You're doing fine. 2017

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Green Cover.pdf

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Silver Foil Block.pdf

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Deboss.pdf

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...it’s in the game.

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NU FA 1 7

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Contents 7

Introduction

11

Capricorn

21

Aquarius

29

Pisces

41

Aries

61

Taurus

77

Gemini

85

Cancer

93

Leo

111

Virgo

117

Libra

127

Scorpio

133

Sagitarius

142

Crossword

144

Please Don’t Shoot me, I’m an artist Motsonian’s user Monica Rohtmaa

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Wordsearch

152

Contemporary Art Guest Lecture Programme

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Untitled, Sarah May

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Contact details

158

Acknowledgements

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Introduction

The pigeon and the studio.

Luke McCreadie A pigeon does not belong in the studio, pigeon’s go in squares, near benches and people eating sandwiches. Pigeons go on ledges near churches, pigeons sit under concrete flyovers, they live in parks, the big ones live in woods. Pigeons do not belong in a studio, they should not be there, they are liable to defecate on the work.

Pigeons go to busy high streets and fly at people, or they misjudge the length of time they have to grab a flake of dropped pasty. A pigeon is not interested in art, but a pigeon comes into Squires Annexe regularly and it sits on the exposed beams, up in the rafters, looking down, shuffling, shiftily, trying to look at home, like it belongs. I think for most, the spectacle of a bird trapped in a building, performs a deep-seated psychological anxiety. Connected with the uneasy feeling of a thing out of place, a stark muddling of taxonomy, a skew on the order of things. I am convinced it came in for a reason; because it was attracted to the risks involved, and the things it found inside the studios. Think about it, a pigeon leads a life of toil, strife and drudgery, it has to survive on scraps, think quickly and take opportunities as and when they arrive. Charles Bukowski likened moments of breakthrough and progress, in work, to catching a spider. You act like you don’t care, take a seat in a comfy chair, pretend to snooze, maybe for days, even weeks on end. Then as the spider climbs down the wall, just in the corner of your eye, you remain still, and calm, you take a deep breath and draw all of your might, leaping like an arrow and snapping at it with open hands. Now you see why the pigeon comes in, you have

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to be ready, always and at all times, for that moment. The studio can be a place like hell, where nothing happens and the crumbs don’t fall, for ages. The studio can feel solitary, I think the pigeon understands this, it is sympathetic to it. There isn’t a way to define exactly what happens in a studio, even if you can say there shouldn’t be a pigeon. The studio can present all sorts of problems today when it tries to live up to previously established methodologies and approaches. The orthodoxy of the studio environment means the pigeon may actually be welcome, so we all stay away and make scat-proof work. I think the pigeon is trying to understand the breadth of practice and the broad array of approaches to a studio, which are present here.

At times it can be difficult to see what is happening in the studio as things become stagnant and remnants of incomplete ideas are left, inexplicably, to rot in empty spaces. Then the degree show happens, it is such a pity the pigeon will not see it, because it would surely be intrigued by the transformation. It is around this time, each year, that the disparate approaches to making are thrust into full view. The dirty walls, covered in pigeon droppings, are scraped clear and the work emerges, thrust into yet another unsteady realm, full of its own orthodoxies. It is your job now, to walk the beam, to shuffle along, shiftily finding a place, and it is always astonishing, not least heartening to see the work stand up, take a breath and negotiate with its peers, the institution, and eventually you, the public.

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Yo

You’re doing fine.

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Amy Taylor

Throughout my practice I have asked myself one question; what happens in the layers between images? One of the materials I have been using throughout my practice is transfer medium. In using this I am able to make the image seem transparent, allowing the audience to see between the layers. In this way I am able to create a mask of tension between broken images, which reflects a break in my personality. Normally the audience are not able to see what is happening behind an image; this then creates a focal point for the audience to looking at. In my practice I want the audience to walk in with an open mind.

My work appears to be fragmented or unfinished...

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The slide projector is a poetic and implicit device, allowing the transformation of a physical strip of film through light, in a way that is lost in digital projection. I primarily use cherished family photos. I have little interest in creating the perfect photograph, but I believe that lens based history and the act of capturing the memories made with one’s family is very important. Images such as these allow us to consider our own identity and place; they seem so distant from the world we are in today. They provide an often comforting escape back to happier times.

I have manipulated and caused damage to many of the slides, contradicting the traditional practice of protecting historical or sentimental documents. Like a memory, they are not removed from existence – it is only really the context that has been altered. I don’t attempt to create an obvious narrative through the slides I use.

Take a quiet moment to reflect upon your own existence, and what you can do with it.

This is for you, Dad.

Sarah Wilson

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Curiosity and imagination‌ ‌are essential qualities we hold when growing up. By tapping into these elements within my practice, I create objects and installations that explore the boundaries of our spatial awareness and perception of the everyday. Our senses in particular play a major role in how we communicate or adapt to a certain environment or situation.

Choosing to adopt a multi-disciplinary approach to manipulate these natural senses and associations we typically carry. I create a whimsical platform which is influenced and challenged by the everyday social habits, routines and relationships we hold.

This playful attitude I convey within my practice, enables me to investigate and question forms of language and materiality.

Re-shaping these everyday noises and happenings, mixed with the use of mass produced materials, enables me to create quirky or absurd objects. These present a sense of the familiar but question the idea of the everyday social reality we know. These unknown answers drive me to probe the qualities within an exploratory practice.

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Joanne McGarry

My practice is embedded in my beliefs, which are non-materialistic and utilitarian in orientation. This fosters a desire to repurpose objects and materials developing an enquiry into impermanence. I aim to capture the temporality of memory, sentimentality and loss, exploring the fragility of life and the certainty of death. Evoking for the audience elusiveness and change, my work is intended to make these intangible realities tangible.

Central to my practice is my source material that I refer to as my ‘hoard’. This is an accumulation of disparate objects, a diverse assortment of sentimental inherited items and mementos together with salvaged objects and those I have made, all of which I struggle give up or throw away. I am inspired to repurpose by a compulsion to accumulate; hoarding is a pivotal symptom of Obsessive Compulsive Disorder (OCD) for which I have a diagnosis.

It is a fundamental part of my practice both in terms of the processes I work with and the connections to my enquiry.

From my hoard I create and curate objects into particular configurations, which celebrate the marriage of materials/objects whilst opening up dialoged between individual forms.

Migrating memories of what came before, I focus on the audience’s experience of uncertainty in the spaces I cultivate.

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Alice Day

In my practice, I explore the relationship we have with technology. Identity, materiality, and surface are the main focus of my investigation, I am fascinated that through the vehicles of digital media users can create and distribute online content, view their own material and that of others.

I employ the video sharing website YouTube as a way of searching and appropriating digital material, from this I produce video work that is then posted on my online channel to continue the constant stream and reflection of images that we encounter daily on online platforms. Uploading my own content allows me to experience the performative nature of making and posting videos online. I want to understand the alluring quality of YouTube and the satisfaction its users gain in creating and watching online media.

Online images and videos are constructed by common and commercial users, to produce desire in the viewer, and give them a screen to project their desires onto. I aim to produce videos that also generate physical responses for an audience.

These ideas are used in my practice to question how we manufacture and circulate online content and how this is emulated in commercial images.

<<<<<<

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Motsonian

World 11: Orb-Ores New Daily Challenge: artist statement of 200 words max (172/200) First-person shooters, drone software, Google Earth, Street View, RuneScape, Truck Simulator, and VR are acting like frames around a void.

Virtual Space is now available in Physical Space by recreating orb objects that donâ&#x20AC;&#x2122;t quite belong. Copy and build the automatically created irregular polygonal objects from Google Earth as illustrations of Google Data Mining.

News: Rock Textures have appeared on irregular polygonal frames to make Ores!

Disrupt the space, use it for what it is not meant, take charge of it.

Use knitting as aim system to gain knowledge and direction.

