Apex Exhibition Catalogue

University of Lincoln Fine Art BA (Hons) Degree Show 2016

C O N T E N T S

ABOUT APEX .....................01

HANNAH MCKINLAY............67

OLIVIA ALLUM ...................03

K AT H E R I N E

MIRIAM BEAN....................07

ALEX

JAMES

ABBIE OWEN......................77

BUSH......................11

MILLER............71

MURRAY...................73

LUCY COLEMAN..................15

JENNIFER

COLEMAN & PARTINGTON....19

MEGAN

STEPHEN DARGAVEL............21

ABIGAIL

JACOB DENNESS................25

LAUREN REED....................85

ANDREW DUFFY..................27

CONOR RICHARDSON...........87

SOPHIE FOX......................29

ROSEMARY

ALEXANDRIA FRANCES........33

MASON

REBECCA GILBERT..............37

ELIZABETH SAWYER............95

SHANNON GRIFFIN.............39

C AT H E R I N E S C O T T . . . . . . . . . . . . . . 9 7

HAYLEY

JESSICA

HARDY..................43

PAGE................79

PARTINGTON..........81 PEARSON.............83

ROBINSON........89

ROWLEY................93

SMITH.................99

TESS HARDY......................45

SMITH & YOUNG.................103

CHARLOTTE HILL................47

LAURA

CHELSIE HUMBER...............49

K E Z I A WAT T L E . . . . . . . . . . . . . . . . . . 1 0 9

CHARLOTTE HUSSEY............51

KAYLEIGH WHANSTALL........111

LAURA JONES....................55

BRYN WILLIAMS.................113

ADAM

KETTERINGHAM........59

KRISTINA WILSON..............117

JEMMA LIDGARD................63

ELLEN YOUNG...................121

STEVENSON...........105

A B O U T

FINE ART DEGREE SHOW 2016 A pex is an ex h i bi t i on c u rat e d a n d orga ni sed b y Th e University of L i n c ol n ’s Fi n e A rt u n de rgra d uat e st ud ent s.

An am algam ati on of di s t i n c t i v e a n d s pe c i a l i sed p ra c t i c es, t he degre e sho w offe r s a gl i m ps e i n t o ea c h a rt i st ’s wo r k a s t hey reach the pi n n a c l e of t h e i r t i m e at Li n c o ln. Th e a p ex : t he finest of wh at ea c h s t u de n t h a s t o offe r f o llo wi ng t h ree years of re searc h - i n for m e d t h e or y a n d pra c t i c e.

The exhibition s pa c e i s l oc at e d i n t h e Fi n e Art st ud i o i n conj unction wi t h t h e ga l l e r y Proje c t S pac e P lus. E a c h artist has shap e d t h e i r ow n pra c t i c e t h rou g h a ra ng e o f t echniques, from pa i n t i n g t o pe r for m a n c e, sc ulp t ure t o kine tics and eve r y t h i n g i n - be t w e e n . Th i s di v er se c o llec t i o n reveals an inte r rogat i on of i n t e n t a n d pu r p o se sh a p ed b y t hre e year s stu dy, a n d a l t h ou gh t h e c ou r s e i s f leet i ng , i t i s a com pe ndium of di v e r s e a n d di v e rge n t a rt wo r ks.

apexexhibition.tumblr.com

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O L I V I A

A L L U M

Olivia’s sculptural approach to abstract painting is through an examination of the materiality of acrylic paint: she knits paint. By investigating this accessible material, she exploits its properties to expand and confront the field of painting and the viewer’s perception of this.

Originally a rectangular shape, her knitted structure follows its natural urge to curl. Leant up against the wall, the surface moulds itself to the horizontal and vertical planes of the site. In this way the painting is expanding physically into the space, breaching into sculptural territory and overthrowing the association the rectangular form has with traditional paintings.

Responding directly to the gallery walls and floor of Project Space Plus, the space is framed by two central lines of paint, creating a physical awareness of this site. Over time the paint lines gradually stretch ever so slightly, adopting the galleries architectural structure, sinking into the edges where the wall and floor meet - the surface recesses. This shift renders the interior as an unlikely but determined mold. The material paints, and re-paints its reflective form.

omallum.blogs.lincoln.ac.uk

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M AT E R I A L I T Y O F P A I N T Knitted acr ylic paint

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M AT E R I A L I T Y O F P A I N T 1350mm x 1220m m x 127m m 1090mm x 1090m m x 508m m

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PORTRAIT OF SOUND S c re e np rint o n p e rsp ex 700 mm x 700 mm

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M I R I A M

B E A N

OVERTONES Wor ki n g w i t h s o und a s b o t h a med i um a nd a sub j ec t , Mi r i a m uses di s s on a n c e i n c onj unc t i o n wi t h no i se t o q uest i o n wh at musi c a li t y i s. Her re s ea rc h i n t o s ou nd p erc ep t i o n ra ng es f ro m p h y si o lo g y t o musi c o lo g y, s e e ki n g t o u n de rst a nd h o w t h e b ra i n i nt er p ret s so me so und s a s no i se a n d ot h e r s a s ex p ressi v e, c o nc o rd a nt musi c .

Us i n g s e c on d- h a n d g ui t a r a mp li f i er s a s st a nd a lo ne sp ea ker s, Ov erto n es i s a 1 6 - c h a n n e l p ure- t o ne i nst a llat i o n i nf luenc ed b y J o h n Ca g e’s m e t h ods of i n det er mi na c y, wh ere t h e st r uc t ure c h a ng es ea c h t i me i t i s i n s t a l l e d. Th i s relea ses t h e so und f ro m t h e c o nst ra i nt s o f f o r ma l c om pos i t i on , a l l o wi ng t h e week- lo ng p i ec e t o b e b ui lt up o n t ra nsi ent m om e n t s of c a c o p h o ny a nd h a r mo ny.

“There is no such thing as an empty space or an empty time. There is

always something to see, something to hear. In fact, try as we may to make a silence, we cannot.”

- JOHN CAGE

Portrait of Sound is a screenprint on perspex using the data from four channels of the installation. The audio is translated into an image and digitally warped before rendering. Due to the purity of the sound in the recording, the converging patterns of waveforms can be seen amongst the distortion of the image.

miriambean.com

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OVERTONES I n d et erminat e 16-ch anne l so und inst allat io n

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J A M E S

B U S H

THE SUB-LINE Jam e s is concer n e d w i t h t h e i dea t h at l a n ds ca p e ex i st s a s a sub j ec t or topic to chal l e n ge u s , s om e t h i n g t h at i s t h ere t o b e q uest i o ned and explore d. H e expl ore s t h e n ot i on of p enet rat i ng la nd sc a p e and exposing i t i n i t s ra w e s t a n d m os t v u l n era b le f o r m. Th e a rt i st pushes landsca pe t o i t s l i m i t , expl or i n g a n d t est i ng i t s b o und a r i es by re m oving c on t ex t , ex pe r i m e n t i n g w i t h t h e unseen i ma g e, t h e cropped im age – w h at i s i t t h at w e a re n ot seei ng ? Th e p o t ent i a l of a hidde n la n ds c a pe . Us i n g t h e proc e s ses o f d ec o nst r uc t i o n and re constr uc t i on , h e l ooks t o re c reat e a nd d ra w f a mi li a r i t y from landscape t o u n de r s t a n d w h at i t m i gh t mea n t o ex p er i enc e landscape , and t h e c on c e pt of a l a n ds c a pe ex p er i enc i ng us.

Jam e s wor ks mos t l y u s i n g m os t l y oi l a n d a c r y li c p a i nt o n c a nv a s.

Howe ver, he is ex t re m e l y prom i s c u ou s i n h i s c h o i c e o f t o o l used t o apply the paint a n d ge t t h e de s i re d e ffe c t . Ra ng i ng f ro m b r ush es, metal, string an d c l ot h , h e di s t a n c e s h i mself f ro m a st a nd a rd paintbr ush to al l ow a m ore n at u ra l , orga n i c ma r k o n t h e c a nv a s. A de constr ucted, a l m os t pr i m i t i v e a pproa c h t o p a i nt i ng i n att emp t t o challenge lands c a pe a n d t o t a m e t h e s u bl i me.

jamestbush.blogs.lincoln.ac.uk

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THE SUB-LINE A cr ylic, oil, canvas, dismantled fram e

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L U C Y

C O L E M A N

Lu c y ’s port ra i t s a re pe r so na l, sent i ment a l a nd i nt i mat e p i ec es w i t h i dea s a n d c onc ep t s c o mi ng f ro m a ut o b i o g ra p h i c a l re l at i on s h i ps . Th e m ai n f o c us o f h er wo r k i s t o sh a re p r i v at e fe e l i n gs of a u n i v e r s a l ex p er i enc e, a s ev er y o ne h a s a f a mi ly of s om e de s c r i pt i on . W i t h t h e use o f wat erc o lo ur sh e d ra ws att e n t i on t o t h e de e p er c o lo ur s wi t h i n t h e f a c e, usi ng b lues, gre e n s a n d pu r pl e s t o c reat e a t r ut h f ul rep resent at i o n o f h e r pe r s pe c t i v e .

A ke y i n s pi rat i on for t h e ex p ressi o n o f f a mi ly relat i o nsh i p s i s Th om a s St r u t h , w h o f o c usses o n no n- na r rat i v e p o rt ra i t s of fa m i l i e s , i n v ol v i n g t h e v i ewer ’s sp ec ulat i o n t o f i ll t h e port ra i t w i t h u n de r s t a nd i ng . But wi t h i n Luc y ’s wo r k t h e use of pe r s on a l m ea n i n g ma kes t h e wo r k eq ua lly a b o ut h er, a s w e l l a s t h e s u bje c t . I n c o mp a r i so n, St r ut h h a s a wi t h d ra wn s t a n c e from h i s w or k .

