Scaffold 2019

SCAFFOLD

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CONTENTS

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INTRODUCTION

9 - 11

ARTISTS

13 - 109

CREATIVE + CRITICAL WRITING

113 - 117

GROUPS + COLLECTIVES

121 - 125

SECOND YEAR EXHIBITIONS

127 - 129

PUBLIC EVENTS + EXHIBITIONS

131- 137

PROJECT WEEK

139 - 141

CONTEMPORARY ARTS GUEST LECTURE (CAGL)

145 - 161

IN MEMORY OF PAUL MOSS

162 - 163

CONTACT DETAILS

167 - 171

THANKS

175 - 177

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INTRODUCTION

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“Planning is probably one of the most overworked words in the English language […] In any form of construction, there are only two fundamental activities (a) the handling of materials and equipment and (b) by the skill of the work force in the positioning of the materials and equipment (assembly) to produce the desired completed whole.”

– Construction Methods and Planning, J.R. Illingworth.

Introducing Scaffold.

Balancing a fine line between in-progress and accomplished. An uncertainty we’ve all practiced.

Scaffold implements foundations of both. Welcoming the process behind our artistic practices yet awarding our 3 year accomplishments. Scaffold visually frameworks our headway, whilst acting as a support to enable us to evolve as individuals and upcoming artists into future endeavours.

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ARTISTS

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Γαῖα; /ˈɡeɪ.ə/ or /ˈɡaɪ.ə/; Gaia; The roots of my art practice obtained their impetus from Mother Gaia.

Studies around nature bring out to the surface Gaia’s sacred and colourful beauty in order to reveal the endless biosphere around us.

Through the material choices I demonstrate the ecosystem of microcosm in an unrecognisable biomorphic composition. Vibrant colours are not omitted from my work as they reflect the bright liveness of biodiversity.

The transaction of energy conveys emotions and environmental worries between the transmitter and the receiver. Within narrative I aspire to travel from the microscopic side of nature into the unexplored macrocosmic aspects of the world.

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You know what’s ‘deep’?

What? The ocean?

No… Deep space?

No… Your belly button?

No! What are you on about?

Y’know like, when you drink some really really cold water and when you swallow it you

Yeah!

can like feel it going down… …and then you like realise that you’re made of tubes?

Omg, tubes

Tubes Tubes Tubes Tubes Tubes Tuuuuuuubes Tuuuuubeeeesss Tubie Tubie Tubes

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Tubes

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My practice explores youth experience within the urban landscape of the UK, challenging everyday interactions with the mundane and unobserved. I apply mixed layers of media to create a complex materiality which promotes a sensory experience. This desire for a tactile response is important to my practice. The placement of work makes space for the immersion of the viewer in a pastiche of the normal, a refraction of the everyday. Suggestions of structure give a platform to the previously recorded signs of personal ownership of the environment exercised through graffiti. Interaction is guided by the presentation of my own narrative, offered in order to create a point of reflection on the experience of growing up, reaching milestones or just being young today. I use objects, images and materials not often seen in a formal exhibition setting, to promote the sense of a human experience within a city. The method of making is labour intensive, time consuming and involves processes that draw on retained imagery as well as traditional craft skills. I incorporate found objects to make the work more relatable, and cartoon-like visuals that may subvert reality. These create complex connections with personal experiences and invite a critique of the things that we encounter. Although I employ static forms, these contain retained kinetic energy, drawn from interactions with the artist, the viewer and the context in which they exist. My work attempts to realise the metaphysical by exploring the connection between mind and matter, thinking and feeling.

The viewer is invited to participate.

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I find sound to be a subtle and slippery material. Slippery in the sense it is supple but difficult to contain, with sounds not just bleeding in and out of spaces, but into other sounds and confusing the ear.

Sound is also a versatile sculptural medium to work with and install. Not only does it affect us psychologically with the ability to shift our mood, we react to the physicality of the material. I think spatially about how the sound will fill and respond to a site, and how the audience are affected by this.

I’m interested in panning audio as a way of curating experience; the sound at one moment beckoning you to one area of the room then shifting your attention.

An interesting question was ‘so why do we make art?’ ...and the answer was ‘to answer why we make it’ ‘Ooh that’s true though’ ‘It’s so secular!’

Secular or circular? ...Secular means no religion’ ‘Oh’

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[laughing]

Developing an interest in circular, selfgenerating and self-sustaining processes of making, my latest works explore the musicality of computer-generated content using coding synth software to create ‘live_loop(s)/(ed)’ sound pieces that develop in real time. The sounds produced are often surprising, at times artificial and difficult to listen to, but at others beautifully harmonic. Coded sound has its own sense of musicality.

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Oozing. Seeping. Trickling.

Captivated by ideas of fluidity and the boundaries of gravitational laws, my practice is process-led. Taking on a maternal role I nurture and support various materials to thrive and develop. I introduce different material elements to one another so they can interact and become one. As they evolve and mature into their new substances, with gravity’s assistance and continual pull, I mould them into their new morphed and fluid forms.