Knitting is a network. Knitting is acting as an offering.

News: Performance Textures have appeared on irregular polygonal structures!

Objects in Physical Space become dissonant by being covered in Performance Textures.

Edges of Virtual Space are discovered and tested. Explore offerings for unexpected outcomes.

Harvest digital landscape, construct solid objects, infect exhibition spaces.

News: Alien Spaceship has appeared in the walls of Building!

Motsonian: [Click Here to Chat]

>>>>>>

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Hattie Turner Paprika Turmeric Chilli Powder Chilli con carne Seasoning Ground Coriander Ground Cumin Cocoa Powder Miso Soup Paste Tea Leaves

Clay PVA Glue Glitter Beeswax Pastel Fixative Chalk Pastels Copper Powder Oil Paint Watercolour Paint Acrylic Paint Acrylic Impasto Gel Gloss Acrylic Gloss Varnish

Working in a sculpture studio while producing paintings has meant my paintings have taken on a physicality they might not otherwise have had. Various materials are explored and layered, meditatively and rhythmically, creating a rich surface with an exotic appearance. I find the mark-making process particularly therapeutic and sensual, it encourages brushstrokes without forced intent. There are no distinguishable shapes within my work but the gestural brushwork conveys a sensuality between the hand of the artist and the materials being used and investigated.

I paint because I am an artificial blonde woman.

(Brunettes have no excuse) ‘If all good painting is about colour then bad painting is about having the wrong colour.

But bad things can be good excuses. As Sharon Stone said, “Being blonde is a great excuse. When you’re having a bad day you can say, I can’t help it, I’m just feeling very blonde today”.’

Marlene Dumas, ‘Woman and Painting’, 1993

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The Icon.

My current works focus around the idea of ‘iconization’ within painting, paying particular attention to the Modernist works of the early to mid 20th century. Using a combination of traditional and contemporary painting techniques and tools alongside collage, I attempt to bring attention to the importance of these pieces, looking to once again view them as developing ideas rather than the ‘icons’ they have become. Including them as inkjet prints within my paintings allows them to be brought outside of the white space of the gallery; drawing attention to their deterioration, ageing as well as their general ambiguity when placed within another work.

Rhys Moore

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<<<<< I always dreamt of living in a simple world, with no desires and concerns. This kind of thought is found in Buddhism. The more you know about Buddhism, the more you feel like it is a peaceful land which everyone has buried deep inside their body. You got to search for your way to this lost destination, through the realisation of non-self and emptiness. My practice uses performances and videos as the records of my searching.

A Buddhist lama, Kalu Rinpoche once said; ‘We live in illusion and the appearance of things.

There is a reality. We are the reality.’

I believe we could travel between illusion and reality by using projection and video as the medium. I always use the environment and myself as objects, in order to find out if I actually exist in the world and I am the reality, how about me in the projections? Are they totally an illusion, or reality in another space and dimension?

I hope viewer could join my journey through my practice, and for a moment, experience the stillness and emptiness in between illusion and reality.

Pui Man Ip

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Youâ&#x20AC;&#x2122;re doing fine.

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Sadie Long

HYPER AND PHYSICAL REALITIES MERGE Focusing on hyper reality through digital performance, the identity of a fictional being is situated in a role generated by a reality based activity.

Exploring the relationship between digital performance, Re Perform and Re Instruct presents a revisitation of a previous performance of mine. The relationship forms a representation of the fictional beings past character and identity within the space.

Allowing my body to become an instrument of freedom and transformation the work produces a world of appearance through digital performance.

The magazine article accompanies a complex installation, that captivates a space, creating an atmosphere that holds and constructs the fictional beings tension. This allows spectators to grasp a sentiment of the characteristics populated by the fictional being â&#x20AC;&#x2DC;Wonder Womanâ&#x20AC;&#x2122;, which is designed to intrigue, stir curiosity and initiate discussion.

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“I can’t be a unified self, only a fragmented, divided and contradictory one” Jo Spence (1979).

Spence’s statement aims to present the female identity as a fragmentary entity. Spence’s interest in the complexities and contradictions within the female self has underpinned important aspects of my own artistic practice.

I intend to portray the female identity as a process in motion rather than stable and fixed. My work is a study of my position in society. Video collage would most adequately define the process of layering and image making that I use to create my moving images; their progression, a visualisation of associative paths parallel to the manner in which people scroll through the internet, instinctively chasing the next lead of interest.

I am interested in the temporality of online identities which prescribe to an outdated dystopian future. The 90’s aesthetic undoubtedly references a pocket of time associated with the birth of the ‘World Wide Web’.

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Rachel Bokor

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Letâ&#x20AC;&#x2122;s get lost, We will epitomise freedom, And bask in pure imagination, Until we descend into the chaos of reality.

Hayley Myers

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Mia Rawlinson

Standing back and reviewing.

Editing and then reworking.

The process begins again.

For me, painting articulates moments that cannot be spoken. Paint is a catalyst that interprets the chaos from inside my head. It allows me to release my ideas and interpret them into a painterly form. This abstraction becomes an experience. An experience of thoughts, activity and spontaneity, that can be rewritten in other peopleâ&#x20AC;&#x2122;s minds.

Standing back and reviewing.

Editing and reworking.

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Allow yourself to relax and be comfortable. The combination of the physical and the digital.

The oozing. The uncanny. Enjoying the extraction, the removal. Allow yourself to relax and be uncomfortable. The combination of the digital and the physical. The everyday. Enjoying the hypnosis, the support.

Just watch. React. There is no right way to comprehend. Enjoy it. Despise it. Be utterly satisfied, or thoroughly disgusted. Let your mind relax and take a deep breath. Disruption.

Slow relaxation, disturbed by viscus liquids swirling. Calmness interrupted by a spillage of fluids. Tranquil to troubled and back to tranquil. The physical existing within the digital, then seeping back into the physical. Experience. The experience of watching. The experience of being uncomfortable, of staying uncomfortable.

Allow yourself to relax and be comfortable. The combination of the physical and the digital.

The oozing. The uncanny. Enjoying the extraction, the removal. Allow yourself to relax and be uncomfortable. The combination of the digital and the physical. The everyday. Enjoying the hypnosis, the support.

Satisfying. Unsatisfying.

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Sam Winnard

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My work takes masculinity within sculpture as a point of departure, whilst also exploring materiality surrounding the softer side to masculinity. The sculptures that I create remain angular in structure, taking influence from modernist sculptors, whilst using materials such as shaving foam to give them a less rigid appearance, allowing them to be more approachable.

Their softer form making them less intimidating than sculptures made from more typical, masculine, raw materials such as steel or bronze.

The sculptures are accompanied by a range of cast objects, which all reference a clichĂŠ of masculinity; tools, pipes and beer. These sculptures are all cast in soft rubber, rendering them as flaccid, floppy and useless drooping phalluses.

Anthony Eglon

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As Queer people, we are only recognised as equals if we conform to existing notions of family and relationships: marriage, children, monogamy, bodies and minds that match our assigned birth gender. For those of us who push the constrictive boundaries of a heteronormative lifestyle we are often ridiculed, ignored or outcast.

As Queer women, we are fetishized and sexualised. The male lens dominates mainstream media and porn, rendering it almost impossible for women to feel pleasure and comfort when watching videos that claim to be about the queer female experience. Erotic imagery made for women, with women at the heart of production, is few and far between.

This video installation is made for and about the people who live outside the shackles of heteronormativity. This work explores the strain of LGBT+ people navigating a world which is not made for them, and the tensions caused by the desire to live outside ordinary binaries, while still performing to an acceptable standard for our society.

This is a safe space, for comfort and fun. Jump on board and have a glimpse inside the mind of this queer female.

<<<<<

Faye Ivy Smith

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Surface [sur-fis] Noun 1. The other face, outside, or exterior boundary of a thing; outermost or uppermost layer or area.

