Cra talo gu e
nte mp ora ry
Lizzie Arthur Kitty Benaim Jenna Gray Ami Grinsted Emma Grounds Sophie Harris Tilly Hill Alaric Hobbs Theresa Jaeschke Joshua Kerley Lisa Keswick Emma King Natasha Laye Felix McCormack
// 5-6 //7-8 //9-10 //11-12 //13-14 //15-16 //17-18 //19-20 //21-22 //23-24 //25-26 //27-28 //29-30 //31-32
CONTENTS Rebecca Rasmussen Lydia Rudge Eli Scheller Jayde Sheridan Rebecca Sims Mirjana Smith Zenna Tagney Joe Taylor Laura ter Kuile Helen Thomas Poppy Tornabene Simon Walmsley Samantha Wilson Laura Wray
//33-34 //35-36 //37-38 //39-40 //41-42 //43-44 //45-46 //47-48 //49-50 //51-52 //53-54 //55-56 //57-58 //59-60
Lizzie creates short stop-motion animations based on her observations of daily life in Latvia. Working with cardboard and paper, she constructs small scale sets and films vignettes; opening small windows onto the customs and culture of this beautiful Baltic State.
Each project is one learning curve after another. The methods of process and materials Kitty uses are vital in narrating her concept. Controversial issues are commonly expressed in her work, to provoke emotions and opinions from the viewer. By learning the process of making rawhides, from skinning to sewing, she has immersed herself in a new world and a new skill. This process has inspired her to develop her views on hunting and fur use: An animal hunted must not be wasted, every part is to be used. As the skins she uses are a by product of meat, the fur is a sustainable material, and a way to shed light on the truth and honour the life of the animal.
Jenna’s work is mainly influenced by superstitions, secrets, old wives tales and gossip. These themes are explored through varying media such as; wood, fabric and plastic. For the most part, Jenna’s work is interactive with the intent if leaving a lasting impression for those who enjoy the experience. Take part in- Feel!
A series of works that are aimed to appeal to people through the traditional methods of cross stitch. Ami’s narratives record and observe the disasters of the Egyptian protest that started early this year, Ami’s aim is to tell and document a story to capture the viewers interest, just as stories go through a metamorphosis each time they are told, Ami’s work evolves during the weaving. The process containing a large amount of hand stitch and modern technology the laser cutter brings Ami’s work into the 21st century. The concepts are modern, but still have the essence of samplers dated back to the 15th century and Bayeux Tapestry, which have influenced my work.
The ceramic process has changed and evolved enormously over the millennia. From the first people to dig clay from the earth with their hands to the compacted digitally produced 3D space programme components. The world has utilised this material in many ways. Using the detailed effects available through the process of slip casting Emma Grounds has produced pieces that accurately recreate elements of the mundane everyday ceramic object. Using the iconic flavour of blue and white ware and in particular the willow pattern she aims to evoke a sense of the past and of tradition by juxtaposing form with decoration.
Sophie Harris is inspired by the intense texture of macro and micro organic surface patterns, stimulated by everyday sights and nature Sophie really enjoys working with metal and glass, she finds the dramatic effects of the metal in contrast with the delicate simplicity of glass a perfect combination of contrasting materials. By taking casts of eroded and textured surfaces she develops these individual small pieces to create larger table forms. In closely examining Sophieâ€™s work the viewer will appreciate the fine detail of her techniques.
Identity is a key theme that runs through Tillyâ€™s work. Through the manipulation of light and shadow, she creates an intangible aspect to her work, exploring such themes as genetics, heritage, and the identity of a place. Exploration into our ways of constructing and protecting an identity has also led her to consider and develop her own visual language.
Mankind revolves around one thing: oil. The many uses of this fossil fuel are a topic that Alaric finds intriguing.From transport to packaging, oil is the most vital resource in todayâ€™s modern society. With reoccurring themes such as geometric shapes and integrating plastic jetsam, magnets, oil and acrylic Alaric portrays our dependence on this substance and the consequences this could lead to.
Theresa pursues storytelling through materials and techniques. Often inspired by talismanic properties, symbolism and the natural desire for bodily adornment.
Joshua is interested in the relationship between architecture and the natural environment. Juxtaposing cast glass and other materials with found animal remains and growing matter, he references relationships between the natural and built environment.Joshua likes to cut, reassemble, distort and repeat. This design and construction process is a response to themes surrounding up-cycling and retrofitting within architecture; making new objects from the existing shapes and forms.
The creation of functional design ware stems from the desire to celebrate the ordinary object. Perceptions of the domestic are challenged in Lisaâ€™s work; influenced by fabric, wallpaper, pattern, repetition and upholstery, she manifests functional pieces to be appreciated and used every day.
The combination of hard and cold materials aids to relate a clearly anxious antagonism. Emma â€˜s pieces are then encased and enveloped, protected, held and supported.
Natasha is influenced by the placement of jewellery on the body, with the different shapes and forms of the female figure being her main inspiration. Her focus in jewellery itself lies in the making of rings. She creates clean, smooth lines within her ring designs. The use of brass and found mechanical components creates a mechanical feel to her pieces. Machine parts in conjunction with the body reinforce the idea that worn jewellery can become part of the human body, like they are part of a bigger machine. Natasha creates jewellery that combines the hard lines and structure of design with the soft line, curve and form of the female figure. By using various components of objects in which she takes an interest outside of making, such as music and cameras, she keeps the designs personal to her own interests.
