my practice as an

time into our pasts is something that

interpretation of memory. It was my

I express through my practice, by

own curiosity, collective behaviour

means of traditional natural processes

and wanting to interact with others

and other mixed media. My work

within my work that lead me to explore

relies on us being such nostalgic

object histories and peoples personal

creatures, always trying to remember

memories. I have always been fascinated

whether it is voluntary or involuntarily

with stories, especially if the story

through triggers, photographs, and

is a first hand experience, a recalled

souvenirs. We long for our youth

memory. Capturing the emotion we feel

and irreplaceable past experiences.

when we are transported back through

lucy.louu@hotmail.co.uk

lucylou7.wix.com/lucyrogers


E M I LY

R USBY

When I send a message to a friend,

of

I want to tell or share something

online

with them. But, there is another

to reveal the hidden layers. By

system at work collecting messages

using message boards to generate

as data. The message I send loses

communication as a material, I can

its original meaning, as it becomes

start to examine the rhythms of data.

a reference in a system of data concerned with commodity and value.

everyday

I

am

practices,

communication,

always

trying

such I

as

begin

to

say

something, but on my own terms.

Through the constant questioning

emily@emilyrusby.com

emilyrusby.com


R U B Y

SH E P HARD

My site-specific architectural install-

since they are encouraged to observe

ations are hand assembled using

the work from several angles. Given

hundreds of strands of coloured string,

multiple pathways to experience the

purposely constructed with the intent

construction on their own terms, my

to transform a given space. The viewer’s

work allows the audience to immerse

perception and orientation changes

themselves within the installation.

ruby_shep@yahoo.com

rubyshep.wix.com/installations


AA R ON

SMIT H

With the help of public involvement

of photography in documenting this

and participation I develop long-term

research. I am currently looking at the

research projects on the relationships

relationship between maker and tool.

that are formed between owner and

Researching the development of these

product over time. I am primarily

relationships from the Neolithic period

interested in how time can affect

(4000 – 2000 BC) to the current day,

both the aesthetics of an object and

my research involves experimentation

the owner’s ability to recognise these

spanning a wide range of materials and

objects, and have explored the use

production techniques.

aaron.p.smith.88@gmail.com


JA MES

ST EVENS

Through 3D modelling software, I

reality to question their  reproduction

become a sculptor with a new set of

and resemblance. As a counterpoint, I

opportunities and limitations. I create

use textured photography to reference

virtual environments and explore the

our own material existence and as a

interactions between modelling and

link between the two parallel realities.

animation. Through the interplay of

I question whether virtual realities

motion and sound, I create an unknown

will simulate imagery that is currently

reality with unpredictable physics. I

everyday,  or whether this imagery

render objects and materials in a virtual

will disappear and be forgotten.

jamesmstevens@hotmail.co.uk

cargocollective.com/jamesstevens


Z ED I

TH OMAS

My working method is intrinsic

archiving, researching hidden stories

to the work itself; constant cross-

and how to visually retell them.

referencing,

mapping

and

create

the

interactive

structure and material for my projects.

physicality

exploring

visual linkages

I

create

low-fi

films

installations, to

connect

and using

with

the

Family is a reoccurring theme in

viewer and create an awareness of

my work, most recently manifesting

human presence. I am currently

in a research project about my great

developing a practice of “physical

grandfather’s

editing� within digital film-making.

internment

during

World War II. I explore practices of

zedi@hotmail.co.uk

zederica.tumblr.com


JA K E

My

artistic

practice

heavily

work I attempt to develop techniques

intertwined with my academic research

which allow the queer body to be

into the anthropology of ritual and

read in isolation from these societal

queer theory. I am interested in the

contexts. Through visual abstractions

unfixed nature of queer identification;

of the sexualized body, I hope to

the influence of social and religious

rediscover a sense of the numinous that

norms and attempts to assimilate into

comes not from any externally imposed

archetypes and narratives determined

construct, but from the exploration of

by prevailing attitudes. In my current

fundamentally

info@jaketibbits.co.uk

is

TI BBIT S

human

experiences.