Th e u s e of i n c om pl e t e p o rt ra i t s, enc o ura g es t h e v i ewer t o i m a gi n e t h e i m a ge in a c o mp let e st at e. Th i s i s a na lo g o us to

the

fa m i l i a l

re l at i o nsh i p

t h at

i sn’ t

y et

c o mp let e,

a dv oc at i n g t h e a pp rec i at i o n o f t h e d y na mi c nat ure o f t h e s e re l at i on s h i ps . Th ere i s a n o v er wh elmi ng f eeli ng o f obs e s s i on a n d a pprec i at i o n t o wa rd s h er sub j ec t matt er.

lucyacoleman.carbonmade.com

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YOU’RE LUCKY TO HAVE HER Watercolour on paper

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ABOUT THE WORK W he n I w a s y ou n ge r, m y m u m t ol d me “ y o u’ re luc ky t o have her ”.

A t age 1 6 , m y m u m ’s s i s t e r, E m m a , went i nt o a c o ma , where sh e w a s ke pt for s i x m on t h s i n t h e h o p e t h at sh e would w a ke u p. S a dl y, s h e n e v e r di d, a nd d i ed at a g e 1 7 .

B ecause of t h i s , w h e n A m i a n d I u s e d t o f i g h t , o ur mum said “you ’re l u c ky t o h a v e h e r ”, a s s h e lo st h er si st er a nd the time t h e y w e re m ea n t t o h a v e t og et h er.

The se words w i l l s t a y w i t h m e fore ver, I wo uld b e lo st without A m i , s h e i s t h e ot h e r h a l f of me.

I’m truly l u c ky t o h a v e h e r.

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ABOUT THE WORK Lucy Cole m a n a n d M e ga n Pa rt i n gt on bot h create work ba s e d a rou n d a ppre c i at i o n and

the

l ov e

collaborati n g

of they

fa m i l y h ope

m e m be r s . B y to

re l at e

to

viewers wi t h t h e u n i v e r s a l i t y of fa m i ly re lationships .

Us i n g

s y m bol i s m

a nd

portraiture t h e y c reat e a s e n t i m e n t a l a n d som e what rom a n t i c i s e d v i e w of a c l ose family m e m be r e m ph a s i s i n g t h e s t rong emotions as s oc i at e d w i t h t h e w or k.

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DEARLY LOVED Watercolour & screenpr int on paper

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S T E P H E N D A R G A V E L

THE FIFTH PLINTH The Fift h P l i n t h dra w s i t s i n s pi rat i o n f ro m b o t h t h e emp t y p li nt h i n Trafalga r S qu a re a n d t h e a rt i s t ’s de velo p i ng t h eo r y o f p ub li c a rt , wh i c h propose s t h at good c on t e m pora r y pra c t i c e sh o uld b e a v a i la b le t o a b ro a d and ofte n i r re v e re n t a u di e n c e be y on d t h e g a ller y.

The sha re d c h a ra c t e r i s t i c of Th e Fi ft h P li nt h a nd i t s Lo nd o n a nt ec ed ent is the con c e pt of a re v ol v i n g s h ow c a s e o f a rt i n a p la c e o f ra nd o m p ub li c congre gat i on . Th e re t h e s i m i l a r i t y e nd s. Th e Fi ft h P li nt h i s no t a p a st i c h e.

It inte r pre t s t h e i dea t h rou gh a m i n i ma l sc ulp t ed f o r m o f Co rt en st eel.

Its scale, w h i c h i s bot h s u bs t a n t i v e but a c c essi b le, o ff er s t h e o p p o rt uni t y for a co n t i n u a l l y re fre s h e d di s pl a y o f c o nt emp o ra r y v i sua l, so und a nd perform a n c e a rt . It s l ow e n t r y c os t e n c o ura g es ex p er i ment a l wo r k .

The Fifth P l i n t h i s c u r re n t l y be i n g pro t o t y p ed at t h e U ni v er si t y o f L i nc o ln and the a rt i s t ’s v i s i on i s t h at t h i s c on c ep t wi ll d ev elo p a f o llo wi ng i n ma ny other lo c at i on s t h rou gh ou t t h e c ou n t r y.

stephendargavel.com

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THE FIFTH PLINTH A st age fo r co nt e mp o rary visual, sound and per for m ance art in public 2000 mm x 1200 mm x 1600 mm Corten steel

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WITH SHANNON GRIFFIN Per for m ance artist

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WITH BECKY HONG Fashion desig ner

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WORK IN PROGRESS A rtist studio installation

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J A C O B D E N N E S S

As a contemporary artist, Jacob is motivated by a desire to understand and interpret the world through art. He utilises objects that have had previous lives, translating and transposing one use into another. Stories underpin all Jacob’s work. At times his tales are directly evident, at other times deliberately elusive, so the viewer must create their own narrative.

Work in Progress reveals the inner workings of an artist’s studio, the private sanctum of creativity. This glimpse into the normally invisible method of creation elevates the process into the outcome, the installation itself. Instead of feeling the viewer has interrupted the artist at work, the viewer is welcomed in and encouraged to ‘touch’.

jacob94artist@yahoo.com

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A N D R E W

D U F F Y 4,000

Andrew has no interest in complexity; his approach d e m y s t i f i e s a r t t h ro u g h t h e u s e o f h u m o u r.

U si ng o b j ec t s f o und o r o t h er wi se, o r mund a ne t h ings t o c reat e a rt i s, i n h i s o p i ni o n, o p en t o f urt h er scrut iny t h a n a ny o t h er med i um, o n t h e b a si s t h at i t i s m erel y a p p ro p r i at ed . And rew’s i nt erest li es so lely i n t h e i d ea t h at a rt a nd i nt er p ret at i o n g o h a nd i n h a nd ; h i s ex p er i ence as a n a rt i st h a s led h i m t o d i sc o v er a n i nt er p ret at i v e language t h at ex i st s i n t h e a rt wo r ld , a nd h i s wo r k q uest i ons t h is la ng ua g e t h ro ug h t h e use o f h umo ur a nd wo rd p la y.

Hi s rec ent wo r k wi t h t ex t a nd p r i nt h a s seen h i m creat e a ser i es o f sh o rt , g i b b er i sh wr i t i ng s a nd p i ec es o f r h e t oric set o n t ex t ured p a p er. Present ed st a c ked o n p li nt h s, t h e w ork h a r ks b a c k t o t h e Greek sc ulp t ure a nd b ea ut i f ul a rc hit ect ure o f t h e c la ssi c a l a g e wh i lst d ef y i ng a ny c o nc ep t ua l ideal .

andrewduffy1991@hotmail.co.uk

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S O P H I E

F O X

ELECTRICITY

Being interested in candid portrayals regarding the differences between expectation and reality, Sophie’s work looks towards the media’s portrayal of lifestyle, taking the angle that the media tries to sell to the viewer an enhanced possibility of reality. The glamorous lifestyles depicted through mainstream mediums filter into the viewer’s everyday lives. Repetitiveness, boredom and monotony in young people’s lives can act as an attractive outlook when turned into film, TV series and fashion pictorials, all of which are sources from which she has garnered inspiration for her work. This particular set of photographs focuses on girlhood, and escapism from social pressures.

sophiefoxsite.wordpress.com

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ELECTRICITY 49 p h otog raphs

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A L E X A N D R I A F R A N C E S

BALLOON DOG A l ex a n dr i a’s w or k ex pl ores c o nsumer i sm, f o c usi ng o n d et a i ls wi t h i n h i g h s h i n e m at e r i a l s , t h e v a l u e t h at c o nsumer i st o b j ec t s h o ld , a nd t h e a rt ma r ket .

Us i n g pr i m a r i l y s i l v e r t on e s t o ev o ke a c o nnec t i o n t o p rec i o us met a ls, sh e i s i n t e re s t e d u s i n g m at e r i a l s i n a n a b st ra c t wa y, sh i ft i ng t h ei r rep resent at i o n from t h e or i gi n a l obje c t s o t h at t h ey c a n b e p erc ei v ed i n a new wa y.

S h e w or ks w i t h s c u l pt u re, d i g i t a l p h o t o g ra p h y, v i d eo a nd i nst a llat i o n t o expl ore t h e i n t e rde pend ent relat i o nsh i p b et ween t h e a rt ma r ket a nd c om m odi t y. For ex a m pl e, h er rec ent wo r k h a s i nv est i g at ed t h e eff ec t m a s s produ c t i on a n d c on sump t i o n h a s h a d o n a rt t h ro ug h a p p ro p r i at i ng Je ff Koon s ’ ‘B a l l oon Dog’ ( 1 9 9 4 – 2 0 0 0 ) , wi t h f o c us o n i t s ma r ket v a lue i n c om pa r i s on t o a c om m od i t y. S h e h a s c reat ed b a llo o n d o g st r uc t ures usi ng i n expe n s i v e m at e r i a l s s u c h a s b a llo o ns a nd si lv er sp ra y p a i nt , wh i c h d eg ra d e ov e r t i m e . Th e e ph e m e ra l i t y o f suc h mat er i a ls, d emo nst rat es t h e f ra g i li t y o f t h e m a r ke t a n d i t s re l i a n ce o n h y p er- v a lua b le a rt wo r k .