2. Any face of a body or thing: the six faces of a cube.

3. Extent or are of outer face; superficial area.

Surface is a dynamic yet simple element to the everyday. Surfaces are used without thinking, due to their ubiquity we forget the importance of surfaces. Surfaces are eminently flexible; juxtapose the nice feeling of slick, oily paint blending on a smooth aluminium sheet with paint across a rough surface using thick card. What happens if you create your own surface and value every mark, every stroke made? Surface is not only fundamental to my practice, surface is my practice, my best friend, my enemy all in one.

Focusing on a range of diverse readily available surfaces such as cling film, aluminium, tin foil and chipboard, the work focuses on a relationship between paint and a given surface and attempts to make viewers re-evaluate the surface.

>>>>>

Lucy Fraser

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Sarah May

Vulnerability. Honesty. Truth. Through the lens I capture my own story, the adventures, the dormant days and the times of complete insecurity. My work explores the mental self, the imperfect reality, predominantly through Polaroid. Instant film, a medium in which canâ&#x20AC;&#x2122;t be manipulated, the image is the exact the fragment of time it was shot. The raw truth; staged only by the knowledge of the self-portrait itself. The work itself is an on-going series in which has a deep want to interact with the minds of the audience, their vulnerabilities, as they look closer at the small images considering looking away through empathy or even sympathy and the need to relate they edge to look closer, in depth, into the dark beautiful yet somewhat painful self documented story.

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My aim is to develop complexity in drawing through a method of construction thatestablishes connections between a 2D/3D space by using systems, processes, line, space, seriality and machinic behavior to develop a mechanical language through a fabricated drawing process that associates manufacturing, architecture and cybernetics. By developing spatial engagement with graphical hand drawn images I am able to appreciatethe production of drawing as a functional approach in the process of self-learning by exploring freehand abstract compositions that are constructed through a mathematical equation as a catalyst in the shared relationship of line between the human body and the machine. I am keen to develop an ideological and material representation that is contemporary inits relation to a multi-dimensional space, using a programmed logic to produce and evolve computer images of randomised equations, and to develop a modelled framework of space that is relational, situational, representational and particular. Exploring multi-dimensional space using mechanical drawing I am able to design a new analytical model of spatial relationship that produces various models of assembly through planning, spatial pattern and symbolic meaning.

Ken Barlow

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Ashley Dixon

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Amy Roberts

By forcing an uncomfortable environment, which contests the stereotypical assumption of beneficial Yoga, Iâ&#x20AC;&#x2122;ve created an awkward space, by repeating and duplicating an ANARCHIC surrounding through different videos. Digitally developing as it goes, the eclectic harmony of sound, images and movement begin to diffract in its distress and create an immersive atmosphere. With the addition of Hand, Heavy Metal and Ganja Yoga, I aim to repetitively bring the audience back out of this engulfing experience, with a bombardment of yells and screams which cohesively play across the space.

Responding to the ritualistic melodies of whispering and binaural beats, unearthly sounds aim to test those who hear it. Revelling in alternative concepts, using curves alongside spell binding environments, I aim to inhabit and work around chosen destinations, where I embrace and conform to their boundaries, but in turn remain dominant in what and how you can see and feel. By Deforming, Distorting and Disfiguring my projections and sound, the overall experience mutates into a therapy in its own right.

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Julia Matyear

I am driven by process, the idea of making do and getting by with materials that I find and bringing new life to old often disregarded items. I use sculpture to encourage playful curiosity through the manipulation of materials, creating a visually disruptive suggestion, using simplicity over complexity to remove the immediate association between my materials and the viewer. A balance between the fragile and tactile is achieved through my intuitive understanding of my materialsâ&#x20AC;&#x2122; limitations and subject form, whilst still using them to their fullest potential. Natural forces such as tension and stability are mimicked through my placement of the materials within the space enhancing the existing architecture. Alongside this I am beginning to question traditional painterly composition through the medium of sculpture. With my use of easily accessible low grade and craft associated materials such as wool, I am challenging the hierarchy assumed within the fine art context. Through the materials I use and the placement of the work I invite the viewer to consider more than just the immediate material aesthetic and form, but rather the emotive energies and language that lies behind.

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Joanna Georghadjis Mix, shake, and pour. Watch as it seeps, blends, intermingles, bleeds, swirls and twirls.

Colours are created, textures are formed, the rough becomes smooth, and the matt becomes glossy. The shades, the mystery and the abstract utopian feel. A scientist in the lab equals an artist in the studio. Testing colours, experimenting with paints. Lively energy, chaotic control and controlled mess.

Accidents undergoing metamorphosis, evolving into considered actions. Planned, specific and conscious movements, spontaneous, unconscious, gestures, predictable and unpredictable results. Bordering the uncontrolled with precise lines of considered thoughts. Bold brushstrokes and gentle details upon free expressions of material decision. Relying on chance and manipulating a mistake. Observing the patterns, noticing the trends, mirroring the incidental. Watching the paint drip, creating a fake drip. The process of making, enjoying and learning, becoming one with the materials. Detailed expressions, abstract motions.

Sculpting clay, painting clay, translating materials into other materials. Clay sculptures are paint drips. Layering paint upon paint, drip upon drip. Formless shapes and precise lines.

Watching it unfold into something new. Therapeutic gestures. Glue, paste and smother.

Geometry and angles, focusing on the organic shape, the self made pattern, the pattern made consciously in the subconscious mind. Contrasting shapes, angled canvas versus the flowing paint. Spills of paint organizing their position within the disorganised, elegant confusion.

Baby pinks and deep blues harmonizing, interrupted by a neon streak. Illuminous florescent ribbons, ribbons out of material, ribbons out of paint, making their way delicately through blocks of colour corresponding with airy gestures of loose spirals and planned spills of poured paint. Balancing techniques. Painted puddles of paint transforming into orderly rows, folding and bending, intermingling and twining. Creating dimension and space. Blank space filled with definition, outlines highlighted. Generating the desire to feel, tempting the viewer. Soft melting textures, crying to be touched, felt and squeezed but no indication of doing so. Is it an object, a sculpture, or a painting, something in between. Elements of painting turning into objects. Focusing on colour and brush strokes. Detailed moments of paint splashes and colourful tape, enhancing playfulness.

Art about paint, paintings about paint. Paint is everywhere, paint is spatial and alive. Paint is the subject which creates an object. Creating an installation, the space is the canvas, the paintings and sculptures are mimicking the role of the paint. The space is filled with a dialogue, artworks communicating. Pastel, vibrant and grey. Spurs of fluorescence. Precise marks, and spontaneous gestures. Silver splashes. Contrasts of materials, contrasts of colours.

Almost sculpture, almost installation, always painting. The love for creating. The love for experimenting. The love for paint. <<<<< 72 x179425_Xerox_Inset_p1_nm.indd 72

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Octavia Houston-Trevor

I have chosen to photograph places I walk through on a regular basis, almost daily. All of which are not necessarily a destination but instead a passage or area I pass through to get to where I would like to be. They are mundane and nondescript locations such as hallways and underpasses.

In the fast paced and increasingly stimulatingly environment we live in, I find there is a tendency to disengage with or even notice the space around you when going from one place to another. So much of our attention is distracted by technology and not thinking in the now.

To be in the present moment is becoming more of a rarity. My practice aims to challenge how we experience these familiar environments around us. You seem to miss places that are around you and acknowledge the final destination but never the route you have taken.

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Jessica Wilson

Using found images from fashion magazines, beauty adverts and models, images become distorted as certain elements are exaggerated, cut out or replaced with other images. My work becomes a construction of different elements, re-photographed to highlight this layering and the idea of falseness in the media. I take the role of the surveyor, allowing myself to challenge the way in which women are presented and question why women want to aspire to look like the models found in magazines. Society and the media have come to project particular values towards the female body, values which consume women and pressure them into conforming to the idea of an idealised body. Representation is the main focus of my work. Through collage and photography I construct images and challenge the way women in the media are viewed. I am not trying to present the body sexually, but aim to bring forward the power of the female body. To captivate and test societyâ&#x20AC;&#x2122;s norms. My artwork is not necessarily about presenting beauty, but alternative ways in which the body can be seen.