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A moment out of time, unrestricted, free, open. Slippages active upon the surface of a painting; entwining, intrinsically connected to one another. A sense of forming held closely within pockets of knowing and not knowing.

Restriction of understanding unbounds creativity and frees intuition, bringing forth recollection of individual sensations and experiences. The works gift time, they pull in with murmurs that tease what’s to come. Gentle poetics jar with strong forceful energies. Relationships build and intensify from the moment of production. Intrinsically connected, embodying one another and mirroring both past and present, they are a collective journey through time. A cognizance of expression, they are holistic reminiscences of my own painterly language.

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Somewhere between a domestic space and a post-apocalyptic narrative, I navigate the world of creating dioramas within contemporary art spaces.

While exhibiting I experiment with the idea of a bodily threshold that transcends the white walls of the gallery. My sculptures exist as extensions of the human body that communicate the complexities and charm in experiencing one’s own body. Within my practice, I am interested in how seemingly dysfunctional objects can communicate our human relationships with one another. My practice is informed by Queer and Feminist Theory, with these points of research operating beside the practice and informing curatorial processes.

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Escape the outside world for a while. With the current state of the world seeming to be that of chaos and confusion, my works intend to help you take a break from that and to allow you to immerse yourself into an alternative space within your mind. People have spent their lives looking to new fictional worlds of immersion, whether it’s zipping through space on the Millennium Falcon or shedding a tear for Romeo and Juliet. Fictional worlds help us understand and escape the world around us. I am invested in the feeling of comfort and ease that you get while you become completely involved in another space. I am drawn to becoming hooked on the characters that have a strong sense of having been transported to another place.

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Everyone needs to get away inside their own mind for a while and play.

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Focusing on movement, I have developed a practice through the use of textiles, soft sculpture, painting and performance. The fluidity of the paint, agility of the fabrics, and transformable nature of the sculptures, is something which fuels my ongoing enquiry into discovering how these materials can generate movement. These works sometimes exist within the realm of performance becoming an appendage. In these I look to see how I can use my own body to generate movement from these forms, and explore how they restrict or enhance the movement of my body. Primarily the works exist outside of performance, as singular works or as part of an installation.

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I’ve always been drawn to artworks that have some form of familiarity in the sense of their relation to everyday objects, I’m particularly attracted to the form of the chair and to domestic furniture.

There is an element of a democracy to the chair that I like. In thinking about a chair’s functionality, I always ask, do I want people to sit on this piece? When the answer to this is always no, I start to wonder how people would interact with it in a gallery space. There is a certain etiquette on how you should behave in a gallery, but when the artwork is also offering up the ability to be moved or sat upon it creates a tricky situation for the audience. By manipulating approaches and materials in different parts of the work I have been able to start to investigate these outcomes. I enjoy the versatility of being able to include more than one layer of material outcome to the pieces, incorporating for example the softness of plaster over more rigid metal or wood. For although the plaster is also a hard material, its material form also encapsulates flow and fluidity.

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My works feature coincidental, accidental and unexpected connections. I focus on aleatoric procedures, this involves a non-mechanical apparatus to produce a chance occurrence without physically making the marks by hand.

I am inspired by AndrĂŠ Breton, who in his Surrealist Manifesto (1924) defined surrealism as pure psychic automatism, by which one proposes to express, either verbally, in writing, or by any other manner, the real functioning of thought.

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My work is about transforming the feeling of a space. In my art practice I experiment with a variety of materials such as plastic bags and paper, understanding that different decisions around materials and colours can influence and change the way we perceive a space. My works explore the feelings and opinions I have for the world. Installation is a way to transform a space and bring the audience into a new experience of the world.

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An investigation of the human body and its experience is constantly at play in my practice, yet it is something that is not notably present to the audience.

My work experiments with different illusions, also exploring the differing impact between 2D and 3D, it is intended to intrigue the mind and create somewhat of an immersive experience for the viewer. The thoughts and the methods I use are constantly evolving further, and the shapes created, based on inspiration from the human form, are never repeated, they are individual entities that stand alone. This all comes together to work as a system; a system that has its own language, but that may not have to be completely comprehensible for the audience to view and experience my work.

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The damage caused by splitting the world into dark or light and idealizing or devaluing it is becoming harder to ignore.

