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EXHIBITORS Stephanie Barratt
Ahmed El Haddad
Stains and imperfections are the embellishment of history on an object or surface; they tell a story of human presence through absence, where marks are a trace of interaction.
My practice deals with the subject of my identity. I focus on processes to create my work starting with drawing, then mark making and painting. My work is mainly 2D based as I feel this depicts the quality of the lines that I like to achieve.
I reflect on true identity, visually represented and influenced through my personal interests. My exploration is the struggle and complexities between art and craft, both utilitarian and beautiful.
I use organic shapes and tactile materials to create sculpture. I allow the materials to do what occurs naturally in order to capture a moment. I want to build something tall, which draws the eye upwards. My obsession with animals is apparent in the use of fur within my sculptures.
I use the open flame of a blowtorch or heat from a soldering iron to leave tonal marks on a material such as wood or canvas. This allows me to form images with fire as a metaphor of creation through destruction, there can be no creation without first there being destruction.
I am currently interested in making sculpture. Iâ€™m attracted by bright, bold colours and the repetition of refined manufactured objects. I manipulate these to create forms, taking a material out of its context to create something new. I want to make us think about that object in a different way.
The photographic medium is defined by its particular limitations. As we undergo the transition from analogue to digital, these limitations are threatened by a new wealth of possibility. Using the questions raised by the digital medium as a point of departure, I have been working to investigate the nature of what constitutes photographic integrity.
Currently, Iâ€™m interested in materiality and discovering the potential of the materials I use in my work. Rather than using traditional sculptural materials, I prefer to use uncommon ones, such as packaging tape. I believe the use of unique materials creates distinctive conceptuality in my work.
Using the body as both subject and material, my work explores issues of conformity and non-conformity. There is a large autobiographical element that is fundamental to my practice and shapes its direction.
Working predominantly with natural materials I focus on creating sculptural forms that have a sense of presence within a space.
AHMED EL HADDAD
In my work things don’t have to relate however they can still exist side by side in some free concept. It can be, for example, figurative, creative and free from commitment. I make work that resonates on a deeply emotive level acting as a vehicle to reconnect with a ‘place’ or memory deep in my subconscious.
I find interest within peoples relationships to, yet alienation from the inert; the objects that belong to us, yet outlast us. I intend to capture the fleeting memories of their interactions with these objects, layering footage onto the object to create a record of interaction.
We have tirelessly used the body within
the history of art in the pursuit of a greater or truer understanding of
the relationship between our realities and ourselves. Within my practice I explore the multitude of associations, connotations and meanings the body can independently evoke in us all.
My work is symbolic and gestural of heart and mind. Mental phenomena are in some respects non-physical. Realisation of sentient is the impetus to my practice, underpinned by the notion of â€˜Cartesian dualismâ€™. Stitch forms the skeleton to pieces, thus mimicking the ethereal nature of feeling.
My work deals with The Self, and the effect that living in our current society has on us as individuals and social groups. I am particularly interested in the physical aspect of this, and my work is a response to issues such as the size zero culture and what is typically considered to be â€˜uglyâ€™.
The use of soap, water, ink and dye is recorded on video where the recording is the transient medium itself. The key conceptual aspect of the work is the transcendent nature of space and the array of relative existential and cerebral parallel planes.
My practise is about culture, the things I love and that make me happy. In this project I have gone back to my roots of drawing and painting. My method is simplicity and realism done in a delicate manner.
Gilles Deleuze and Felix Guattari’s concept of ‘becoming-animal’ rejects metaphor or symbolism; it perceives identity as being a multiplicitous process rather than a static phenomenon. I deconstruct and reform the human and the animal figure mutually in the act of drawing.
I work with a wide range of materials often changing between organic and man-made. The aim of my work is to arouse curiosity and invite touch through its tactile qualities. I am influenced by symbolism, nature and the sublime, using anything that sparks my imagination and incorporating it into my art.
My work is about space. The spaces
around us, the spaces we occupy, the spaces we might not notice and the
space in our heads. Through the use of thread and wire I make forms to
fill these spaces injecting complexity into often overlooked spaces.