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Tom Cunningham

“There is really is no such thing as Art. There are only artists.”

Sir Ernst Gombrich, 1950 (in his Introduction to “The Story of Art”).

The Studio; a space for contemplation, a mechanism for production. As Gombrich hinted in the above quote, artists exist to produce. The work is created and then exhibited for public perusal.

Seeing depends on knowledge and interpretation (or expectation). This perception of a piece, negates the intrinsic existence of any Artwork whether painting, sculpture, installation or performance. The illusion is in the eye of the beholder.

Stratums uses this precept to inform and educate. The image as perceived, submerges in memory and the work ceases to exist post Degree Show, even in the collective consciousness of the audience

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Subcutaneous The Surgery removes fat tissue from the body, including the thighs, abdomen and buttocks, and is one of the most popular cosmetic operations. Suction is used to reduce localised fatty deposits so that remodelling and body contouring are possible.

The exhibition can be performed using local or general anaesthesia. The process itself involves an injection of numbing solution. With local anaesthesia, your artist will only numb the area of your body being targeted, and you will be conscious during the entire installation.

After administering anaesthesia and, in some cases, injecting fluids, the next step in the installation is to create tiny incisions in the area of the body where plaster and paint deposits will be removed. These incisions are usually quite small, ranging from a quarter to a third of an inch.

Next, your artist will insert a thin vacuum tube, called a cannula, through the incision and into the installation. Your artist will move the cannula back and forth to break up the path for the audience to the sculptural bodies, and, with the help of an attached syringe or vacuum pump, suction them out. Because a significant amount of paint and other bodily fluids are removed along with the plaster, you will receive replacement fluids intravenously during and after the exhibition.

Depending on the preference of your Artist, your incisions can either be closed with a few stitches or left open. Some Artists prefer to keep the incisions open to reduce the amount of bruising and swelling. This creates an exit for the audience to leave the installation.

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Ashleigh Cook

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The encounter...

My work aims to draw you in and entice you. Intimidated by the sheer scale of the work you still want to go inside, the unknown becomes a desire to know. Before you have even considered what lies beyond, you have stepped into the unpredictable activating the space. You have now given the space a function. Your engagement with the work has brought the piece to life. There is now a clear differentiation between the outside and the inside. Stepping inside you have become contained, a part of the work, the participator if you will. Once placed on the inside you find that the confined spaces, unsettling sounds and the glowing lights leave you disorientated. You have not been here before, yet there is something familiar about this place. The fleshy, pink walls and corridors that act as the orifices into the heart of the piece would suggest you are inside something living. A membrane, a body. The uncanniness of the environment leaves you unsettled, you are uncertain of how you are to feel about being on the inside. You may find that the piece puts a strain on your comfortabilities or perhaps you solely enjoy the unusualness of the space, either way the sensation that the work elicits is important.

Through this unworldly encounter I aim to create a one of experience that you as the viewer may find challenging.

Ben Oakes

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My work exists as a suggestive tool to represent a form of mobility. Flat packing and transport is a key element, as it expresses my experience of travel and residency. I question what exactly makes a home, by refining the idea of how a domestic object can exist in the form of a designed sculpture or installation, and rebuilt to function in a space. The functionality of the Installation is unpredictable in the sense that it reveals the versatile behaviour of domestic objects. You can familiarise yourself with the everyday appliance and discover materials that are normally used for constructional purposes, generally built in an architectural skeleton. The space becomes a manifestation of curiosity and possibility, as the objects can exist within the context of DIY, Design, and Contemporary Art. Inspired in part by Ikea as a brand and an experience, my installations resemble show room setups that are manipulated with playfulness, humour, and unconventional methods of display.

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Samantha Lourens

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Charlotte Gregory

My work plays with and explores value systems and perceptions of beauty. I became fascinated with the transformation of objects and how I could change the faรงade of recognisable objects into something that causes confusion and even repulsion. I found myself compelled to make flesh sculptures. I create a fiction for the work I make, displaying my objects like a museum exhibit. Velvet green is used to market wealthy products, black is powerful and sleek like luxury products. Vitrines and plinths are used to demonstrate and heighten the allure of the object inside. In contrast my work is not valuable, more like a failed scientific experiment. which makes for uncomfortable viewing.

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MATERIALITY CRAP STRACTION

AN URBAN JUNGLE OF MASS. MUCKY // Pastel exteriors. Minimalistic shapes for-front residing a reminiscent nostalgia.

Newsprint. inter industrial colourless undertones.

L ACKING The C O L O U R L E S S combined with the C O L O U R F U L L Destruction casues creation. A transitioning, never ending process, a crap making machine NO OFF SWITCH Spray paint, paper, industrialurban aesthetic - G R A F F I T T I ? WRONG. A M E S S that canâ&#x20AC;&#x2122;t be re-assembled, A M E S S that is unique to its surroundings. A habitat. Madness. Growing.

C R A P S T R A C T I O N is turning chocolate into shit.

C R A P S T R A C T I O N is investor identity politics art.

C R A P S T R A C T I O N is resignation from the struggle.

WHAT RUBBISH ?

WHAT RUBBISH WHAT RUBBISH ART ?

Joe Connors

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Ellie Robson

“You can’t assume any place you go is private because the means of surveillance are becoming so affordable and so invisible” – Howard Rheingold

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Mayuko Masuda

Like black, any type of darkness or achromatic colour implies a feeling of space. Its colour leads us towards a feeling of entering into something deep and limitless; the abyss of an overwhelming presence that we cannot comprehend through knowledge or language. To be associated with darkness is the desire of to become a part of this.

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Ruby Donachy

Prolonged exposure to this practice promises to: • Activate digital art and the Internet as a reflective device.

• Allow work to exist in a variety of spaces and on a multitude of platforms.

• Refer to a realm outside of The Exhibit.

• Address ideas of an overload of information.

• Highlight the voyeuristic nature of technology.

• Disrupt existing formats through the presentation of fabricated ones.

• Pose questions about the importance of context and situation.

• Explore types of loaded language that we perceive, observing the way it can at once appear vacuous and also, like, make us think.

• Use innovative technology and three years of specialised research to simulate the effect of educated understanding and ability.

• Improve the appearance of your Aura by up to 99.9%

Ruby Donachy is an artist, daughter, sister, Leo, and natural brunette.

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Megan Spencer

The prism as an object initially inspired me to create work concerning the potential of colour.

I photograph the prism to try capture the beauty of the colour in what I can see in the split second the light source is in the right place, each movement creates a different unique composition, each movement is valuable.

I produce paintings that are based on varied hard-edged geometric forms, continually drawn to triangles in particular. The triangle as a basic shape implies balance and stability, it is a strong and commanding shape, holding a bold presence. Combined with a curved circular shape, associated with the feeling of unity, completeness and Zen, these two shapes in particular are what attracts me to create a painting with the intention of evoking feelings of harmony and synchronisation.

The relationship between controlled and uncontrolled mark making excites me, and I explore this through the handling and materiality of paint. To me the act of painting is closely linked to the feeling of music, with the overall outcome having an intrinsic â&#x20AC;&#x2DC;beatâ&#x20AC;&#x2122; to it, which deepens with the intensive power of colour.

Colour can cause a reaction of different senses through association, my work aims to address this by creating pieces in which colour holds a presence, generating impact within the eyes of the beholder. Colour not likely forgotten.

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Kristi Russell

My practice involves the humanisation, combination and animation of objects and props in an attempt to make the forms seem alive and to form individual and imagined identities through fashioned aesthetics. The work acts as a way of manipulating real life to create an alternate reality. Solely focusing on the imagination of the viewer as a way of activating the work through humanistic associations and universal recognition.