Is ignorance bliss? Are these elements branches or roots, thoughts or feelings, mastering the mind or descending into madness? Mushrooms, cuckoo birds, water droplets and hand gestures create a dialogue about the connections I see between nature, politics and concepts of the self. My practice is infused by the copious amount of time I spend down the rabbit hole of my reading list. Jungian Psychoanalysis, Herbert Marcuse’s theories, and Donna Haraway’s guide to ‘staying with the trouble and making kin’ have been invaluable resources. In response to my research and the surreal nature of current affairs, I manipulate and mirror the hypnotic hand gestures of politicians alongside elements of nature. In my practice automatic drawings, paintings, mandala collages, and repetitive sequences amplify the unconscious and shadow aspects of the self and society. Universal contradictions, dualisms and symmetries manifests in my work. The endangered cuckoo bird makes an appearance, associated with time and madness. Magnified droplets, dribbles and aggressive waves of water appear, referencing the cyclical, resilient and surreal qualities of water. Scientific studies on the healing potential of fungi and the memory of water is of particular interest, alongside visual nuances, such as the nuclear mushroom cloud. This motif often looms within my paintings threatening to implode.

I mimic the CBT term distorted ‘black and white thinking’ by consistently limiting my palette to toxic and sickly tones of yellow and purple.

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While it is universally known that humans are not perfect beings, I believe that Western civilization has been obsessed with achieving ‘perfection’. One technique used in designing that can offer a taste of this perfection is symmetry. When it is applied in design, it reflects the feeling that things are in place so people perceive the designwork or artwork as unmistaken.

Through my work, I try to demolish this idea by intentionally leaving ‘mistakes’ along with the symmetries. I use the Cosmos as my source of inspiration because, even though everything in it might seem to be in order, its base is chaos, randomness and chance. In my opinion, order/symmetry and randomness/asymmetry should co-exist and not be separate from each other. My aim is to embrace this equilibrium. In my work I use the circle as my emblem, because although conceptually you can imagine a perfect circle, in reality it cannot be achieved only with the use of human hands.

I like to manipulate the purposes of objects by using found materials or objects that have no purpose anymore. I reuse them in order to be repurposed. There is a Japanese notion called wabi-sabi, which concerns the transience and imperfection of the world.

When something is broken, they try to mend it, and to embrace the fact that it was once damaged they highlight its cracks with gold.

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Humans have an innate anxiety about the change and harm that developing technologies might bring to both the individual and society. As we progress through the digital age, digital and technological innovations advance to the point of horror film absurdity. My work explores a hybrid of the digital and the physical material. I do not intend to create an altered sci-fi reality, but instead condense the experience of digital images being ubiquitous in our everyday life and becoming catalysts for our actions and emotions. Inspired by synthetic lab-made materials, I imagine how the digital images would physically materialise as they leave the screen and become part of our physical environment. What does this invasion of the immaterial mean for our material existence?

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A spell to bind fragments of the True Mother.

What you will need: • Cold water • Salt • Nails • 2 pieces of A4 Paper • A length of string • A glass jar • The birthdate of the individual you are binding yourself to PLEASE NOTE: The better you know the individual, the stronger the binding will be.

Instructions:

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• Fill the container three quarters full with cold water.

• Put four pinches of salt into the water.

• Cover the top of the jar with your hand and swill the container counter-clockwise four times.

• Add the nails to the mixture. The number of nails must correspond to the birthdate of the individual (i.e. if they were born on the fourth of the month, then add four nails) • Cover and swill counterclockwise four times • Tear up an A4 piece of paper into five. Write down five positive characteristics of the person you are binding yourself to on each piece, then offer each one to the

Five Suns: “From the First Sun, I ask for…From the messenger, I ask for… From the Smith, I ask for… From the Soldier, I ask for… From the judge I ask for…”

• When speaking, tear the paper into pieces and add to the mixture in the container.

• Tear the second sheet of A4 paper into a square large enough to cover the top of the jar. Draw the symbol of the true mother in the centre.

• Cut a length of string long enough to tie round the rim of the container.

• Dip the string into the mixture, then place the paper over the opening. Push the sides the paper down and use the string to tie the paper into place.

• Finish the spell by saying: “To the True Mother, I give you this offering as recognition of your power that resides in all of us. I give you this gift so you may bind our powers together. I give this to you so that one day you return to your former state and drive away the influence of Darkness from Earth.

With the Five Sun’s as my witness, I offer you this gift.”

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My practice spans moving image, photography and text, and is an ongoing site-specific project which focuses on my inherited family home. The work explores themes of intimacy, sentimentality and the generational collective memory that gathers in a domestic space over time. After my grandmother and mother moved out of the property it stood empty for almost two decades before I recently moved in. My work documents the interior of the building as a method of preservation, but also as a way of articulating its narrative and deep personal history to the viewer. The poems that accompany the work reflect on my memories of being in the space as a child, and draw on my mother’s and grandmother’s recollections from the times when they lived in the house.

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Are paintings always the final product? The ability to breathe life into art and art back into life are two separate things. The notion behind why I paint is mostly subjected to the viewing possibilities of the audience. The painting may be viewed the way I intended or perhaps interpreted in a very different way. Having the ability to breath art back into life gives us the opportunity to explore the initial emotions that drew us to paint the paintings. We can channel this back into our voiceless paintings in hope of merging our world with its. We can use our paintings as props, as symbols and play, to help us instruct how we want our paintings to be viewed. For me the most interesting part of being a painter is when it’s time to address the surface beyond the canvas, to delve into the subconscious and bring forth a new life source.