jaketibbits.co.uk


TH OM VA LENT INE

I’ve always shied away from being

carpentry as a meditation. Through

labeled as an artist, since all I’m really

site-specific assemblage, the furniture

doing is taking part in the constant

and objects that I make become an

rearranging of stuff. I view my practice

exploration of and a product of my

as holistic, in a sense that I don’t try

surroundings. I am trying to figure

to isolate one part of my life as my art.

out what it means for me to be in the

It is a constant relation with the world,

world, as a person. My current research

people around me, conversations,

is on ideas of ‘new materialism’, the

making things, indulging in abstract,

study of agency and ontology in the

philosophical ideas and then getting

material world, the politics of nature.

a bit anxious about it all. I employ

thomvalentine.co.uk


TI N EK E VA N

BOVEN

Spaces hold a great significance for me

all things old and discarded and my need

in my life and practice. By the term

to create for myself with my hands to

‘spaces’, I mean rooms, hideaways,

have the connection with the space. To

small areas into which we can retreat.

coincide with my passion for collecting

I have been exploring the idea of

and constructing, I also incorporate a

different spaces in which we feel

personal need to reuse and recycle as

certain emotions, particularly where we

many materials as possible, therefore

feel safe, comfortable and sometimes

trying to only use found and donated

childlike again. The idea of retreats and

materials. This ‘rule’ I feel offers a

hideaways represents the main focus of

greater connection to the spaces I find

my work, creating spaces where I can

myself building. Everything has a story.

assemble together my love of collecting

tinekevanboven@hotmail.co.uk


FLO

WH I TWORT H

My work is driven by a desire to

ideas, notions, people and places in a

engage in physical contact and playful

way that allows me to reconnect with

experience with materials and processes

a natural approach to creativity and

in image making. I work primarily

detach from the ‘things’ that can often

through analogue photography and am

distract us from experiencing the real.

interested in creating layers to abstract

flo_whitworth@hotmail.com

allflown.tumblr.com


Thank You; Jon Biddulph Jane Brake Hazel Jones Dave Griffiths for all your support and guidance over the past three years, our gratitude is endless. Penny Macbeth for your assistance and encouragement. Helen Collett and Olivia Glasser for giving us the opportunity to be inspired and have confidence to go into the world, post Interactive Arts. To all Contextualising Practice staff, for strengthening our ability to express ourselves courageously through the written word. Paul, Hannah and all of the gallery and workshop technicians for your infinite patience and hard work. And finally, a special thankyou to all of those who donated their time and effort to make this catalogue possible.


Contributors Editors and Design

Fundraising

Charley Blake Banks Roger Bradley Michael Crook Kayleigh Heydon James Stevens

Lucie Greenwood Aaron Smith Hebe Phillips Hayley Johnson Ruby Shephard Sean Kennedy Emily Jackson

Photography Devin Louttit Thom Valentine


Saffina Bhatti Charley Blake Banks Kathy Bradshaw David Brookes Roger Bygott Elizabeth De Cent Emma Dinnen Shaun Duke Natalie Dunning Tom Davies Fisher Alexander Grant Lucinda Greenwood Georgie Hewitt Kayleigh Heydon Callum Higgins Emily Jackson Hayley Johnson Sean Kennedy Nicole Kent Rebecca Long Devin Loutitt John Lynch Jess Marshall Ilias Mavrovas Conor McManus Daisy Ng Lucy Petts Hebe Phillips Isaac Priestly Dominic Revill Ffion Roberts Lucy Rogers Emily Rusby Ruby Shepherd Aaron Smith James Stevens Zedi Thomas Jake Tibbits Thom Valentine Tineke Van Boven Flo Whitworth


IA14 Catalogue