I use SCI-FI and old-school practical effects featured in such films as ‘Dark Star’ (1974) and ‘The Prisoner’ TV series (1967-1968) as inspiration within my video work to portray a constructed, staged reality. This is achieved through the animation of objects previously identified as inanimate, featured within a purely fictional environment in which they were never truly present alongside objects they have never encountered.

I have been continuously questioning and contemplating the conflict between the real and the realism of both manipulated and staged content to create the illusion of what we believe and perceive to be reality.

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Sam Driver

2:45am. Several hours until your world resumes.

The early hours of the morning are without ownership, they never truly belong to you.

No work No deadlines Little noise.

It is in this dark realm where my intrigue and creative energy thrives.

These hours allow deviance from normal behaviour.

This is where you can find solace in escaping the normality of day to day life.

The only voice you are in contact with is your own.

An undisturbed rapport with honest realisations and frank reflections.

I document this stream of consciousness in sporadic note form on any material available.

Paper, rubbish or phone notes.

These records of thought act as pages of a memoir, written by a conscious being coming alive in the early hours of the morning.

This debris of lucid text inspires visual representations of gestures I struggle to transcribe.

Angst Regret Doubt.

This dual personality comes to fruition with performance and photography captured in the early obscure hours.

I masquerade this vulnerability with exposed bravado, whilst simultaneously concealing identity and shedding accountability.

Strangers become friends.

Mistakes fester.

Lovers are not left in the past.

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Laura Barnes

Fact – a thing that is known or evidenced to be true Fiction – something that has been made-up and is considered untrue Have you ever looked at an image and you weren’t quite sure of what you were looking at?

Couldn’t quite figure out if it was real or not – fact or fiction? Whether you were looking at a true happening or an imagined happening?

The act of manipulation blurs the lines between these two opposing states – possibly distorting a known reality. By intentionally playing around with the idea of movement, obviously through moving image, but also apparent in the contrasting use of still imagery, the movement leads to distortion and unfamiliarisation.

The subjects show the obvious and evident against the abstracted and unknown. Ultimately presenting a glimmer of recognition alongside a sense of uncertainty. Leading to an open question of how we see and read the visual image.

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These graceless forms convey an element of playfulness through the exploration of material matter and abstract presence. This elastic relationship is reflected in a collaboration of daily substances and traditional art materials, encouraging familiarity in a physical and material presence that hovers between the everyday and the traditional.

Reaction. Over. Language.

Their presence and elusive qualities touch on the ways in which the object has the capacity to have its own embodied knowledge; where it can remain isolated, choose to become fluid or remain independently static. Whilst they constantly evolve and perform, they also dissolve formal context, residing in conversation through their liveliness and physicality.

Where the forms may avoid any associative links, their raw and formless characteristics maintain their ability to speak beyond themselves, physically; stretching the capability of the unspoken properties of materials and embracing that single moment when creativity obtains physicality.

Steffi Elliot

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Matt Glover

Through continued exploration of collaboration, authorship and appropriation, I have tried to consider the questions and queries of an artistâ&#x20AC;&#x2122;s role within their work.

In my work I combine an examination of collaborative practice and appropriated works with myself as the artist and facilitator. My work questions my own role within my practice, through a cooperative angle, which turns work by myself, the singular artist, on its head.

Utilising video, along side painting, a story begins to be revealed, reenergising the previously collaborative work that is now placed upon the shoulder of the singular artist, myself. Through the use of green screen technology the idea of the collective is tested, by removing the willing participants and transplanting a singular storyteller and artist into a previously group scenario.

The traditional, singular way that art is presented within an exhibition is tested. Collaborators are removed but acknowledged. This statement presents a potentially singular outer edge within my work; where myself exclusively, Matthew Glover, has produced it.

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<<<<<<< Silicone sealant Acrylic paint Rhubarb and vanilla bath bomb Water

Raspberry jelly Printer ink

PVA Glitter

Polyurethane liquid foam soft

010 Plaster Candy floss gloss paint

Linseed oil putty Packing peanuts

Water detergent

Linseed oil Bio liquid

Lipstick Clay Sealant

Hair dye

Food dye varnish Washing up liquid Acrylic resin

Nail

Cherry blossom and vvvvvvvvvvvvvvvvv vanilla imperial hand soap Strawberry marshmallow fluff

Pigment Bath wash Saline solution Fabric conditioner

Polystyrene beads Bubble wrap

Polyurethane rubber Chalk Shaving foam Wall paper paste

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Louie Bartholdi >>>>>>>

Are you sitting comfortably?

Take a deep As you slowly let it out Feel yourself begin to

breath.

Relax Close your eyes. It’s easy to stop seeing. It’s easy to remove your sense of sight. Put your fingers in your ears. It’s easy to stop hearing. However, although you’re separating yourself from seeing and hearing, you’re not cutting off these senses entirely. You can still tell if you’re in a dark room with your eyes closed. You can still hear tones and frequencies through blocked ears.

You are not listening You are hearing Your brain never switches off. You are always subconsciously picking up and scanning for information. It’s what the human brain does. If the right information is dropped in the right places to the right unsuspecting individual, all the brain needs to do is fill in the blanks.

You’ll think that you’re thinking on your own. You probably won’t be aware that you’re following orders, it’s almost as if you’re willingly being instructed. It’s a sort of ‘coercive persuasion’.

You’re still in control of yourself, right?

You’re doing fine.

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ne.

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There always seems to be this impulsive need to seek the truth within anything that is placed in front of us, becoming dependent on our everyday experiences and perceptions to help form a judgment and opinion. When this is a photograph or film, the reality contained within this is therefore dependent on our reading of the work, recreating ourselves through the process of understanding.

Through the integration of new technology and social media into our everyday lives, brings us face to face with a constant stream of polished and fabricated images, that highlights the growing acceptance of truth being the subjective construct of our perceptions. We are now aware of how documentary can demonstrate something that is incomplete, that has the possibility to be influenced by recollections and impressions of the artist.

For that reason, whether my work successfully â&#x20AC;&#x2DC;foolsâ&#x20AC;&#x2122; you or not is not important to my practice. Documenting the demographic of shoppers within the North East, my installation plays on the relationship between imagery and language. Recording an everyday, banal activity of shopping, and adding elements of fiction through the function of language to subvert the way in which you perceive the work, based on collective judgements and stereotypes.

I encourage you to question the role of the camera in relation to the language, creating enough space that invites you to project yourself and become part of the work. Without you, my work has no purpose, it is the viewer who becomes the work upon reading.

Amy Matthews

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My practice reflects on a continual process of experimentation with abstract expressionism through the use of dirty, messy, muddy colours. These colours I explore are my own decision or maybe my subconscious leading to unexpected outcomes. My like of certain colours such as brown is because of its messiness, dirty, dark and ugly. Brown is mixed through many different tones of primary or secondary colour that gives either the remains or the tint of another brighter colour. This part of the not-known of the colour spectrum reflects on the completely new or unexpected.

Kimberly Bailey

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Charlotte Major

CONSIDER COLOUR. THE UNCONSCIOUS ATTRACTION OF COLOUR.

V A L U E. To regard colour as something that is held to deserve the title of importance.

Opening up surfaces and spaces to countless perceptual possibilities, hauling out thicker passages to present physicality and tactile qualities, showing the rhythmic manipulation of the paint allowing the work to interact physically in the space and around it, presenting a striking artificial sublime, with a bodily psychedelic-like experience for the viewer, to which they are submerged in a world of colour and mood.

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Rebecca Cairns

Working with Video, Painting, Installation, Photography and collage.

Exploring the digital culture, the pornification of popular culture and the idea that it has become infused with sexualized images/ ideas and with this pressure women face to look a certain way, how women present themselves online…glossy Instagram photos filled with filters. How is this reality? This is a question I find myself asking when making work but trying to keep a sense of humour within the artwork by exploring meme’s found on social media especially meme’s that are classed as “relatable girl problems” and responding to them by making my own meme and using myself within the image.