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Within this unknown territory, a rebirth of existing art takes place in a living breathing form.

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My works revisit my childhood through adult eyes, and a somewhat jaded, darker narrative. The confessional of poetry, life, love, death, and circumstance, feed my work. I can’t speak for the minority or the majority only from my own position and existence. Writing is an integral part of my art practice. Literally holding onto words, exploring, examining, reacting, devouring and experiencing life through them, each pouring out and enabling me to understand the world we all inhabit. The materiality, consistency, and continuity of my visual expression is of extreme importance to me. The reusing and recycling of previous works is paramount. It enables the embedding of materials, which are strewn on floors, twisted, sculpted, piled up, and skewered, to become the very essence of my sculptures. The constant and flowing lines of the works I produce gives life to their imagined forms; symbolic of the maternal, a matriarch woven and tamed, permeating, embodying, and enabling the sculptural forms. Stripped-back bared entrails, with a glibly placed scatter of flowers, un-real and reproduced, they are unable to rot and die, suggesting instead life and remembrance, mementomori. Embedded chopped-up torsos lie forever entwined within the entrails of the flayed hanging forms I create. The child to the maternal enveloped for all eternity.

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I work with fabrics, metals, plastics, woods, wires and meshes to create animate figurative sculptures. I use flesh tones and muted pastels to create ethereal characters that inhabit spaces with curious tangles and tendrils of reaching limbs. Freckles of beads mark a skin of canvas; the inhuman alien physicality is an unnatural attraction. I’m interested in the fabric’s soft pliable lightness and fluidity. It is responsive and restless, putting the sculptures in a constant transitory phase; temporal, impermanent and fragile. I work with dyes and sculpt by hand to make each piece. This makes room for imperfect stitching and gatherings of thread. Natural formations result in comfortable pleats, and folds of fabric bound exactly as they were grasped by human hand reveal the process of their making. Influenced by contemporary horror and Julia Kristeva’s theory of abjection in her book Powers of Horror: An Essay

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on Abjection (1984) my works change and metamorphose, regenerated when reconstructed in new spaces.

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The material fibres which align my erotic based works present a narrative. These soft sculptures present a process in which we neither stitch nor bitch. Taking inspiration from Katie Roberts Wood, my sculptures are entangled in knots of connecting material, resulting in a formation which holds a bond of what it means to be a textile, soft sculpture artist. I often question whether it is due to the material of my art that I have become what they call a ‘femmage’ artist, or the technique I use to create? I consider the materiality of the body and the relationship it has towards the materials surrounding its form. I am conscious of the gaze that lies before me, before my form. However, I let it subdue to my gaze, the gaze of my women of the land, my mother of the land. In my work nature’s form acts as my backdrop to be able to get in touch and question femininity.

Being in touch with the land and the female body allows a significant personal relationship to be exposed. Yet identities are withheld within the works I produce. The female form is in touch with nature and acts as a blank in this blank space, to be adorned in matter, adorned in a fabrication of ‘feminine’ materiality.

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Throughout my practice, I’m not looking for the real or the unreal, but rather the unconscious, the mystery of the instinctive within ourselves. I want to challenge the viewer to question how my works, images, relate to one another, and how they are intertwined with philosophy, memories, emotions and aspirations. My works have an intentionally random haphazard quality, and carry a chaotic beauty of fluid/flow dynamics, through the juxtaposition of images when shown. Space is active, it brings to life the surrounding atmosphere, with the air and the light continually changing around the work, creating immersive optical environments focusing on the relationships of the image to the viewer. By creating seductive pieces through colour, light, and content, I want the viewer’s perceptions to be challenged beyond the

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obvious, to contemplate what it means to them.

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I feel art is representational of the time and space which I am surrounded by every day. I like to think that I’m aware of what is around me, and I find the marks I use in my works are unintentionally encouraged by shapes and forms from my everyday experiences. The process of making work holds more value to me than the final outcomes. Through recent work I have found myself being less cautious and taking risks. I like the aspect of not knowing what can happen, or if the work can suddenly embody another narrative. By making my work quickly and in the moment, it allows me to accept that no marks are accidental and must have a purpose within the work, whether calculated or not. Although my work has a sense of spontaneity and carries itself through the paint, I tend to try and be very meticulous with certain marks as I want a sense of representation. If I can’t locate or generate my own importance for the

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marks and the forms within my work, I feel an uncertainty will also be carried through to the audience.

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I love the NHS, they really do everything they can for us... I love the NHS, they do what they can for us… I like the NHS, they do what they should for us… I like the NHS, they do enough for us… I don’t like the NHS, they don’t do enough

for us… I don’t hate the NHS, but what do they do for us?...

Chinese Whispers… is there more to it than that? I have been listening to family stories my whole life. My work explores experiences, stories, hearsay, scandals, and conspiracy theories around the National Health Service.