It i s i m port a n t for h e r a s a n a rt i st t o c o nsi d er h o w t h e v i ewer p erc ei v es t h e c on c e pt be h i n d t h e w or k, p a rt i c ula r ly t h ro ug h t h e re- a p p ro p r i at i o n o f a rt a s m a s s produ c e d produ c t s , a nd t h e rep resent at i o n o f b uy i ng a nd selli ng a rt .

alexandriafrances.co.uk

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BALLOON DOG 2180m m x 2750m m x 4070m m

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R E B E C C A G I L B E R T

OBLIVIOUS Re becca i s a n i n t e rdi s c i pl i n a r y a rt i s t : sh e p r i ma r i ly uses photograph y t o i n v e s t i gat e a n d expe r i ment wi t h h er t h emes, whilst also i n t rodu c i n g ot h e r m e di u ms i nc lud i ng resi n, t o give a cont e m pora r y a n d t ra n s pa re n t p h y si c a l o ut c o me. Th e use of thes e m at e r i a l s re l at e s t o t h e i d ea t h at wh at h a p p ens in our psy c h e c a n n ot be s e e n , t h e re fo re h er wo r ks sh o uld ble nd into t h e e n v i ron m e n t s t h at s u r rou nd t h em.

Re becca expl ore s m e n t a l h ea l t h w i t h i n h er wo r k ; sh e h a s a pe r sona l u n de r s t a n di n g of i s s u e s i nc lud i ng d ep ressi o n and anxiet y a n d u s e s h e r expe r i e n c e s t o f uel h er wo r k . Th e contrast be t w e e n w h at i s bea u t i fu l a n d w h at i s sc a r y, t ra umat i c and distre s s i n g fa s c i n at e s Re be c c a ; t h is wa s d ev elo p ed f ro m the fact th at n ot a l l m e n t a l h ea l t h i s s ues c a n b e p h y si c a lly seen. The pe opl e s u ffe r i n g bl e n d i n t o so c i et y, lo o k ‘ no r ma l’ and appea r t o be l i v i n g ordi n a r y l i v e s , yet i n t h ei r p sy c h e t h ey may be str u ggl i n g w i t h a n u m be r of e m o t i o na l d i so rd er s.

rebecca.j.gilbert@hotmail.com

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S H A N N O N

G R I F F I N

Shannon is a durational performance artist, whose works are about the process of recovery from eating disorders. She portrays the emotional impact such a journey has on an individual through her own body. The body is the subject, object and medium, which creates unpredictable and

uncomfortable

performances,

leaving

the

audience

on

edge.

By sitting, standing and sleeping within her knitted human hair mask and comforter, both of these items conceal her identity. Shannon is no longer a human being but an object: this is a metaphor for how the illness strips you of your identity. By spinning human hair, which is a cast off from strangers, she forms her own protection to perform within. Human hair is an object which carries disgust, making the aesthetics just as uncomfortable to approach as the performance. This cast of material is there to protect and keep Shannon safe from her surroundings, until she awakes and removes herself from her safe haven.

shannongriffin.carbonmade.com

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INCOGNITO Durat io nal per for mance of artist w ear ing knitted mask & blanket m ade from hum an hair

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INCOGNITO Durat io nal p er for mance

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H A Y L E Y

H A R D Y

LOSING-MIND Hayle y’s wor k u s e s orga n i c m at e r i a l s /fr u i t t o o b ser v e mo uld and cross-cont a m i n at i on ov e r t i m e , c reat i n g p i ec es o f wo r k t h at de m onstrate th e progre s s i on of t i m e t h rou g h d i ff erent med i a .

Hayle y uses th e c e l l s t r u c t u re a s t h e ba s e o f h er wo r k , wh i c h i s i nform e d by the w or k of C h a r l e s Da r w i n a n d h i s Th eo r y o f Ev o lut i o n t hat the wor ld i s a l w a y s a da pt i n g t o n e w e n v i ro nment s. Her wo r k documents and expe r i m e n t s w i t h t h e h e re a nd no w, o b ser v i ng de cay and m oul d c u l t u re .

These piece s of w or k s h ow t h e grow t h of bot h p h y si c a l a nd ment a l form s of life, c om pr i s i n g of s i x gl a s s Pe t ri d i sh es t h at c o nt a i n organic fruits ar ra n ge d i n t h e s h a pe of bra i n c ells. Bei ng i n f ull control at all ti m e s u p t o t h e poi n t of ph ot og ra p h i ng t h em, H a y ley photographe d t h e s e e v e r y t w o h ou r s s o i t wo uld a lt er h er o wn state of m ind t o for m n e w w a y s of l i v i n g ju st li ke t h e mo uld , a s i t change s for m .

h a y l e y ro b y n h a rd y. w e b s i t e

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T E S S

H A R D Y

FLUIDITY OF THOUGHT Te ss i s a mi xed - med i a a rt i st wh o ex p lo res a sp ec t s o f c ol our, perc ep t i o n, li g h t a nd mo t i o n. S h e h o p es t o ev o ke emo t i o ns w it h in t h e v i ewer i n o rd er f o r t h em t o sy mp at h i se wi t h , o r g a i n a bett er u n d er st a nd i ng o f , t h e sensi t i v e sub j ec t matt er t h at sh e rep re sent s t h ro ug h a est h et i c a rt .

Flu i d i ty o f Th o u gh t c o nsi d er s f ra g i le st at es o f mi nd , sp ec i fical l y t h e ment a l i llness o f sc h i z o p h reni a , i nsp i red b y h er g ra nd mot h er ’s ex p er i enc es. I nf luenc ed b y t h e a rt o f Ja mes Tur rell, t h e l igh t box i nst a llat i o n i llumi nat es t h e ref ra c t i o n o f wh i t e li g h t , w h ich di sp er ses i nt o a sp ec t r um o f c o lo ur. Bo t h c o lo ur a nd c o nt inuous n o t i o ns o f mo v ement h elp t o c o nv ey a sense o f mi nd f ulness. Th e de sp o nd ent f a c i a l ex p ressi o n att emp t s t o eng a g e t h e v i ew er in de ep er ref lec t i o n, wh i lst t h e a d d ed element o f wat er i s a metaph or fo r t h o ug h t s t o b e c o nsc i o usly o r sub c o nsc i o usly f lo o d i ng i n. Th e a ud i o a d d s a f urt h er d i mensi o n o f sub t le t ensi o n t o t h e o b server ’s i nd i v i d ua l, i so lat ed ex p er i enc e, mi r ro r i ng t h at o f t h e suff erer.

t e ss h a rd y. b l o g s . l i n c o l n . a c . u k

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C H A R L O T T E H I L L In her artwork Charlotte deconstructs the stereotypical image of ‘pretty’ portraits that are part of our everyday lives. She often creates portraits that are far too close for comfort, as the skin’s surface fully covers the canvas. This is very personal; she likes the boundaries it crosses when viewers encounter the paintings.

Naturally, individual differences are present in a portrait: she exaggerates the tiny imperfections to create a portrait that is striking and compelling.

Charlotte focuses on the actual process of taking the image in order to create a painting, and finds it an exceptionally awkward and painful process. Part of this uncomfortable development of the painting is present in the final piece.

charlottehill.blogs.lincoln.ac.uk

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H U M B E R

DID I EVER TELL YOU...

Chelsie is an artist who creates work using a range of media that is appropriate to the subject matter which she is interested in, currently mono-printing, to explore concerns about Alzheimer’s. Chelsie’s work looks at the physical and mental deterioration of her grandmother, who was a sufferer of Alzheimer’s. Her work highlights the degenerative and upsetting nature of the illness, which she hopes will elicit empathy from viewers. Enabling others to have a better understanding of the subject, the impact it has on people is helpful to the artist, allowing her to deal with her grandmother’s illness and its outcome.

Ch elsi e uses p er so na l emo t i o ns t o c reat e h er wo r k . At f i r st t h e subject i s unc lea r, wh i c h a llo ws t h e v i ewer t o t a ke t i me a nd g a i n a m ore ind ep t h und er st a nd i ng o f h er wo r k . By d o i ng t h i s, t h e wo r k e ngages vi ewer s mo re a s t h ey a re ref lec t i ng o n p er so na l ex p er i en ces t h at are si mi la r t o sp end i ng t i me wi t h a p er so n suff er i ng Alz heim er ’s, p o ssi b ly c a usi ng up set , f r ust rat i o n a nd c o nf usi o n.

chelsiehumber.carbonmade.com

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DID I EVER TELL YOU...

Hand p rin ted and stitched ar mchair

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C H A R L O T T E H U S S E Y

6-HB NETWORK Having formed an intense and stubborn relationship with the act of drawing, Charlotte’s work engages with ways in which the urban plane aims for the rational and functional in its design. Though the interconnectivity of large complex systems and networks, her process employs the aesthetics of technical drawing in order to explore the utopian aspirations embedded in the city.

Applying a panoptic structure favours equidistance and balance as the drawing forms a central hub, out from which the mechanical ‘city’ stretches, displaying longevity though the ability to adapt.

Working systematically, Charlotte’s process is an ongoing one, as it continues to emulate urban development.

c h a r l o tt e h u ss e y. c o. u k

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6-HB NETWORK 2400mm x 1200 mm

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J O N E S

LOCUS There has alwa y s be e n a rt i n c a rt ogra ph y. Ma p s b y d ef i ni t i o n a re utilitarian - they pre s e n t i m pl i c i t prom i s e s o f ro ut es i nt o a nd o ut o f t he unknown. Ye t t h e l a n gu a ge of m a ps h a s d ev elo p ed o v er t i me i nt o a captivating o n e , fi l l e d w i t h a rt i s t i c pot e n t i a l.

Having discovere d i n c a rt ogra ph y a r i c h s ourc e o f c o nc ep t s, met h o d s and im age r y to expl ore , La u ra u t i l i s e s t h e p o wer a nd p o t ent i a l o f a m aps vocabu l a r y, c om bi n i n g i t w i t h a rt i st i c - p o li t i c a l t h eo r i es t o challenge tradi t i on a l n ot i on s s u r rou n di n g ‘m a p s’ a nd ‘ ma p p i ng ’.