In my installations, I use objects to create a scene and to evoke a feeling for the viewer to experience in the moment. When considering objects, I look at their materiality, how they come to be in a certain time or space, and explore digital projection as a transformative act.

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Youâ&#x20AC;&#x2122;re d

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e doing fine.

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Across

Down

3. What is Joanna’s Last name?

4. What colour is Sue Spark’s scarf?

5. What is Alice’s middle name?

6. How tall is Joe Connors?

10. Looch is also known as...

11. She loves cocktails, cakes and instagram...

15. Where does Louie’s last name originate from?

1. How many children does Allan have?

2. Where is Monica originally from?

7. What is the most popular name on the course?

8. She’s Japanese 9. ‘She used to ------pink’ 12. What is Ruby’s favourite lipstick colour?

13. She has red hair and always wears black.

14. She has red hair and always wears colour.

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Please don’t Shoot me...I’m an artist.

by Motsonian’s user: Monica Rohtmaa The purpose of video game spaces and the fear of death.

The spaces in videogames are created with a specific purpose. The space is supposed to tell the story and guide the player through the environment in order to tell this story. In fact, Jenkins (2004: 121-122) argues that video game space is created through spatial storytelling, meaning that the designers may have a narrative that they adhere to, but it is the space itself that needs to suggest that narrative. This is how they can create immersive and convincing representations of their narrative worlds. For example, in first person shooter game Counter Strike, to create an experience that the player is in a conflict zone, firstly the designers simulate a fictional space where that could happen, including objects which aid gameplay such as crates and other structures. These are all placed strategically around a ‘game map’ (see figure 1 for an example of a game map), which is all the space that is available for the player (Wikipedia). Usually, in first person shooter games multiple game maps would be available with different amounts of space and gaming elements to provide variety in gameplay. This can also be achieved by recreating historical battle spaces or at least the popular imaging of those spaces where conflict occurred like Omaha Beach in the video game Battlefield 1942 (2002).

Figure 1 Online multiplayer game Counter Strike game map titled Dust (2000)

Playing video games is mostly done in one’s home, when you are likely to be both comfortable and safe.

When playing a game about racing cars, the threat of crashing the car and dying only exists for the player’s virtual avatar, rather than their physical body. The game might simulate the emotions which may occur in racing cars, but there are no physical consequences for that activity. This means that the threat of dying in reality has been removed from the simulation. It has been kept in the game in a certain way, by giving players multiple lives, meaning that once they have been ‘killed’ in the game, their avatar will reappear a certain amount of times depending on the game that is being played. There is a double simulation in place here, with having multiple lives, but also at some point the lives run out meaning the avatar is ‘killed’ and the game is over. In other media, like cinema which is based on a specific narrative, starting the film over does not give you different results, but in a video game, repetition is ‘a requirement of the medium’ (Frasca 2003: 227), because that enables the player to interpret the space in different ways and gain skills required by the space more times than would be possible in reality. The crucial difference between physical and digital spaces is in the latter’s multiplicity.

It is interesting for artists look these ideas surrounding the purpose of video game space and the concept of dying being removed from the game, because even though the simulation is similar to what reality looks like, these obvious differences applied back and forth between reality and game space create tensions more than when those spaces are clearly separated.

As with many technological developments, the history of computer simulation media has been closely connected to the military. The ability to reboot and start over a simulated environment is obviously appropriate for training exercises. It is unsurprising therefore that computer simulation has been used effectively as a training tool, to train soldiers in how to deal with different situations and spaces (Penny 2004: 74). What are referred to as first person shooter games (games that place the player in the position and body of the game’s protagonist) especially are considered to be war games, because within it you have a perspective

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of a soldier holding a gun and you are required to do what a soldier would do: shoot other people or vehicles in order to win a conflict. There are claims that first person shooter games conditions people to shoot other humans (Penny 2004: 76). Especially now that the graphics of video games are incredibly realistic, there are debates whether violent videogames create violent behavior (Guanio-Uluru, 2016) and counter claims that other aspects like exposure to domestic violence is more substantial for a person for developing violent behavior than violent video games are(Ferguson et al. 2008 cited in Guanio-Uluru 2016).

Video Game Objects in Real Space.

Sometimes these in-game virtual objects are also given in-game narrative roles in addition to their role as assistance/hindrances to navigating space. In this game map chosen by Bartholl, these “chemical weapon crates” (green boxes with yellow and black stripes, see figure 2) are there to be protected by a group of players assigned as counter-terrorists, so that the users who play the terrorist side in the game, do not blow them up, which is the purpose of this map for the former (Counter Strike Wiki, 2016).

In his work, Dust - Winter Prison Bartholl has remade these digital objects into physical ones and placed them in an old prison yard in Sherbrooke, Quebec, Canada. However due to crucial differences between the game space and physical space this is not just as straightforward as simply constructing a sculpture of a crate.

An example of working with elements of spatial storytelling is ‘Dust – Winter Prison’ (figure 2), which is an artwork from 2013 by a Berlin-based artist Aram Bartholl. The artist has recreated the wooden packing crates and chemical weapon crates featured in the bomb defusal map (figure 1) in the popular online multiplayer first person shooter game Counter Strike (2000).

In Counter Strike (as in most first-person shooters) The crates are placed in certain places in the game to aid gameplay and let users hide behind them or jump on top of them to kill other users in the game (see figure 3).

Figure 2 Dust - Winter Prison by Aram Bartholl, installation in Winter Prison, Sherbrooke, Quebec, Canada. (image dated August 2013)

Figure 3 In game screenshot by the artist of the Dust game map.

What happens when these works are removed from the context of the game and placed in an exhibition context is more suggestive of the shift in the laws and narratives that govern the different spaces. The artist has taken the virtual spatial elements of a war game, that are designed for conflict, and placed them in an old prison yard, in physical space that is not normally considered to be a war zone. I think these objects have not lost what they were created for in the process of this transfer from virtual space to physical space.

They are still recognised the same way in physical space. The perspective in which a person would look at them stays the same, but they cannot act the same way around them as they would do in the game space.

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People will not run around with guns shooting at other people, because those are not the normal rules that govern the physical space in the location of the work. Also, the crates in the prison yard look the same as the chemical weapon crates in the game, but does not mean they act the same way.

They do not have the chemical weapons in them, which means they will not blow up once they are being shot at. The violence which occurs within the game space does not transfer over, but that is what the audience understands these objects as being given meaning by.

Furthermore, the crates in Counter Strike game space have been created by copying what a crate looks like in reality and then representing it in the game. Then Bartholl has taken that representation of a crate and put in back into the physical space. The simulated crate has now brought the different aspects of the gaming experience back into the physical space. Obviously one of the key differences in the laws that govern digital space is that, in game space, users would shoot other avatars in the game from the comfort of their own home, without fearing for their own body being hurt. When bringing these crates from virtual simulated game space into physical space, Bartholl suggests that the same violence could occur in the real space. The suggestion of physical harm to a body is brought back in, even though the ultimate outcome of that violence (death) remains as its playful video game counterpart.

Video Game Narratives in Real Space.

Not all transfers between physical and digital spaces are so simple. In a game created by American artist Kent Sheely, he deals with these transferring of first person shooter elements into reality, but in a different way that complexifies our relationship to observed, simulated and recorded reality. In the work ‘Youtube Shooter’ (see figure 4), Sheely layers the hands holding a gun and the aim, which are a usual perspective for a user playing a first-person shooter game on various Youtube tour videos. The gun and sight are, as

Figure 4 Screenshot from Youtube Shooter (2013) by Kent Sheely. This screenshot was taken when playing the New York ‘level’ of the game.

such, cut-outs superimposed on the work of other internet users/broadcasters. The user can choose from different ‘levels’ to play in, these levels are in fact just different videos posted by Youtube users who, it seems may be unaware of this appropriation of their content. These repurposed videos, reframed as ‘levels’, include simulated spaces like Disney World, but also public spaces like streets of New York and tours of houses in suburban neighbourhoods in Brentwood, USA. This juxtaposition of graphics makes the person filming the tour seem like a gunman. In this work, the game space elements are not brought out into a physical space directly like in Bartholl’s work, but a war game like situation is being simulated back by placing a gaming element on top of a video of a physical space.