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Governing relationships between the individual self and others, I identify with a sensory exploration of primal instinct that encourages us to question our perceptions of our environment. With an influence of 90’s rave culture, my works symbolise a desire to be open and free. They recognise the idea of being honest, soulful, and sensual beings, that feel safe in the presence of each other. A techno track inspired by the rhythms of female sexual stimulation complimented by lighting melts the physical, chemical, and mental reactions associated with both dance music and sex. We move with and beyond ecstatic embraces and sensual radiance to understand each other’s shadow selves, and to locate our beauty and innocence. Giving, receiving, expressing and listening.

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My practice consists of exploring gender representation amongst fairy tales and folklore. Writing my own versions of the stories, I aim to transform the classic tales and twist the roles of the characters, ultimately to create a feminist narrative. Using a range of different mediums, I create illustrations to accompany the writings.

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Setting out to capture an unlikely romance between machine and human and revealing a story of labour, love and the bittersweet. Motivated by a futuristic culture in which these two protagonists exist the imaginary world is not too far removed from what could soon be a reality. Collectively, the works weave a narrative of romantic memories that push and pull the characters to reveal humour in technological capacities. Following a journey of neglect, revival and longing, the works show a woman’s desire for a connection; uncanny, uncomfortable, but sweetly feminine all the same.

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CHILL-PILL. My practice entails a combination of interests constructed through domestic objects and humour-specific narrative. I critique minimalist art forms which clash with expectations and disrupt the strict guidelines. These elements allow me to generate an ambiguous and unusual relationship with contemporary sculpture practice. Through cartoon distorted facial features the works I produce offer life to the static form of sculpture, allowing them to generate a playful attitude towards the viewer. The faces embedded in my works all have the same monotone expressions which transforms their physical behaviour. I want to find my work funny, and for it to surprise me at the same time.

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The different arrangements, layers and surfaces suggests my work sits around the idea of ‘potentiality.’ There is a potential for the assemblage to become something more than it already is. It is placed somewhere between being a 3D drawing / sketch and a completed structure. Through this we are left with an installation which has not yet found its form, it only exists in an interspace, where nothing exists as we know it. This state of confusion as to where the work should be placed within time highlights the idea of the heterotopia – a place where multiple realities co-exist within one space. This confusion is further reiterated through the constant changes made to the setup of the structures I produce. The constant moving of materials around the space, emphasises the temporary, and how each installation perhaps doesn’t exist for long enough to be placed within a specific time frame. My works are seemingly lost in time,

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between something that has already existed and something that doesn’t yet exist.

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The materiality of my work acts as an extension of my own and unfamiliar bodies. The use of domesticated and cosmetic materials emphasises an everyday within contemporary society, addressing differences between the enticing and the repulsive, and in how psychological responses influence human experience. The work looks beyond visual perception.

It uses smell to stimulate an individual emotional response that draws the audience into engagement and participation. Scent acts as a sensory aid that communicates beneath the surface level of an object, as an indirect response. My use of sensory and visual representation creates something that can’t be communicated verbally to the audience. By developing the use of scent in my work I am opening up a medium that any individual can

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appreciate, expanding possibilities for what artworks can be.

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Memory at its simplest can be seen as the re-creation or re-construction of past experiences, known to be a collection of recordings, pictures or videos clips archived inside our brain. This gives us the ability to retain and recall information of previous experiences that in future will affect and influence both our decisions and behaviour. Recently I have been studying autobiographical memory, producing work influenced by my past. Retracing steps, recalling events from my childhood, and revisiting the places that are embedded in my memory. I have captured my hometown, my memories and feelings, through intricate photographs, video, and multiple exposure.

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i see them. they got more life than us. a good spirit. the wave is very strong at night. i see all different types of colours, yellow, white, blue, purple. it always looks… better. they dance through the air, breathing life to the cool, cool breeze that nip my cheeks. moving in/move out rupturing into new forms and breaking the rhythm. it’s all in good spirits. i’ve got a spirit there.

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We work in collaboration, exploring the boundaries of the white cube and looking at ideas of perception. In our works we challenge the ideology of the white cube by both working outside of it, and by using the whole space to make people think about the environment they are in and how they interact in it. We challenge the time that is spent viewing an artwork by creating a space that the viewer feels completely involved in. We create geometric forms that become hard to distinguish until light and movement is introduced through the perspective of a viewer. This interaction makes minimal forms chaotic. Our work is a tool to encourage an awareness of the body and its movement, challenging the typical codes and conventions of the white cube. Through the spaces we create we are trying to create a feeling of no borders defining a specific form, a space that has no restrictions, and a space that encourages interplay between the viewer and the space. These altered perspectives amplify and disorientate the experiences that are felt through the body as a space is inhabited.