Inspire d by th e S i t u at i on i s t In t e r n at i on a l a nd a sso c i at ed t h eo r i st s De bord and Con s t a n t , La u ra’s pra c t i c e i s fo und ed i n t h e c o nc ep t o f ‘psychogeograph y ’ a n d t h e ‘dé r i v e ’ – a n a p p ro a c h t o ma p p i ng t h at breaks traditiona l c a rt ogra ph i c r u l e s by m ea s ur i ng p sy c h o lo g i c a l t er ra i n rather than phy s i c a l t opogra ph y. E x pl or i n g a p er so na l c a rt o g ra p h y, h er wor k is base d on t h e be l i e f t h at m a ppi n g a n env i ro nment enc o mp a sses not only the ph y s i c a l s u r rou n di n gs , bu t a l s o o ur p erc ep t i o ns, f eeli ng s, sense s and acti on s w i t h i n t h at e n v i ron m e n t .

Responding to t h i s i n m e di u m s ra n gi n g f ro m d ra wi ng , i nst a llat i o n and sculpture , Loc u s i n v ol v e s t h e c on s t r u c t i o n o f a 3 D ‘ si t uat i o n’ from a psychog e ogra ph i c m a p, a n d l i e s s om ewh ere b et ween a rt a nd architecture . As a s c u l pt u ra l doc u m e n t at i on o f mo v ement , d ec i si o ns, be haviour s and i n t e ra c t i on s , i t m a ps t h e c om p lex relat i o nsh i p b et ween an individual a n d t h e i r s u r rou n di n gs . Th e wo r k a i ms t o b r i ng t h e subconscious t o c on s c i ou s n e s s , t h u s i n s pi ri ng a new a wa reness a nd pe r sonal readin g of ou r expl orat i on w i t h i n a n env i ro nment .

laurajones94.lj@gmail.com

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LOCUS M o u n t b o a rd , s t r i n g, nails, t ra c i n g p a p er, p e n

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WORK BENCH A dam’s a rt pra c t i c e v i s u a l l y e m ph asi ses a nd p r i o r i t i ses t h e activiti e s of i n du s t r i e s c on c e r n e d wi t h ma nuf a c t ur i ng a nd m ining. Th i s i s s pe c i fi c t o fos s i l f uel p ro c esses a nd t h ei r m e chani s at i on , a n d i n c or porat e s de v i c es t h at a re a sso c i at ed with th i s i n du s t r y s u c h a s c ra n ks , lev er s a nd mo t o r s. A key term t h at de m on s t rat e s t h e i de ol o g y a nd c o nt ex t o f t h e practic e i s ‘a n t h ropoc e n e ’ a s de fi n ed b y Pa ul C r ut z en, wh i c h m ostly c on c e r n s t h e ge ol ogi c a l t ra n s f o r mat i o ns o f t h e p la net , occur r i n g i n t h e 2 0 t h a n d 2 1 s t c e n t ur i es d ue t o t h e o v erproduc t i v i t y a n d de s t r u c t i v e de v e l op ment s o f H o mo sa p i ens.

The wo r k s u gge s t s a s c a l e d- dow n a n d ex p er i ment a l a p p ro a c h re m inisc e n t of t h e i n v e n t or i n h i s wo r ksh o p, a nd ‘eng a g es low-tec h a n d t h e v a l u e s of w or k i n p ro c ess’. S p ec i f i c a lly, the scul pt u ra l a n d s e m i - ki n e t i c w ork i nc lud es o i l a nd c o a lsurfaced s h e l v e s , for m e d from s t eel sub t ly ma ni p ulat ed through br u s h i n g a n d n u dgi n g t o d emo nst rat e t h e ero si v e nature of h u m a n s a n d t h e i r t e c h n ol o g i c a l d ev elo p ment s f ro m the Ind u s t r i a l Re v ol u t i on on w a rds .

adamketteringham.wix.com/artists

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WORK BENCH Wo o d, st e e l, o il, co al, mo t o rs & le ve rs

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J E M M A

L I D G A R D

STORY OF THE EYE

“But since the food is not an ‘other’ for ‘me,’ who am only in their desire, I expel myself, I spit myself out, I abject myself within the same motion through which ‘I’ claim to establish myself.”

- JULIA KRISTEVA

Je m m a re s ea rc h e s i ssues o f t h e ‘a b j ec t ’ : a t er m d ef i ned t h ro ug h t h e qu ot e by K r i s t e v a, a s t h at wh i c h p ro v o kes a p h y si c a l h uma n rea c t i o n s u c h a s ga ggi n g, o r v o mi t i ng . Th i s i s t h e b o d y ’s wa y o f f o rc i ng i t self t o c ope w i t h t h e d i sg ust , i n t ur n d ra wi ng att ent i o n t o t h e f ra g i li t y o f i t s bou n da r i e s .

Th e gl a s s di s pl a y c a se — o r ‘ v i t r i ne’ — sy mb o li ses t h e b o d y i n J emma’s w or k, t o e v i de n ce h o w i t b ec o mes c o nt a mi nat ed a nd ‘ unc lea n’ t h rou gh t h e i n ge st i o n a nd emi ssi o n o f f o o d st uff a nd f lui d s.

Vi s c e ra l m at e r i a l s suc h a s mi lk , eg g s, a nd b o d i ly f lui d s li ke sa li v a , e pi t om i s e t h e a bj ec t i n h er p ra c t i c e t h ro ug h t h ei r enc o unt er s wi t h obje c t s . Th e s e a b j ec t c o lli si o ns ex p o se a d esi re t o f ree t h e t a b o o i n s oc i e t y t h rou gh art p ra c t i c e v i a t h e na r rat i v e a nd sub j ec t i v e lens o f G e orge B at a i l l e ’s St o r y o f th e Ey e . Here, t h e v i t r i ne i s p o si t i o ned a s a bodi l y c on t a i n e r, a c t i ng a s a met a p h o r i c la y er o f b ro ken sk i n. I n t h i s i t bot h c on t a i n s a nd ex p o ses t h e a b j ec t .

A n ex a m pl e of a b o d i ly o b j ec t i nsi d e t h e a rt i st ’s v i t r i ne i s a b o wl, c a st from pe w t e r t o re f erenc e t h e sh a p e o f a n a nat o mi c a l, f ema le p elv i s.

Th i s i s c om bi n e d wi t h mi lk t o sh o w h o w i t lea ks o ut o f t h e b o d y, a nd h ow m i l k s y m bol i s es a c o nnec t i o n b et ween d i sc h a rg e, o r nurt ur i ng .

jemmalidgard.blogs.lincoln.ac.uk

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STORY OF THE EYE Per s p ex, milk , e ggs, aluminium frame s, pew ter, plaster

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H A N N A H M C K I N L A Y

MOTHER [MUHTH-ER] VERB

hannahmckinlayart.carbonmade.com

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MOTHER [MUHTH-ER] VERB Oil on canvas, em broider y thread and p en

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0.001% Th rou gh t h e m a n i pu l at i on o f a ud i o a nd v i d eo, Kat h er i ne c reat es pi e c e s t h at m oc k m ora l l y a n d et h i c a lly q uest i o na b le ev ent s. H er c u r re n t w or k i s ba s e d on c a p t i v e c et a c ea ns, sp ec i f i c a lly t h e o rc a w h a l e , Ti l i ku m . Th e c ol ou r f ul, energ et i c c o nt ent o f h er v i d eo re fl e c t s t h e l e e r y v i s u a l s of ma r i ne p a r k sh o ws, c o nt ra st ed wi t h t h e s i gn i fi c a n t l y da r ke r a u d i o o f p o li c e i nt er v i ews sur ro und i ng the

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Kat h e r i n e u s e s i n s t a l l at i on, a ud i o a nd v i d eo a s a mea ns o f i n for m i n g t h e a u di e n c e of Ti li kum’s c o nf i nement . Th e t a nk h e’ ll be i n for t h e re s t of h i s l i fe i s 0 . 0 0 1 % o f t h e d i st a nc e h e’ d t ra v el i n h i s n at u ra l h a bi t at , i n ju s t o ne d a y.

Th e w or k i s h ea v i l y i n fl u e n c ed b y t h e ma ss i nh uma ne sla ug h t er of c e t a c ea n s n ot de e m e d f i t t o p er f o r m, a nd b y a ni ma l a c t i v i st re s ea rc h i n t o t h e h u m a n a nd a ni ma l welf a re eff ec t s o f unnat ura l i n t e ra c t i on w i t h c e t a c ea n s . Her a rt i s ro o t ed i n t h e sa d rea li t y t h at t h e deat h s of bot h w h a les a nd h uma ns c o uld h a v e b een pre v e n t e d i f i t w e re n ’t for suc h senseless c r uelt y.

katymillerart.com

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M U R R A Y

THE INTERIOR AND EXTERIOR OF GENDER A l ex i s a t ra n s ge nd er ma n wh o wa s a ssi g ned f ema le at b i rt h . H e h a s t a ken t e s t os t e ron e for f o ur y ea r s no w a nd h a s h a d b rea st red uc t i o n surg er y ; h e u s e s h i s t ra n s i t i o ni ng b o d y a s la ng ua g e b ec a use o ur c ult ure uses t h e ex t e r i or t o expl a i n g end er. Alex h a s resea rc h ed t h e t h eo r y t h at g end er h a s a n i n t e r i or a nd ex t er i o r, t h e ex t er i o r b ei ng t h e p er so n’s b i o lo g i c a l ge n de r a n d c u l t ura l i nf luenc es, a nd t h e i nt er i o r b ei ng t h e p er so n’s i n di v i du a l i t y a n d ex p er i enc es.