The hands holding the gun (see figure 4) are positioned this way, because that will give the player the perspective of holding a gun. The purpose of the aim system is to give the user the ability to aim at and shoot other players, but also pick up items and engage with other gaming elements. In this work this aiming system is applied to various videos of real spaces, where real people, rather than virtual avatars are walking around. The work makes us as the viewer, feel like by watching this we are walking around in public spaces with a gun. A feeling that might be more or less convincing depending on the familiarity of the viewer with playing these games. This work seems to refer to the differences between the video game world and reality, but it is also referring to another important difference involving the implication of violence in relation to the narratives of the

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different spaces. For example, the usual narrative in first person shooter games is that of having given an objective to complete, and to reach that you will have to move through the game map in order to kill other players or gaming elements. In contrast, tour videos are made to record and show different spaces, mainly in regards to how the space looks and may feel like to visit, for example a tour video of Times Square in New York shows what it would be like to visit there.

In this work, these two narratives have been pushed together by layering of videos.

are looking at you as though this is normal. The viewer has no direct control over the gun, a feature they would have in the game world whilst involving the passive viewer in the implication of violence.

This is violence against real people in the sense that the people in the Youtube videos are not actors or characters designed for video game narratives, but people who have been recorded and then he video of them has been shared publicly showing of their physical location.

On the other hand, the work seems to refer to the continued debate whether violent video games like first person shooter games, where the player essentially plays through a simulation of being a shooter, affect people in real life. This layering, could make one think whether this is how people who play these games think about when walking in public spaces.

This is combined with a change between the identity of the camera in Youtube videos, where the camera is both the cameraman and the viewer, compared to in first person shooter games where the camera is only you the player. This combination of two camera identities in this way, makes one of them seem more true than the other. The Youtube version of being the cameraman and the viewer is now only a view of being a player, because none of the interface of Youtube (title of the video, start/pause buttons) that are usually present are hidden by the first-person shooter interface.

Counter Strike Wiki (2016) Dust. Available at: http://counterstrike. wikia.com/wiki/Dust (Accessed: 9th January 2017).

Frasca, Gonzalo (2003) Simulation Versus Narrative: Introduction to Ludology found in The video game theory reader. (2003) Wolf, M.J.P. and Perron, B. (eds.) New York: Routledge Member of the Taylor and Francis Group Guanio-Uluru, L. (2016) War, Games and the Ethics of Fiction, The International Journal of Computer Game Research, 16(2), Available at http://gamestudies.org/1602/articles/guanio Jenkins, Henry (2004) Game Design as Narrative Architecture, found in N., Harrigan, P. and Designed, M.C. (eds.) (2004) First person: New media as story, performance, and game. Cambridge, MA: MIT Press.

Level (video gaming) (2016) in Wikipedia. Available at: https:// en.wikipedia.org/wiki/Level_(video_gaming) (Accessed: 15th January 2017).

Penny, S (2004) Representation, Enaction, and the Ethics of Simulation found in N., Harrigan, P. and Designed, M.C. (eds.)

(2004) First person: New media as story, performance, and game.

Cambridge, MA: MIT Press.

In virtual simulations like video games there is no fear of dying, because whichever game you play, whether that is racing cars or defending chemical weapon crates from terrorists, you are not actually physically involved in that situation, you are just pressing buttons in a safe environment. Sheely applying the game elements on top of the tour videos brings the potential of death element into the work. While walking around the busy shopping mall in Paris, as is available in one of the levels in Youtube Shooter, suddenly as a viewer you start feeling responsible for aiming a gun at innocent people in a shopping center.

This layering also makes you expect certain emotions like fear to be on peopleâ&#x20AC;&#x2122;s faces when they look at you walking around with a gun, but in the video people

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ALICE AMY AMY AMY ANTHONY ASHLEIGH ASHLEY BEN CHARLOTTE CHARLOTTE DONNA ELLEN ELLIE FEY HATTIE HAYLEY JASMINE JOANNE JOE JULIA KEN KIM KRISTI

LAURA LOOCH LOUIE LUCY MATT MAYUKO MEGAN MEL MIA MONICA RACHEL REBECCA RHYS RUBY SADIE SAM SAM SAM SARAH SARAH STEFFI TOM

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Sophie Michael, Chapters one to five, 2012 (film scans).

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Contemporary Art Guest Lecture Programme...

Throughout the last year the Contemporary Art Guest Lecture Programme has brought 24 leading artists to Northumbria. With weekly public talks to all students, question and answer sessions, and personal tutorials with guests in the studios. This programme, put together and run my Reader Joanne Tatham and Lecturer Luke McCreadie, forms a backbone to academic study and professional development. We are grateful to all the guests that have given their time to the programme...

Caroline Achaintre

Dawn Mellor

Caroline exhibited at BALTIC in October.

She works across a diverse range of media that includes textiles, ceramics and watercolour. Her work was included in British Art Show 8 in Edinburgh, 2016.

Dawn’s paintings of celebrities have been exhibited widely. She is represented by Team Gallery New York.

Matthew Parkin Mathew’s work incorporates contemporary imagery though sculpture, digital media and printed mugs. His most recent solo exhibition I Believe in You was at IMT Gallery, London in 2016.

Stuart Tait Stuart was Northumbria University’s Warwick Stafford Fellow and exhibited at Gallery North in the autumn. His practice is primarily collaborative, working as part of artist groups AAS and Reactor.

Toby Lloyd and Andrew Wilson Toby and Andrew build environments to encourage others to collaborate and communicate. In 2016 they relocated from Newcastle to Artist House 45, a long-term live work residency run by East Street Arts, Leeds.

Corin Sworn Corin creates installations that look at how objects and images convey stories and histories.

She won the Max Mara Art Prize for Women in 2015 with an exhibition at Whitechapel, London.

Brighid Lowe Brighid’s interests have focused on the archive and she works with sculpture, drawing and writing. She is a lecturer at the Slade School of Fine Art and has exhibited at Camden Arts Centre, Baltic 39 and Kunstmuseum Olten, Switzerland.

Hannah Sawtell Hannah works with digital imagery to consider new technologies of excess, access, contemporary surplus production and accumulation. Her most recent commission was a solo installation at Site Gallery for Art Sheffield 2016.

Hardeep Prandahl

Reuben Henry

Hardeep develops non-linear, semiautobiographical narratives though drawing, painting and sculpture. He had a solo exhibition at David Dale Gallery, Glasgow in 2015.

Reuben Henry works in collaboration with Karin Kihlberg on moving image, performance, interdisciplinary projects and publications. Solo exhibitions include fig-2, ICA, London and Aspex Gallery, Portsmouth.

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John Court

Dennis McNulty

John is a performance artist whose work considers the power relations inherent in language. His durational performances have been presented extensively and internationally.

Based in Dublin, Dennis works across an expansive range of approaches that includes both sound and sculpture, with a recent solo show at Limerick City Art Gallery.

Kayt Hughes Kayt won Northumbria’s Woon Foundation Art Prize in 2015. The results of her residency at B39 were shown at Gallery North in an exhibition opening after her talk.

Lauren Gault Lauren works with and between sculpture, performance and text. She lives in Glasgow and has had solo exhibitions at CCA, Glasgow and Jupiter Artland, Lothian. She had a residency at Hospitalfield in 2016 and exhibited at B39 in 2017.

Toby Paterson Toby makes paintings, reliefs and constructions that derive their formal vocabulary from post war modernist architecture. He has exhibited widely, and has recently finished working on a public commission with Newcastle’s Laing Gallery.