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In a world where technology is advancing faster than we can engage with it, I think it is important that we draw ourselves to particular technologies. In the advent of high level technological consumerism and over-saturation, I believe there is still room for meaningful connections to be found. I find myself asking questions about the ubiquity of technology, it’s accessibility, and what this means for us as humans. Through my work I attempt to challenge this idea of high level consumerism that we are so accustomed to; disposing of our phones and laptops every few years to upgrade to something new and ‘revolutionary’. How many technological revolutions can we have in a decade? To understand this, I think we must make the conscious decision to step away from this incessant need to have new hardware.

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My work involves philosophies based on material realities and their relationship with the human soul. I’m interested in the metaphysical and in phenomenology. My sculptures represent enlarged confectionery and I want to gauge my audiences’ reactions as they see many of the sweets associated with their childhood. I am interested in how they can both feel, smell, and taste the confectionery, even if the sculptures aren’t edible.

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Betty Presents1 February 2017 Born.

October 2017 Began collaborating with The Rat. November 2017 Coined prace 2 Film short, The Life and Times of Betty and The Rat. March 2018 Discovered playdough.

April-December 2018 Obsessed with playdough.

December 2018 RIP playdough.

January 2019 Reborn.

March 2019 Film short, Betty by Betty Presents.

April 2019 Model, Windows 10 and Windows 10.2.0.

June 2019 ?

1 Performed by Sophie Crocker.

2 Prace, (verb). Meaning to be mentally and physically present in the space. Coined

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by Betty and The Rat in 2017. “Are you

praced?”

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I present to you an orchestra of sound.

A carefully organised composition that entices the space to come alive.

As you enter the space I encourage you to react according to your emotions.

As a result, a performance is made.

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My practice involves working with everyday mundane objects and transforming them into abject creatures or presences. Using the lack of their definitive form to my advantage the sculptures remain ever changing, with each installation different to the other. Fascinated by the qualities of metal and wire I allow the materials I use to form natural paths, and to follow the soft curves of the sculptures I produce. By allowing the pieces to bend and move in any direction an element of animation and life is brought to the sculptures. While the sculptures remain stationary, their rigid skeletal structures evoke a lingering effect of kinetic energy. The sculptures are bound in a continuous loop of movement which is reinforced by their positioning on the wall or floor.

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“What do you do?”

“I’m a retired Fisherman” Recently my work has found manifestation as a socially engaged art practice.

By this I mean art in which the primary medium is social interaction. The result is work that is largely process led, using conversations and interactions as the products with which my practice is built. When I say conversation, I do not necessarily mean verbal exchange. To me the method in which an individual operates within a space is in itself a dialogue. From societal norms, political rule and religious tradition we are regulated by influences larger than ourselves. By continually engaging in both overt and suppressed modes of

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dialogue between ourselves and our culture we frame who we are. My work aims to present such modes of communication so that they may be studied and used to pose questions of the systems within which we operate.

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Everyone has their own language, and whether that be verbal or visual the way in which we present ourselves in both public and private allows us to exist within our own interpretive community. One which not everyone will understand. The way in which we employ these languages communicates aspects of ourselves we otherwise cannot. Fascinated by these interactions I take on the privileged role of observer, occupying the space in-between in order to work through these curiosities and tackle themes surrounding workingclass cultures. My works capture and translate experiences, conversations, and thoughts, through a mixed media practice.

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Thinking through the matter of the Anthropocene in my sculptural practice, I connect this current ecological state with primitive approaches to making and ideas of material invention or marriages. By involving the idea of possible futures with a traditional materiality, my practice situates itself in a blurred reality between past and future. When encountering certain works, the precarious stacking of ceramic cylinders enhances fragile tendencies that are further heightened by the delicate wrapping of paper around a willow frame, or the casual use of clay suspended through chains and frames. The material entities that are incorporated in my cautionary practice promotes a liveliness, which converses through thinking about the Anthropocene to address current states of ecological concern we must acknowledge. Furthermore, this ecological relationship questions whether primitive lifestyles or approaches towards making are still visible in future eras. I also exhibit fragments, as artefacts, and loosely address my sculptures as pieces of the past that have informed the present of the Anthropocene.

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For me, my childhood was a happy time.

The areas around my home were my utopia, where I felt safe and content in my rosetinted version of reality. Inevitably as we grow older our experiences change and shape who we are. I would never change my teenage years as they made me the person I am today, a person I am proud of. My practice focuses on the housing estates I still associate with my childhood.

I explore these areas through walking alone and photographing key points that evoke memories or emotions; of comfort, nostalgia, and happiness. The combination of standardised British suburban houses and the small spots of nature throughout the walks show the reality of housing estates within Newcastle, that are often forgotten about and ignored. To me they are some of the most important areas in the city. I have always been drawn to colour within art and the psychological effects it has.

The simple primary colours and shapes I use inspire ideas of childhood and point to my memories. However, memory is partial, and as an adult I am more aware of the reality of the areas I grew up in. The housing estates in the West End of Newcastle aren’t the safehaven I once saw them as, and to many people aren’t places they would normally venture to.