A l ex ’s w or k u s e s sub t le h i nt s o n p ur p o se t o ex p la i n h o w ma sc uli ni t i es a n d fe m i n i n i t i e s are used d ep end ent o n t h e si t uat i o n. S o i f t h e a ud i enc e s e e s a v a gi n a t h ei r o wn i d ea s o f g end er a re p ro v o ked a nd t h ey b eg i n t o qu e s t i on ‘w h at i s g end er ? ’ He i s ma ni p ulat i ng t h e b o d y t o und er st a nd w h e re i t s m a s c u l i ni t i es a nd f emi ni ni t i es c o me f ro m t o sh o w t h e i nt er i o r a n d ext e r i or of ge nd er.

A l ex ’s pra c t i c e e n g a g es wi t h t h i s c o nc ep t b y ex p er i ment i ng wi t h d i ff erent t y pe s of m e di a : dest ro y i ng p h o t o g ra p h s, p ro j ec t i ng o nt o h i s o wn sk i n o r s c re e n - pr i n t i n g on t o g la ss. W h en h e sc reen- p r i nt s o nt o g la ss h e uses t h e m e di u m a s a n i n t e r i o r a nd ex t er i o r t o sh o w t h e d i ff erenc es b et ween t h e ou t s i de a n d i n s i de wi nd o w. Th e i nsi d e g ra b s mo re att ent i o n wh erea s t h e ou t s i de be c om e s i g no red a nd b lend s i nt o env i ro nment s. Alex i s a llo wi ng t h e a u di e n c e t o t ur n h i s wo r k ‘o n’ o r ‘o ff ’.

facebook.com/themurrayableproject

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THE INTERIOR AND EXTERIOR OF GENDER Projections onto skin

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Scre e np rint o n glass

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O W E N

2010In 2 0 1 0 - (2 0 1 6 ) A b b i e uses a sp o ra d i c st o p - mo t i o n f i lm re ga rdi n g h e r m emo r i es i nv o lv i ng sex ua l t ra uma f ro m a y ou n g a ge t h at i s p ro j ec t ed o nt o a d o o r, t y p i c a lly re ga rde d a s a do mest i c o b j ec t . Th i s g i v es t h e p i ec e ext re m e l y pe r s ona l a nd a ut o b i o g ra p h i c a l t h emes a s w e l l a s re l at i n g t o t h e a rt i st ’s i nsp i rat i o n, D o H o S uh .

In re ga rds t o h i s i nst a llat i o n p i ec es, suc h a s St a i rc a seIII (2 0 1 0 ), A bbi e h a s i nc o r p o rat ed S uh ’s f a sc i nat i o n o f u s i n g obje c t s t h at a re p o rt a ls f ro m o ne ro o m t o a no t h er a s w e l l a s dom e s t i c env i ro nment s i nt o h er p i ec e. Her i n s pi rat i on s for t h i s p i ec e rely mo st ly o n h er o wn m e m or i e s a s w e l l a s usi ng h er k no wled g e o f L a c a n a nd Fre u d ’s t h eo r i es o n memo r y.

abbieowenblog.wordpress.com

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P A G E

EARTH Th e re l at i on s h i p b et ween ea rt h a nd t h e g a ller y c a n b e a d i st a nt o ne.

E a rt h w or ks t h r i ve i n a n o ut si d e env i ro nment ; b r i ng i ng t h em i nsi d e t h e c u be - l i ke s t r u c t u re o f a g a ller y mea ns b rea k i ng d o wn t h e b o und a r i es of w h at i s s e e n as a no r ma l sur ro und i ng f o r suc h a rt wo r k t o b e i n.

A m a n u fa c t u re d c ub e t h at wa s c o nst r uc t ed wi t h t i red h a nd s a nd i n s t a l l e d i n a n e n v i ro nment t h at seems unusua l t o i t s mat er i a ls c a n b e fou n d t o be i n t r i g ui ng at i t s b est . W i t h no nat ura l li g h t i ng , f resh a i r o r n at u ra l w at e r i n g p ro c ess t h at i t need s, c a n t h i s t y p e o f wo r k g enerat e a n d grow i n s u c h a n a rt i f i c i a l sett i ng ?

jeni1193@hotmail.com

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MOTHER OF PEARL S c reen- p r i nt ed wa llp a per w it h mi xed med i a port rait s

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Me gan’s wor k re fl e c t s t h e s e n t i m e n t a l i t y a nd no st a lg i a o f a mo t h er- d a ug h t er relationship. B y foc u s i n g on h e r ow n fe e l i n g s t o wa rd s h er mo t h er, sh e uses symbolism to proje c t a s e n s e of pr i de a n d att a c h ment t o i ma g es a nd memo r i es o f her. This wor k ori gi n at e s from t h e a rt i s t ’s t e n d enc y t o b ec o me o v er ly sent i ment a l in re gards to memor i e s a n d pe opl e c l os e t o h er.

Her wor k is create d u s i n g h a n d- m a de t e c h n i qu es t o sh o w t h e p er so na l i nv o lv ement a nd de dication t o t h e w or k, re fl e c t i n g t h e pe r so na l c o nnec t i o n sh e h a s wi t h t h e subje ct. B y scre e n - pr i n t i n g w a l l pa pe r a n d h a nd - sewi ng emb ro i d er i es, sh e h a s g iven a lot of tim e a n d de v ot i on t o t h e w or k. Th i s c reat es t h e sa me sense o f p r i d e f elt towards the re l at i on s h i p w i t h h e r m ot h e r.

meganpartington.blogs.lincoln.ac.uk

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A B I G A I L

P E A R S O N

PRESENCE OF THE ABSENT Through th e proc e s s of frott a ge , A bi ga i l i nv est i g at es ev er y d a y o b j ec t s that are ty pi c a l l y fou n d a rou n d a h ome env i ro nment a nd a rg ua b ly are n’t ackn ow l e dge d pa s t t h e i r pu r pos e. E x p lo r i ng t h i s t h o ug h t , i n conj unction w i t h t h e i n fl u e n c e of Da v i d H o c k ney ’s p h o t o mo nt a g e ser i es (known as J o i ne r s), s h e r u bs gra ph i t e ont o i nd i v i d ua l p i ec es o f p a p er and assemb l e s t oge t h e r t h e re pl i c at e d ima g e. Th i s met h o d a llo ws h er to r ub compl e t e l y a rou n d t h e obje c t s a nd p er so na lly eng a g e wi t h t h e e veryday in m ore de pt h . A s a re s u l t of t h e c o lla g ed p a p er s, i t d i st o rt s the image a n d c on s e qu e n t l y dra w s att e nt i o n t o a sp ec t s t h at p er h a p s wouldn’t usu a l l y be foc u s e d u pon .

A s the ne gat i v e s pa c e be c om e s t h e v i s i b le, sh e ex p lo res t h e unc a nny likene ss be t w e e n t h e r u bbi n gs a n d t h e p h y si c a l o b j ec t s. I nsp i red b y the concep t u a l e l e m e n t s of Ra c h e l W h i t erea d ’s c a st s, b o t h a rt i st s explore the pos s i bi l i t i e s of re pl i c at i n g ex t er i o r s o f d o mest i c o b j ec t s at a still m om e n t i n t i m e . Wh i l s t Wh i t e rea d c a st s d i st i nc t a nd a c c urat e re pre se ntat i on s of t h re e di m e n s i on a l ob j ec t s, i nt er i o r s a nd ex t er i o r s, Pear son aim s t o c on n e c t t h e fa m i l i a r i t y b et ween t h e t wo a nd t h ree dim e nsions - t h rou gh t h e pre s e n c e of t h e a b sent o b j ec t s.

abigailpearson.carbonmade.com

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R E E D ORCHIDS

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Laure n Re e d’s w or k ex pl ore s t h e h i s t or i c a l i mp o rt a nc e o f t h e f lo wer, mo re sp ec i f i c a lly t h e use of the flowe r a s a s y m bol of t h e de l i c a c y a nd sex ua li sat i o n o f t h e f ema le f o r m. W h at i nf luenc es her wor k i s t h e expl orat i on of v i s u a l rep resent at i o n o f t h e o v er ly sex ua li sed f ema le b o d y, sculpte d b y t h e m e di a . S h e pu r pos e fu lly uses f lo wer s suc h a s o rc h i d s t o h ei g h t en t h e v i sua l link be twee n t h e fl ow e r a n d t h e v a gi n a , usi ng sh a p es a nd c o lo ur s t h at sub c o nsc i o usly swa y the vie we r ’s pe rc e pt i on of t h e fl ow e r a s so met h i ng o f sex ua l ref erenc e, a nd b y p resent i ng t h e flowe r in pos i t i on of t h e v a gi n a on t h e b o d y i nc rea ses t h e sy mb o li sm o f t h e f lo wer.

laurenreedart.carbonmade.com

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C O N O R R I C H A R D S O N REVOLVER//CHALK ON CHALK

Orientated aro und th e no tio n o f neut ra l i sm , a n d t he physical app li anc e o f th is unf le dge d t he o r y, Co n o r ’s practice revo lve s aro und th e c reatio n o f m a r k- m a k i n g

machines a nd mac h i ne- made art th at resp o n d t o n o t i o n s such as Marc e l D uc h amp ’s In fra -Th i n and t he re l at i o n shi p and

equil ib r i um

b etw e e n

s ame - mat e r i a l

contact.