Joey Holder Joey completed an MFA at Goldsmiths and lives in London. Her film, Ophiux, imagines a near future in which human biology is computer programmed and technology is used to advance human evolution.

Kate Liston Kate recently completed a practice based PhD at Northumbria, using writing, video and sound to “expose the inherent materiality of knowledge through sensual engagement with matter and grubby handling of ideas”.

Sophie Michael Sophie’s solo exhibition Trip (the Light Fantastic) was shown at Tate Britain in 2016 as part of their Art Now series.

Alice Theobald Thomas Whittle Thomas studied Fine Art at Newcastle University and works with paint and print and curates events and exhibitions. Slide Night, an ongoing curatorial project, was shown presented at The Northern Charter, Newcastle and Rhubaba, Edinburgh.

Often working in collaboration with a cast of non-professional actors and performers, Alice creates works that draw upon a mixture of pop and underground cultural references. She had a solo exhibition at BALTIC in 2015.

Luke McCreadie Katie Schwab Katie works with textiles, ceramics, video and furniture to create installations that explore interior spaces and the ideas and values that shape them. She is currently working on a commission for Mima in Middlesborough.

Giles Bailey Giles’ work responds to a place and its artistic history. His 2015 film Out of a Morass was shown at The Hepworth and took Pontefract’s Stapleton Park, and a jar of pesto, as a starting point from which to consider landscape genre painting.

Luke was the 2013 recipient of Northumbria’s Warwick Stafford fellowship and has continued to live and work in Newcastle. In 2016 he had a solo exhibition at the Zabludowicz Collection in London.

Kathryn Elkin Kathryn is the 2017 recipient of Northumbria’s Warwick Stafford fellowship. She works with performance, video and writing to create works that merge the autobiographical with popular culture.

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Untitled Breeze, air, oxygen to my lungs.

Infinite blades of grass, directions, Space for my great run, Smoke from my lips, Formaldehyde, embrace me. Warm my soul. Addiction - sweeten the guilt Of my inhibitions.

Confirm my purchase of this ticket to routine, my adventure to regulated safety.

I call away this indecision, Angel on my shoulder? Wither, Like a flower, or the rose you’ve tried to send.

Torment. Whirring, an old engine screaming lies.

She won’t make a move, Not if there’s nothing in checkmate’s grasp.

Flee this battle, shy away from impossible victory, Oh but it taunts me.

Siren in the sea, engulf me.

In open water enclose me, Lay me in solitary.

By Sarah May

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Contact details...

Amy Taylor amy.l.taylor@hotmail.co.uk Sarah Wilson Sarah.wilson24@hotmail.com Donna Lauder donna_lauder@hotmail.com Joanne McGarry joannemcgarryfineartist@gmail.com Alice Day aliceroseday@gmail.com insta: aliceroseday Motsonian surveillance@motsonian.com www.motsonian.com Hattie Turner harriet_turner@live.co.uk Rhys Moore rhysgeorgemoore@gmail.com Pui Man Ip l.ippuiman@gmail.com Sadie Long sadie.long1@outlook.com Rachel Bokor rachel.bokor@gmail.com Hayley Myers hayley.myers263@gmail.com hayleymyers.squarespace.com

Mia Rawlinson miarawlinson@live.co.uk Instagram: @artbymia_miart Sam Winnard samwinnard@hotmail.co.uk Anthony Eglon anthonyeglon@hotmail.co.uk Insta: @ajeglon Faye Ivy Smith fayeivy.smith@rocketmail.com insta: fayeivyart Lucy Fraser lucy-fraser12@hotmail.co.uk Sarah May Sarahmaymay@hotmail.co.uk Ken Barlow k12eb34a@gmail.com Ashley Dixon ashley.dixon195@gmail.com Amy Roberts amyrrr@hotmail.co.uk Instagram: @Amy_rob Julia Matyear jkmatyear@gmail.com Joanna Georghadjis j-joanna@hotmail.co.uk Octavia Houston Trevor looch-trevor@hotmail.co.uk

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Jessica Wilson 2495jessicawilson@gmail.com

Laura Barnes laurabarnes6@hotmail.co.uk

Tom Cunningham tomcunningham01@gmail.com

Steffi Elliot steffi_elliott@yahoo.com

Ashleigh Cook Ashleighcook16@hotmail.co.uk

Matt Glover mattglover92@hotmail.co.uk Instagram: @mattglover92 Jasmine Edwards-Grey jasmine.edwardsgrey@gmail.com Instagram: @_jasminegrey

Ben Oakes benoakes96@gmail.com Samantha Lourens samantha_lourens@yahoo.co.uk Charlotte Gregory charlottemaria@me.com Instagram @charlottemaria_art Joe Connors joe.c.w@hotmail.com Ellie Robson elliezenarobson@gmail.com Mayauko Masuda mayuko.msd@gmail.com Ruby Donachy rubydonachy@hotmail.com

Louie Bartholdi Louie94@live.co.uk Instagram: @Louie.94 Amy Matthews amymatthews21@hotmail.co.uk Kimberley Bailey only-kimb78@hotmail.com Charlotte Major Charlottemajor@hotmail.com Rebecca Cairns rebeccacairns07@gmail.com Instagram: @r.cairnsart

Megan Spencer megan.spencer95@hotmail.co.uk cargocollective.com/meganspencerart Kristi Russell kristi.russell@live.co.uk Instagram: @kristirussellart Sam Driver samdriver1508@gmail.com

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Acknowledgements The 2017 graduates would like to thank the following for their help and support over the last three years, specifically for fundraising, the preparation of the Degree Show and the production of the catalogue.

Editors: Ashley Dixon Ruby Donachy Sam Driver Lucy Fraser Joanna Georghadjis Samantha Lourens Sarah May Ellie Robson Jessica Wilson Sam Winnard

Executive Editors: Allan Hughes (Sagitarius) Luke McCreadie (Aries) Image credits: © All rights reserved. All images are copyright and supplied courtesy of the artists listed (pp156–pp157), all other images are as captioned.

Published by the Fine Art Department, Northumbria University, 2017. No part of this publication may be reproduced, copied or transmitted in any form without the permission of the publishers. Every effort has been made to trace copyright holders. We apologise for any inadvertent infringement and will rectify any omissions at the earliest opportunity.

We would like to thank Academic Lecturers and Technicians: Jane Arnfield, Mike Booth, Sian Bowen, Kevin Burdon, Alfons Bytautas, Chun–Chao Chiu, Julie Crawshaw, Charles Danby, Chris Dorsett, Keith Ellison, Simon Gregory, Alex Harbord, Matthew Harle, Paul Helliwell, Ysanne Holt, Victoria Horne, Allan Hughes, Angela Hughes, Mark Jackson, Kate Liston, Luke McCreadie, Keith McIntyre, Tom O’Sullivan, Matthew Potter, Ginny Reed, Jason Revell, Sunghoon Son, Sue Spark, Joanne Tatham, Judy Thomas, Louise Wilson, Mick Wootton.

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All of the Northumbria staff in support and administration with special thanks to Lilian Armour, Laura Crammond and Margaret Reay.

We would also like to extend our gratitude to the host of companies, galleries, artists and venues that have supported us over the last three years. The advice and the opportunities you have given us have been integral to our development as emerging artists and we look forward to working with you in the future.

With a particular thanks to: Baltic and Baltic39 Gallery North and Gallery North Project Space IMT Gallery Newbridge Project Space and Bookshop Leftleg Gallery Milk Collective The Northern Charter The Old Police House The Tyneside Cinema Tyne and Wear Archives and Museums Vane Workplace Gallery Special thanks also to all those involved in planning, organising and undertaking the Fine Art Auction, special thanks go to auctioneer Jim Railton.

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160 x179425_Xerox_Inset_p1_nm.indd 160

30/05/2017 11:40

Charlotte Gregory