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The space and more.

When entering a gallery space are you allowed to touch the work? Are you allowed to move the artworks? As a child, and now as an adult, these are my thoughts when seeing sculptures. I believe that art can be used as a carrier for not only a conversation, but also for the development of relationships; past, present and future. Delving into my past, the art exhibitions I can recall are the ones which had an element of interaction. My interest was not just for myself but in the ability to watch others interact with artworks. This has been a major influence on my practice. The artist Hélio Oiticica stated that ‘the spectator can become the participator’1. This is crucial to my practice, as unbeknownst to many viewers they are adding performance and action to the sculptures they interact with.

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1 Whitney Museum of American Art (2017). H¨¦lio Oiticica: To Organize Delirium. [video] Available at: https://www.youtube.com/watch?v=AkYFZd-iQpY&t=51s

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Through my work I am trying to find new ways to explore the ancient Greek world and its contemporary transformations. The upscaling of the human body in ancient Greek sculptures is interesting and revealing. I work with and add new materials to transform these iconic segments further. I am working with Greek sculptures because I believe I can find bold ways to touch the ways of minimalist sculpture. In an epoch characterized by monopolistic antagonism we see millions of people influenced by clean minimalistic ways of thinking. As sculptures, these show an elegance of the human body that brings harmonious feelings to the viewers. In these forms we respond to ideas of our own bodies, symmetries, perfections, aesthetics.

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The qualities of painting marks are the core aspect of my practice in its various forms. The question is what is a painting? Or rather what is a traditional painting? A square/rectangular canvas presented onto the wall. My practice focuses on giving paintings a sculptural form in order to move away from traditional paintings, they attempt a vibrant and colourful charisma. My works explore different and diverse languages of painting through paint. These include contrasts between the markmaking creating chaotic languages and the use of flat colour. I also explore painting through optics and optical illusions, working with destructed canvas edges, suspended elements, and holes which focus

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viewing on revealing and concealment.

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Do we all see the same? does our perception allow us the same imagery and understanding of what we see before us? The embodiment of natural phenomena, transitions of the sun and atmospheric conditions that surround us, inspire me to analyse and restructure the view we see before us. Natural light integrating with my work changes the content and context adding new dimensions and structure. Working within a limited colour palette and exploring the everyday world that surrounds us, I look to present an observation outside the normal context we expect, inducing reflection, discussion and conclusion to the viewer.

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During our life we soak up information which we are presented with, this is to adapt to the world around us, in order to survive. This information is more often than not warped by culture, religion, and the media we consume. The information processed through our brains is limited by the three-dimensional reality in which we reside. The limitations of this reality mean that we never see the bigger picture. Through my paintings, I want to get people to question their routines, their daily lives. I want people to question everything they think they know.

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CREATIVE + CRITICAL WRITING

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person point of view of inhabiting a body. However, this idea of ‘poles’ of experience suggests that semiotic and phenomenological understanding are opposite extremes of experience. Guiraud argues that “the semiological modes of intellectual knowledge have no bearing on affective experience, and vice versa” (Guiraud, 1992: pp.10) and even goes on to suggest that semiology and phenomenology are not just opposed but inversely proportionate, with extreme sensations or emotions for example inhibiting objective intellectual analysis.

‘INSULAR YET COSMIC WORLDS; HOW AND WHY HAVE ARTISTS UTILISED SPACE AS A MEDIUM IN ITSELF?’ Katie Bell Excerpts ...

This feeds into the belief that “understanding and feeling, mind and soul, constitute two poles of our experience” (Guiraud, 1992: pp.9). Therefore we must consider the impact of ‘feeling’, in both a physical and emotional sense, when analysing experiential artworks that utilise space as the primary medium. This sense of ‘feeling’ may be defined with the philosophical study of phenomenology, which is perhaps best described as the “the way reality manifests itself to us” (BBC Radio 4, 2015). It refers to structures of experience and consciousness; taking into account phenomena such as sensory input, temporality and the spatiality of one’s own body. Fundamentally it describes lived experience from the first114 210MM - 148MM SCAFFOLD CATALOGUE.indd

Yet phenomenology is often hailed as one of the most anti-reductionist methods of analysis in the way it encapsulates human experience on a multifaceted level. Nevertheless, Merleau-Ponty stated that “from the point of view of my body I never see as equal the six sides of the cube, even if it is made of glass, and yet the word ‘cube’ has meaning, the cube in reality, beyond its sensible appearances, has its six equal sides” (Merleau-Ponty, 1962: pp. 203) which suggests intellectual and bodily experience may not be mutually exclusive. In order to understand the message of a medium fully, we must consider all levels on which we engage with it. In the case of works that have dematerialised the artistic process so much so that the space itself can be considered the primary medium, our educated selves try to make logical sense of our environment whilst our bodies feel the intrinsic characteristics of inhabiting space.