Inspired b y th e i s s ues w i th th e f unda m e n t a l a n d t he

literal that th e mac h i ne in art i s s ituate d wi t h, Co n o r ’s practice is direc ted at th eo retic al i nte r ro g at i o n s a i m e d to ex hib it th e mac h ine artis t ’s w o rth in a rt , a n d a i m s t o

answer the s ub je c t ’s f ami li ar q ues ti o n o f ‘ M a chi ne s ca n’ t write signatu res th at m ea n a n yth i n g , m a ke a rt , o r w ri t e literature. Ca n th ey?’

Conor ’s Re v olv er and C h a lk on C h a lk re sp o n d t o t he

aforementio ned s ame- mater ial c o ntac t a n d n e u t ra l m a r k-

mak ing. D e mo ns trating a c o mb i nati o n of t he m a c hi n e ’s performanc e and do c ume ntar y- b as ed wo r k , t he p i e c e s are designe d to ex h ib it th e p h ys i c ality of n e u t ra l i sm a n d that it ex ists b e yo nd th eo r y.

conoratfionnrua@aol.com

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R O S E M A R Y R O B I N S O N

NOT YET (2016)

Rose m a r y ’s p ra c t i c e i s fo u n d e d u p o n t he qu e st i o n : i s i t po ssi bl e t o c reat e a n a rt wo r k whi c h e v o ke s a se n se o f a n t i c i p at i o n wi t hi n a n a u d i e n c e ?

E n c o u ra g i n g a n t i c i p at i o n wi t hi n he r p ra c t i c e , Ro se m a r y use s t he exp e r i e n c e o f he r a u d i e n c e t o i m p l y o n c o m i n g c h a n g e s wi t hi n he r a rt . By e n t e r i n g t he c o n sc i o u sn e ss

o f he r a u d i e n c e she d e v e l o p s i m p l i c at i o n s a n d ra i se s c u r i o si t i e s, be fo re c a u si n g he r a u d i e n c e ’s k n o wi n g o r un k n o wi n g p a rt i c i p at i o n i n he r a rt . Thro u g h t hi s, he r pra c t i c e ra i se s qu e st i o n s o f a u t ho r shi p : whi l st t he o bj e c t

c a u si n g t he a n t i c i p at o r y se n sat i o n i s c reat e d by t he art i st , t he se n sat i o n i t se l f c a n o n l y be g e n e rat e d by t he

au d i e n c e . Thi s i n t e r re l at i o n be t we e n a rt i st , o bj e c t a n d

au d i e n c e d e v e l o p s a n e qu i l i br i u m , a s fo r t he a rt t o be su c c e ssfu l ea c h m u st u n d e r st a n d t he o t he r.

rosemary_robinson@hotmail.com

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NOT YET (2016) Vinyl on s u s pe n de d gl a s s , c ou n t d o wn c lo c k 9900 m m x 7 0 0 0 m m

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M A S O N

R O W L E Y

TERROR OF THE NIGHT

This wor k i s a re pre s e n t at i on a n d i n si g h t i nt o o ne o f Ma so n’s ni g h t terrors s u ffe re d w h e n h e w a s y ou ng . H e ma kes t h e c o nnec t i o n betwe e n rea l i t y a n d i m a gi n at i on i n h i s wo r k ; h e d ep r i v es t h e obje ct of i t s or i gi n a l fu n c t i on a l i t y a nd a llo ws i t s a est h et i c v a lue t o pre vail . A s a re s u l t , t h e or i gi n a l u s e f ulness o f t h e ev er y d a y o b j ec t no longe r pre dom i n at e s , bu t h i s w o r k nev ert h eless c o nt i nues to be a v i s u a l re fe re n c e t o t h e ori g i na l. W i t h t h i s p a ra d ox i c a l constr u c t i on , M a s on c reat e s a fi c ti t i o us wo r ld o f i ma g es wi t h alternat i v e , i n t r i n s i c m ea n i n gs a n d p o t ent i a l. Th e o b ser v er h a s t o le t go a n d a l l ow t h e i r i m a gi n at i on t o t a ke f li g h t .

In com bi n at i on w i t h t h e pe r s on a l ex p er i enc e o f t h e o b ser v er, a riche r di m e n s i on of t h e rea l i t y ex p er i enc ed wi ll emerg e wi t h the ne w rea di n g a n d i n t e r pre t at i on o f t h i ng s t h at a re a p p a rent ly obvious . Wi t h t h i s t ra n s for m at i on , Ma so n st r i v es t o b rea k d o wn our re c ogn i t i on , t o qu e s t i on t h e ob v i o usness o f o ur rea li t y, a nd to show u s t h e a bs u rdi t y t h at s u r round s us.

masonrowleyart.wordpress.com

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E L I Z A B E T H

S A W Y E R

LEMON JELLY BUBBLE BLUE // E Y E WA S F O L L O W I N G T H E I

E l i z a be t h i s a m i xed med i a a rt i st wh o se wo r k f o c uses o n t ra n s pos i n g s m a l l sket c h ed a c c o unt s o f li f e a s a y o ung a d ult fe m a l e i n t o m a l fu n c t i o ni ng d i g i t a l ma ni f est at i o ns.

A n ode t o t h e c e l eb rat i o n – a nd q ua lms – o f f ema le p h y si c a li t y, a n d t h e dw i n dl i n g p ro mi se o f y o ut h , h er wo r k i nt end s t o b e a pl a y fu l a n d i n ge n uo us rep resent at i o n o f t h e mund a ne, t h ro ug h m i x a n d m at c h i n g p la y t h i ng s, p a ss- t i mes a nd a rt ef a c t s f ro m h er y ou t h w i t h t e c h n i c al d i g i t a l p ro c esses.

Th e c om bi n at i on o f o rg a ni c a nd t ec h no lo g i c a l p ro c ess h o ld s a s t ron g di a l ogu e bet ween t h e a est h et i c o r i ent at i o n o f t h e wo r k a n d i t s s u bje c t , w i t h ‘g li t c h y ’, i mp ulsi v e mo v ement s, j ux t a p o sed by s m oot h bu bbl i n g wa v es t a ke h eed t o emo t i o na l, p sy c h o lo g i c a l, s oc i ol ogi c a l a n d p h y si c a l c h a ng es a nd c o nf li c t s t h at o ne ma y expe r i e n c e w h i l s t g ro wi ng up, wi lli ng ly o r o t h er wi se.

facebook.com/roseleeartist

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C A T H E R I N E

S C O T T

THOUGHT PROCESS Cathe r ine is a m u l t i m e di a a rt i s t w h os e c u rrent c o nc er ns a re t h e topics of m e n t a l h ea l t h , a n d t h e h i dde n and ex p o sed . Th ro ug h the use of wr i t i n g, t h e a rt i s t ex pl ore s neg at i v e a nd p o si t i v e implications o f pe r s on a l m e n t a l h ea l t h .

This work tries t o expl ore t h e pos i t i v e a n d neg at i v e t h o ug h t s a pe r son ke e ps i n t e r n a l l y a n d t h e pos s i bl e i mp li c at i o ns t h i s ma y have. Through t h i s pa rt i c i pat or y a rt w or k, t h e v i ewer i s i nv i t ed t o m ake a se r ies of c h oi c e s i n re ga rds t o t h e a c t i o ns t h ey t a ke. By asking vie we r s t o c h oos e , t h e a rt i s t h ope s p a rt i c i p a nt s wi ll t h i nk m ore deeply a bou t t h e t y pe s of t h ou gh t s t h ey c a r r y wi t h t h em in eve r yday li fe a n d t h e i m pa c t t h i s h a s on t h ei r p o i nt o f v i ew.

twitter.com/cscott_art

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98

PHALLUS Ti gh t s , s t u ffi n g , v i b rat i ng b ullet s, c o tt o n t h rea d 99

J E S S I C A

S M I T H

PHALLUS//CAN YOU TIE IT IN A KNOT? Influenced s i gn i fi c a n t l y by Th e S u bv e r s i ve St i t c h b y Ro z si ka Pa r ker, J essi c a’s p ra c t i c e is founded on t h e re l at i on s h i p be t w e e n wo men a nd t h e c ra ft s a s sh e wo r ks wi t h materials th at c a n be a s s oc i at e d w i t h d o mest i c i t y a nd o p p ressi o n. I t i s i nsp i red b y many patr i a rc h a l n a r rat i v e s of s exu a l d i ff erenc e, i nc lud i ng t h e Freud i a n t h eo r i es re garding w om e n ’s ‘l a c k- of ’ du e t o t h e a b senc e o f t h e p eni s/ p h a llus wh i c h i s a lso perceived a s t h e s i gn i fi e r of pow e r, a n d t h e v a g i na a s ‘a p la c e o f sh elt er f o r t h e p eni s’ are the bas i s of h e r m os t re c e n t w or k. B y o b sessi ng o v er t h e p h a llus a nd p urc h a si ng a m ass of v i brat i n g bu l l e t s , t h e s t i gm a a nd t a b o o o f f ema le sex ua li t y i s c h a lleng ed within the P h a l l u s Pro je c t . Th rou gh h e r a rt S mi t h i s a b le t o a sk q uest i o ns o f c ult ure a s philosophy doe s i n re ga rds t o t h e c on c ep t o f t h e p h a llus a nd f emi ni ni t y.

“The woman who refuses to see her sexual organs as mere wood chips, designed to make

the man’s life more comfortable, is in danger of becoming a lesbian – an active, phallic woman, an intellectual virago with a fire of her own.”