Felix uses furniture as a vehicle for exploring the material world around him. He assembles playful objects made from an eclectic variety of materials, many of which are recycled, thrown out or off-cuts. His key aim is to carefully combine these contrasting forms, whilst achieving coherent, fun and intriguing outcomes.
Using various materials such as investment cast brass and boiled goat leather, Rebecca creates unusual body adornments that are representations of people or characters. Investigating memories, collections and inspirations, she is interested in the emotional attachments people have with their objects.
Lydia Rudge takes architectural structures as a form of inspiration and focuses on the negative space to reinterpret and create her own vision. Impact through scale and the appropriation of unconventional craft materials, comes exciting and innovative structures. Traditional architectural awe inspiring forms are utilised and given a new platform and medium for consideration.
Eli Scheller has always been fascinated by the landscape of cities. Having lived in different countries, she was surrounded by many different types of buildings as she grew up. More recently, her work has been inspired by the intricate, beautiful buildings she came across during her Erasmus experience in Riga. Springing from the cultural influence of many countries, the city is a mishmash of architectural styles. In her work, Eli plays with relative scale. Translating the parts of her pieces into unusual sizes, she creates surreal-looking compositions. These dreamlandscapes are imbued with fairy tale-like qualities.
Jadeâ€™s work focuses primarily upon memory and imagination. By engaging with childhood stories she hopes to trigger the viewers own memories and create a sense of nostalgia.
In our modern day consumer culture we spend much time and energy acquiring posessions that once damaged are thoughtlessly thrown away. Rebecca’s porcelain tableware reflects back to an era when objects were innovatively repaired and restored rather than discarded. Taking moulds from found objects Rebecca has created a range of functional porcelain tableware that celebrates human ingenuity and endeavour.
Mirjanaâ€™s interests lie in second hand objects, the history of their origin, uses and memories. She picks on the possibility that every objectâ€™s ultimate destination could be entirely different to its intended purpose. Collected from charity shops, scrap bins, boot sales and auctions, she creates a new life for discarded, unwanted items - dissecting, reassembling and combining them with other contrasting components. She enjoys engaging with the illusion of function. The results are often playful and refreshing, giving a new perspective to the familiar
Zennaâ€™s work is autobiographical; she forms into material objects the everyday stories she lives. She incorporates emotional experience with the affirmation of an essential bond between human and animal life, represented by the humanising of animal movement. By rewarding curiosity her work reminds us that what is truly valuable can rarely be discovered in surface appearances.
“According to Plato, our experience as non-material beings between successive material incarnations is ‘geometric’. Contained within us is a geometrical essence, and thus, when we see these shapes we recognise them instantly, even if subliminally. These are universal forms”. (David Nash: 2008) As our perception of the universe expands so does the complexity of the explanations.
LAURA TER KUILE
Laura is interested in the ways in which the machine can be seen to have become intertwined with the biological aspects of the human existence. Her interest developed from the comparison of anatomical and mechanical drawings. This practice brought her attention, on the one hand, to the mechanical functioning of bodily organs, and on the other, to the way in which the body might represent the perfect organi template for the machine.
Helen Thomas uses recycled glass objects, marbles and bottles and fuses them into new objects; she combines this with a process called ‘Pate du Verre’. Helen enjoys mixing the glass granules to form a palette of colours, which are then painted onto the surface of the mould. This work is intended to draw the viewer towards a range of perspectives. Blurring the boundaries between right and wrong the work insists that we engage with the things we don’t notice and the things we do notice but turn away from.
Poppyâ€™s work deals with issues surrounding restriction, disfigurement, confinement and negative space. The figure is used here as a metaphor for the battles our race faces on a day to day basis.
Some people are mentally and physically imprisoned as well being abused. These people are too vulnerable to help themselves; they are trapped in a world of fear, delusion and to some extent, a loss of innocence. These places draw in many different types of people, both mentally and physically, however, the outcome is often the same in the end. The strong willed have become weak and the sane have become insane through manipulation, sadness, boredom and a loss of hope. My work is not about putting ourselves into other peopleâ€™s shoes or even trying to comprehend that we can sympathise with their suffering. It is about acknowledging and accepting that this happens. Once we do this we can begin to free these people from their prison.
Samantha uses coiling techniques to construct large red earthenware vessels; modelled upon traditional forms these pieces showcase modern glazing techniques to create contemporary, graphic imagery. Inspired by the provocative and witty style of the iconic classical Greek figurative vase, she illustrates the similarities between contemporary Western Society and Ancient Greek culture, using humor and irony within her own narrative imagery. Samantha’s unique ‘guerrilla pots’ are destined to invade conventional museum collections and engage a younger audience.
Laura’s inspiration for her work comes from an interest in “birth art” and examines the void that still exists in our contemporary art world. A series of ‘vessel,’ installations succinctly convey this powerful visual language. The clear narrative is further explored by working through digital technology. Laura can create highly controlled pieces for casting on a large scale, thereby reflecting upon and emphasising issues of control. Focusing upon the control women endure during the final stages of their birth, these sculptures echo restraining positions. Recognition of this most powerful of experiences, binds all women at this crowning moment.
Contemporary Crafts Catalogue Falmouth University Woodlane,Falmouth, Cornwall TR11 4RH Tel: 01326 211077 Fax: 01326 318971 Published by UFC. ÂŠ2013 Design: Yuliana Pandelieva