My preoccupation with the infinite began as a child. I suffered anxiety attacks when exposed to scientific and mathematical paradoxes at a young age. Repetitive tasks and playful experiments appeal to both my anxious nature and my inner child, which in turn helps me to process complex thought through simple processes.
I am a mixed media artist who works with the notion that the universal can be personal and the personal be universal, my work is driven by the fine line between chaos and organization.
I am interested in the concept of the uncanny and how it is experienced as feelings of unease within our surroundings revealing the strange in what appears mundane. My work is concerned with invasions and interaction with space, highlighting its deeply affecting power and relationship to the body.
MIRANDA MOHIT I use a feminine approach as a formula for creating something fragile, sensory, fleshy and tangible, expressing a complex intimate narrative and uncertainty. Materials and concepts juxtapose a psychological vision. Identity, childhood, journey and memory are themes often explored through my practice.
SAMUEL MORGAN My work deals with the alienation that the contemporary art world creates towards the general public and what separates ‘high’ art from society and the community. By using a naïve painting style and clashing colours, I try to convey these ideas through the aesthetics of the painting.
I explore ideas of street art as a legitimate art form that can work in different surroundings. I have experimented with different materials making posters and now plastics. I try to convey similar feelings in a gallery as I do in my work on the streets.
â€œAn isolated datum of preception is inconceivable, at least if we do the mental experiment of attempting to perceive such a thing. But in the world there are either isolated objects or a physical void.â€? Maurice Merlau-Ponty, 1962. Phenomenology of perception.
The concept behind my work is memory and the re-creation of objects. I produce 3D forms working with various materials and using repetitive techniques. I aim to create sculptural representations of form and space.
My artistic practice is heavily driven by political and social issues. It challenges the current capitalist system while offering an alternative to it. Utilising art as a revolutionary tool I hope to encourage new ideas; always done with honestly and compassion.
â€œThere is only the fight to recover what has been lost And found and lost again and again: and now, under conditions that seem unpropitious. But perhaps neither gain nor loss. For us, there is only the trying. The rest is not our business.â€? T.S. Eliot
I manipulate paint as a method of creating layered painterly sculptures. Using Abstract Expressionism, but employing more control. I use found objects and intuitive colour to develop the surfaces in the work.
My work is an attempt to reclaim aura from reproduced artworks, employing a ritualized drawing method I am attempting to coax the reproductions back into their original three-dimensions. By doing this process I liberate aura, creating new originals.
I aim to create interpretive pieces, which seem insignificant and overwhelming to an audience, allowing the irregularities within psychological behaviour to be visually represented. My work involves my personal struggles and knowledge with regards to the social and aesthetic areas of life.
My practice strips down industrial landscapes into minimal components. Immediate and physical processes are my tools for investigating materiality, evolution, function and structure in relation to the urban environment.
I am interested in destructive practices, in an aesthetic defined by the material trans-mutated through violence and chance.
I use the throwing,
smashing and shooting of things to explore extended painting through video and installation.
To lose a home is to lose a museum of a personâ€™s memory and identity. By altering the object I endeavour to uncover the haunted house within both my own psyche and that of my audiences.
My work is primarily concerned with the history and stories that can be conjured through portraiture. My recent work has considered the process of aging and decay in order to find a way to signify the passing of time using photography, traditional paint and drawing techniques.
My practice follows the romanticism of evolutionary psychology and the argument within where the artistic mechanism is an adaptation, not by-product, of natural selection. Our innate response to â€˜Landscapes,â€™ whose intricate harmony speak to us of an order that lies deep in ourselves, is marked indelibly with the sign of human dominance.
I question and address the struggles and restrictions an artist goes through when exposed to limitation and obstruction. These concerns are investigated in a performative way, using the body to express feelings of anxiety, success, growth and development.
Absurdity is a silence, hiding in the subtle corners of our mind, quietly waiting to be seen and to turn our world inside out.
My paintings are about a process, the act of doing, but underneath that there is the imprint of emotion. Blue to me can represent a range of emotions. The process remains the same but the stains represent my varying emotions.
My work deals with the representation of death and its relationship with beauty. Through ideas formulated around ambiguity and the abject, it is an exploration into how beauty and horror so often, despite such apparent controversy, coincide with one another.