- SIGMUND FREUD

The sculptural works which are paradoxically attractive and grotesque, are an outcome of the meticulous and repetitive process of stuffing and stitching, of drawing the needle through the flesh-like materials, these actions become almost instinctual through repetition. Allowing the viewer to be instinctual too is of importance to Smith’s works, as the tactility and form presented will attract but repulse others.

jessica12smith@gmail.com

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CAN YOU TIE IT IN A KNOT? Ti g h t s, st uff i ng , c o tt o n t h rea d

102

COMME UN B y Je s si c a S mi t h a nd E llen Yo ung

103

ABOUT THE WORK Jes s: So how did we do t h i s ?

E l l ie: I think som e on e m e n t i on e d m y w or k l o o ked l ike a shrive lle d fo re s ki n – a n d w e i n s t a n t l y ga ve ea c h o the r ‘the look’ an d joke d a bou t a c ol l a borat i on .

Jes s: Yeah, and th e n s om e t i m e a ft e r I re m e m b er y o u s a id “Jess… you kn ow y ou foc u s on t h e c i rc u m c i sed p enis? Can we po s s i bl y c ol l a borat e a n d t r y w o r k t h e u ncircum cise d form ? ” A n d I t h ou gh t t h at s ou n d s f un, a n d was eage r to w or k w i t h y ou !

E l l ie: Well I was s t r u ggl i n g w i t h t h e i m po rt a nc e o f t he body in m y w or k a n d a ft e r rea di n g ‘Pu r i t y & D a nge r ’ by M ary D ou gl a s , I de c i de d t h at w or ki n g wi t h a d i stinct bodily fo r m w ou l d m ov e m y w or k forwa rd s, a n d I neede d your h e l p w i t h t h i s ! – H ow di d i t a ll st a rt a g ain?

Jes s: Okay, so, we bot h m a de a fe w i n i t i a l s ket c h es a n d they we re terr i bl e … a s i t ’s n ot s om e t h i n g we’ v e do ne be fore , so we ju s t de c i de d t o go a h ea d, and t r y it o ut.

E l l ie: You basicall y ju s t w e n t , “Pi c k y ou r fa vo ur i t e p enis” – A nd I went t o y ou r bu n c h of di c ks a n d s n i p p ed o n e off that looked s m a l l … a n d m a n a gea bl e ! W h en I s tarted wor king on i t , I rea l l y di d n ot t h i n k i t wa s g o ing to be succe s s fu l , a n d I t h ou gh t I w a s go i ng t o ruin your work, bu t y ou e n c ou ra ge d m e t o ke e p g o i ng with it.

Jes s: It progre sse d rea l l y s l ow l y at fi r s t , bu t I rea lly l ike the spontanei t y of i t s be gi n n i n gs . I di dn’ t f eel l ike I was contribu t i n g t o t h e m a s m u c h a s y ou were, bec ause my phal l i w e re a l rea dy m a de , a n d y o ur s titching and lubing s e e m e d t o t a ke fore v e r.

E l l ie: Yeah it did t a ke a l ot of t i m e ! Fu s i ng o ur mat e r ials togethe r ga v e m y w or k a di s t i n c t form li ke I had hoped, whic h I a c t u a l l y fou n d rea l l y di ffic ult a s my work has typica l l y l a c ke d a n y for m pre v i ou sly.

Jes s: I didn’t rea l l y fi n d a c c e pt i n g y ou r m at er i a ls diff icult, although at fi r s t I w a s re pu l s e d b y t h e Va seline, scooping i t ou t of t h e t u b fe l t s o w rong , b ut I hope d your choi c e of m at e r i a l s w ou l d a l s o elev at e my wor k with its li n k t o t h e m a l e s ex u a l orga n and t h e ref e re nce to the dom e s t i c .

i s sep a rat e f ro m my p ra c t i c e b ec a use t h e rea c t i on t o i t i s so a d v er se t o wh at I ma ke i nd i v i d ua lly. My wo rk is p la y f ul a nd t h e i nt ro d uc t i o n o f y o ur mat er i a ls makes i t f eel mo re ser i o us – But I li ke t h i s j ux t a p o s it ion b et ween ser i o usness a nd h umo ur.

E lli e: Yea h , I t h i nk t h i s i s sep a rat e t o my p ra c t i ce as well, b ec a use o f t h e c lea r f o r m we h a v e c reat ed o r at lea st i t h a s mo re o f a f o r m t h a n I a m used t o wo rking wi t h , h o wev er, t h e mat er i a ls a nd t h e i mp li c at i o ns of d ec a y ma i nt a i n a li nk b et ween o ur wo r k a nd my o w n.

I t h i nk i t ’s rea lly a ff ec t ed t h e wa y y o ur wo r k used t h e p h a llus, b ec a use i t ’s no w b ec o me so met h ing d i sg ust i ng

wh i c h

p eo p le

att emp t

to

avoid

in

c o mp a r i so n t o ev er y o ne h ug g i ng t h e p eni ses t h at y o u ma ke y o ur self .

J ess: I a g ree! W h at I f i nd mo st i nt erest i ng i s t h i s l ink b et ween my wo r k a nd t h e c o lla b o rat i o n i n t er ms of it s p la c ement . Yo u a re f a c ed wi t h so met h i ng g ro t es que a nd nex t f a c ed wi t h my o wn wo r k wh i c h i s si g ni f i c ant l y mo re att ra c t i v e a nd welc o mi ng i n c o mp a r i so n. Th e c reat i o n wa s a t ea m eff o rt wh i c h wa s ni c e.

E lli e: Yea h , so rt o f . Yo u ma d e t h e i nsi d es, I ma d e t h e o ut si d es. My t ea b a g s t o o k a g es t o st i t c h a nd l ube ea c h o ne, so y o u h elp ed me d i d n’ t y o u. – W h i c h you t h o ug h t wa s g r i m.

J ess: I g o t used t o t h e st i c k i ness a ft er a wh i le, a nd m y h a nd s were rea lly so ft ! – I wi sh I c o uld h a v e see n us b o t h st i t c h i ng t h em at 2 AM wi t h t h e sec ur i t y g u ards d o i ng t h ei r ro und s.

E lli e:

Th e

c o lla b o rat i o n

has

d ef i ni t ely

ma d e

me

c o nsi d er t h e b o d y i n my wo r k mo re. As well a s you i nt ro d uc i ng me t o t h e c o nc ep t o f ‘ O rg a ns wi t h out Bo d i es’.

J ess: I t h i nk wo r k i ng wi t h y o u ma d e me wa nt t o ex p lo re t h e mo re a mb i g uo us c o nc ep t s o f t h e b ody a nd t h e lea ky b o und a r i es o f i t – Th i s ma y b e a new d i rec t i o n f o r me!?

E lli e: I st i ll d o n’ t k no w h o w I f eel a b o ut t h i s d i s t inct f o r m, i t ’s d ef i ni t ely g ro und ed my wo r k – But I t h ink I ’ m g o i ng t o st i c k wi t h y o u a nd y o ur d i c ks unt i l I’ m c o mf o rt a b le wi t h i t .

E l l ie: Do you think i t ’s s e pa rat e from y ou r ot h e r wo r k ?

J ess: I f eel li ke I ’ v e b een a b a d i nf luenc e o n y o u.

Jes s: I think that, a l t h ou gh i t s t i l l u s e s t h e ph a l l us, i t

E lli e: Yea h , my mum i s d ev a st at ed .

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L A U R A S T E V E N S O N

LIMESTONE Space is the observation or interaction with free, open, intense or intimate geographical topologies and attributes.

Henri Lefebvre’s Second Implication and Yi Fu Tuan’s spatial definitions have strongly influenced how Laura explores and defines space. From this, the concept of spatial consumption of natural space through the production of urban (social) spaces has become the foundation of Laura’s practice.

laurarosestevenson@gmail.com

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LIMESTONE 2 4 0 0 mm x 2 4 0 0 mm

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K E Z I A

WA T T L E

T H E M E AT L O C K E R

B eing a ve ge t a r i a n a n d grow i n g u p o n a f a r m Kez i a Watt le f eels ve r y strongl y on t h e s u bje c t of a n i m a l s la ug h t er. Th i s h a s led h er t o want to ex pre s s t h e t r u t h s of a n i m a l s uff er i ng i n t h e f o o d i nd ust r y in a subt l e bu t n a u s eat i n g w a y. S h e u ses a v a r i et y o f med i ums i n her work from pe r for m a n c e , i n s t a l l at i o n a nd p a i nt i ng . C ur rent ly she is creat i n g a n i n s t a l l at i on pa i n t i n g t h at f eat ures a ro o m f ull o f painte d m eat i m a ge r y. A s s h e pa i n t s t h ere i s a lmo st a n i nt er na l str uggle be t w e e n w a n t i n g t o c reat e s o met h i ng sh o c k i ng a nd t h en her own di s l i ke a n d a v oi da n c e of m eat . Kez i a h o p es t o c a p t ure this strug gl e i n h e r pa i n t . S h e a l s o co mb i nes b o t h h uma n a nd animal fl e s h , m i xi n g t h e m t oge t h e r s o t h ey a re i nd i st i ng ui sh a b le from each ot h e r. Th i s i s t o s h ow h ow si mi la r we a re, p utt i ng us o n the same l e v e l a n d qu e s t i on i n g t h e di ff erenc e i n t reat ment .

Painting a l l ow s Ke z i a Watt l e t o h a v e a c lo se i nt i mat e relat i o nsh i p with the c a n v a s a n d t h e s u bje c t m att e r, i t a lso a llo ws h er f reed o m to alte r t h e i m a ge r y t o m a ke i t l ook m o re d i sg ust i ng . H er met h o d and subje c t of fl e s h a l s o re l at e t o t h e Gro t esq ue a nd h o w i t ne ver fits c om fort a bl y w i t h i n t h e bound a r i es o f t ra d i t i o n. Pa i nt afte r all i s s e e n a s a v e r y t ra di t i on a l med i um a nd t h en t h e v i v i d and gr ues om e m eat s h e pa i n t s c on t ra st s wi t h t h i s. Th i s c o nf li c t and Grot e s qu e a ppea ra n c e i s w h at m a kes t h em so st ra ng e a nd uncomfo rt a bl e t o l ook at .

keziawattle13391273.blogs.lincoln.ac.uk

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K A Y L E I G H W H A N S T A L L EPISODIC SLEEP

Th i s wo r k i s c o nst r uc t ed up o n ep i so d i c memo r i es a nd h ow a n i nd i v i d ua l rec o nst r uc t s ev ent s f ro m t h ei r self - p erc ep t i on i n o rd er t o und er st a nd o r li b erat e t h emselv es f ro m t h e memo r i es. I t i nv est i g at es t h e p a i n o r emo t i o ns a n i nd i v i d ual h a s suff ered f ro m t h ei r p a st ex p er i enc es a nd h o w t h ey h a ve h a d a n i mp a c t up o n h uma n b eh a v i o ur a nd t h o ug h t s.

Memo r i es t h at h a v e h a d a p a i nf ul i mp a c t c a n c o nt i nue to c h a ng e h o w we d ea l wi t h si t uat i o ns i n t h e p resent , wh i c h c an a lso ma ni p ulat e h o w we g o a b o ut p er f o r mi ng reg ula r t a sks wi t h i n o ur li v es. Th e wo r k i s a b o ut t h e rec reat i o n o f a sp a ce i n wh i c h t h e a rt i st h a s unra v elled t h e my st er i es o f p a i n f ro m t h e c o nsc i o us a nd unc o nsc i o us memo r i es t h ey h a v e rec a lled .

Th ro ug h o ut

Ka y lei g h ’s

wo r k

sh e

t end s

to

c o mmuni c ate

i n a sub li mi na l wa y h o w h er emo t i o ns a re a ff ec t i ng h er o r o t h er s sur ro und i ng . Th i s i s usua lly a c h i ev ed wi t h t h e use o f sc ulp t ure; t h i s seems t o b e t h e p ref er red med i um i n h ow h er wo r k i s c reat ed . W i t h i n ma ny o f h er p i ec es t h e ma in sub j ec t i s t o d o wi t h h o w a n emo t i o n c a n b e p o rt ra y ed.

Ka y lei g h t end s t o use mat er i a ls t h at ref lec t o n t h e emo t i o n s relev a nt t o h er wo r k / p i ec e at t h e t i me b ut a lso mat er i al s t h at c a n b e ma ni p ulat ed a nd p ush ed t o li mi t s t h at c a n be p h y si c a lly c h a lleng i ng t o re- sh a p e a nd usi ng t h e mat er i a l to d emo nst rat e emo t i o ns t h at a c t i n t h e sa me wa y, p ur p o sel y t a rg et i ng a n a ud i enc e b y t r y i ng t o c a p t ure p eo p le’s i nner emo t i o ns, c reat i ng so met h i ng no t nec essa r i ly p lea si ng b ut so met h i ng t h at c o uld p o t ent i a lly c a use t h e a ud i enc e t o relate t o t h e wo r k p er so na lly. S p ec i f i c a lly, f eeli ng s t h e a ud i ence ma y h a v e o v erc o me o r b e d ea li ng wi t h t h emselv es.

kayleighwhanstall@hotmail.co.uk

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B R Y N W I L L I A M S

STEEL-SCAPE VII B r y n i s a m u l t i - med i a a rt i st wh o i s c ur rent ly ex p lo r i ng t h e i nt eg r i t y of t h e s u bl i m e v i a c o mb i ni ng a rc h a i c a nd c o nt emp o ra r y t h eo r y a n d pra c t i c e . D r i v en b y resea rc h i nt o t h e ro ma nt i c p i c t uresq ue a n d t ra n s c e n d enc e, Br y n’s p ra c t i c e st r i v es t o d emo nst rat e a h y br i di s at i on o f t h e t wo, ult i mat ely c reat i ng a c o lli si o n o f t h e l i t e ra l a n d fi g urat i v e sub li me.

Th e pros pe c t o f t h e rep resent i ng t h e sub li me i s a c h a lleng i ng on e . A c on c e p t ua l t h o ug h t d er i v ed f ro m f eeli ng s o f t er ro r a nd pl ea s u re , a n d c at a ly sed i n o ne mo ment o f c o g ni t i o n. Th e sub li me i s t h e ra w e s t f o r m o f st i mulat i o n a nd o ft en b est p o rt ra y ed t h rou gh n at ure a nd sc a p e.

“The process of sublimation converts the unsayable into the said, the unseeable into the seen; but the underlying drive remains behind in a repressed, unconscious form, ever ready to erupt.”

- STEVEN LEVINE

B r y n ’s m os t rec ent wo r k , ‘ St eel- sc a p e V I I ’, i nc o r p o rat es la nd sc a p e m ot i fs t o i l l ust rat e t h e sub li mat i o n o f a n o b j ec t o r ‘ sc a p e’. To a c c om pl i s h t h i s, Br y n uses a n i nd ust r i a l p la sma c utt er t o wo und a s h e e t of s t e el, i nsc r i b i ng t h e la nd sc a p e i nt o i t s sur f a c e. J ust a s t h e s u bl i m e o v er wh elms t h e c o nsc i enc e, t h e p la sma d o mi nat es t h e s t e e l , c h a ng i ng i t s a p p ea ra nc e a nd c at a ly si ng b o t h a n a dm i rat i on fo r t h e la nd sc a p e a nd f ea r f ul resp ec t f o r t h e t o o l t h at c reat e d i t .

Th e pl a s m a -et c h i ng p ro c ess i s d o c ument ed a nd t h e ex p elled s t e e l du s t i s co llec t ed a nd h ea p ed . I n d o i ng t h i s, Br y n emp h a si ses h i s m ot i v e , wh i c h wa s no t t o d est ro y t h e st eel, b ut t o o v er wh elm i t , t ra n s for m i t , a nd p resent t h e new sub li me sc a p e wi t h o ut a ny a ba n don m e n t o f o r i g i na l mat er i a l.

brynwilliams.carbonmade.com

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STEEL-SCAPE VII 2440mm x 950m m

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K R I S T I N A

W I L S O N

A M O B O F C AT T L E , A S T R I N G O F B L O O D S T O C K Kristina Wilson’s work focuses on the issues of animal cruelty and femininity through the medium of embroidery and stitch. Historically women and animals have shared the oppressions of domination. Through the use of this ‘effeminate’ medium she looks to highlight the plight of animals while addressing the stereotypes of femininity and the rise of sexism and speciesism within women and nonhuman animals. The relationship between speciesism and sexism is not itself unidirectional.

Both contribute to the others oppression.

A Mob of Cattle, A String of Bloodstock looks to give back the identity to the animals of factory farming and horse racing by ironically using the cattle identification tag numbers and racing names that were forced upon them by these domineering industries. Attached to the wall in two separate herds, they capture the instinctive nature of the animal and give life to the materials used. The ability to see both sides of the embroideries exposes the uniformity and clinical nature of the front, contrasting with the chaotic, untamed nature of the back.

The embroideries themselves are fashioned from faux leather, faux pony skin, pleather cord and horsehair, each material giving a trace of the animal. The use of these untraditional materials makes the embroidery less feminine, less typical.

kvh.wilson@gmail.com

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A M O B O F C AT T L E , A S T R I N G O F B L O O D S T O C K Fa ux leat h er, f a ux p o ny h i d e, p leat h er c o rd , h o r seh a i r

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INFECTED SITES Tea ba gs , v a s e l i n e, g o ld t h rea d

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E L L E N

Y O U N G

“To build ruins, if not a contradiction in terms, would at least seem to be a

contradiction of natural process. Why would anyone want to create decay?

Yet building for decline seems to appeal to a deep need that already manifests itself at an early age”

- MIDAS DEKKERS

Ellen’s practice is based upon the fascination of the flesh and the inevitability of its deconstruction. As Midas Dekkers discusses, we are ultimately turning to dust as we live, always in a perpetual state of decline. So why should our bodily remains be preserved as relics in formaldehyde or methanol for art’s sake when the process of life has not ended with death – we must remember that our flesh will linger on to decay, and our bodies will grow to deconstruct. Her work focuses on using teabags, Vaseline, and golden threads as materials to form flesh like absurdities which celebrate this state of decline, and capture the Autolysis stage of decay as a constant process.

The teabags provide a fleshy container for the oozing Vaseline which are barely held together by the precious gold thread. The lack of form that the objects possess aims to suggest that the fraudulent flesh that she has created is disconnected from its body, and therefore displaces them within their site; as any organ would be without its body. Her work relies on this displacement to emphasise the grotesque, and ranges from ambiguous growths to developed foreskins, always maintaining its bodily content.

ellenyoungartist.co.uk

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SPECIAL THANKS A t h re e y ea r jo ur ney h a s c o me t o a n end . All o f t h i s w ou l d n ot b e p o ssi b le wi t h o ut t h e sup p o rt of t h e t u t or s , t h e t ec h ni c i a ns, f a mi ly a nd f r i end s.

Th a n k y ou a l l f o r y o ur g enero si t y a nd sup p o rt .

S pe c i a l t h a n ks t o Ad a m Kett er i ng h a m f o r g i v i ng ext ra t i m e i n o rd er t o c o nst r uc t t h i s sh o w, a nd t h a n ks t o M i r i am Bea n a nd C h a r lo tt e Hussey f o r t h e i r a m a z i ng c at a lo g ue a nd d i g i t a l wo r k .

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