To summarise, “human experience is inherently multisensory, and every representation of experience is subject to the constraints and affordances of the medium involved. Every medium is constrained by the channels which it utilizes” (Chandler, 2019). Therefore, utilising space as a medium in itself allows artists to communicate ideas, sensations and feelings with their audience on a highly profound level as our experience within space is a culmination of all of these ‘channels’. For McLuhan, a leading figure in media study, it was the medium itself that shaped and controlled “the scale and form of human association and action” (McLuhan, 2010: pp.9). Exploring space through a context of dematerialisation using intangible elements like light and sound means artists are able to bypass the restrictions of the visual channel and embrace visceral qualities like emotion, temporality and sensation. Essentially, space as a medium widens the scope for meaningful individual interpretation and experience of works.

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‘EVERYDAY SPACES’

‘EPIC MEN OF FLESH AND BLOOD’

The difference in an everyday space is that it can be used to make everyday different.

They sat there for a moment and felt the weight of their journey. He was passive and stoic, ignorant of the potential of this moment. Hair whipped viciously around confusion on her face; “was it worth it?”. It wasn’t that she couldn’t enjoy the view, wobbly lines of sand revealing themselves to her in front of a vast ocean. But there was only 1 of her and 18 of him. He rocked slightly against the bench she was sat on, a small gesture of solidarity she hoped. His usual quiet hum was emasculated by wave crash, wave roll, wave pull, wave crash. Their relationship had potential, of course, bolstered by their servitude to each other. A consistent, accessible flow of ideas and time stretched between them.

Russell Yates

Ria Martin

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GROUPS + COLLECTIVES

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ARTIST IN RESIDENCE THE BUNKER The Bunker is a collective. Conversation and friendship are integral to our practice allowing us a space to discuss ideas and the processes of making. For us, conversation and making are inextricably linked. We believe that the wide reaching areas that we explore in our individual practices allow us to bring different perspectives to the table. As a group, we are interested in institutional structures around the University and the challenges and opportunities they present to the student body. Our interest extends to the operations of the artworld and the ways we can negotiate with it.

Bunker is a collective formed by Katie Bell, Olivia Chakraborty, Sophie Crocker, Charlie Dimbleby-Meakin and Ed Lawrenson in 2017.

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Artist in Residence is an exhibition space, and our aims are to allow people to showcase their work outside of the traditional gallery or studio setting. Our intentions are to make all the artists participating in and visiting the exhibitions think about how they can adapt their work to be displayed in the social environment of a house. In all four of our exhibitions to date we have been able to exhibit performances, prints, sculptures, paintings, video, and sound. We believe that being able to show work in a house, develops new ways of thinking through unexpected challenges to making exhibitions, from installing work in unconventional ways to having large amounts of people in a small space. Taking these challenges and transferring them back into the studio environment we believe helps develop practices and conversations between people. We have been overwhelmed by the successes of these exhibitions and look forward to seeing what the future holds for Artist in Residence.

Artist in Residence was set up by Ria Martin, Bethan Williams and Sophie Crocker in 2018.

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SECOND YEAR EXHIBITIONS

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MATERIALITY

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UTOPIA UTOPiA

APPROPRIATION

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PUBLIC EXHIBITIONS + EVENTS

THE ROUGH CUT HEAD, SHOULDERS, KNEE’S, AND?

SUB-LEVEL

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The Rough Cut, at the Tyneside

Profile: Beth Greenhaff

Cinema, Newcastle The Rough Cut is a series of free event

The Bowl of Sugar

screenings at Tyneside Cinema in

Beth Greenhaff, UK, 2019, 9’12

Newcastle for new works in and works

Video, B&W, sound

in development for artists working with moving image. For artists, The Rough Cut is a supportive and useful way

Beth Greenhaff is a Fine Art student in

to share work publically and receive

her final year at Northumbria University.

feedback. It is also a space to see and

Her practice spans across moving

encounter new film works.

image, photography and text. She is currently working on an ongoing site-

The Rough Cut is organised by artist

specific project which focuses on her

Tess Denman-Cleaver.

inherited family house. She explores themes of intimacy, sentimentality and the generational collective memory that gathers in a domestic space.

Her most recent exhibition was The Everyday at Northumbria University GNPS.

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SUBLEVEL SUB -LEVEL Sub-Level was an exhibition hosted at the Head of Steam Basement, consisting of works involving sound, sculpture and prints. The unconventional environment for Sub-Level, performed as a factor in the works displayed by Katie Bell, April Dodds, Ashleigh Stores and Lucy Watkins.

Katie Bell - works with sound as a versatile sculptural material. Exploring the phenomenological aspects of listening within space, she often utilises bass vibration and panning audio as a way of curating experience; with sound at one moment beckoning you to specific area of an installation then shifting your attention. Developing an interest in self-generating, self-sustaining process’ of making, her latest works explore the musicality of computer-generated content using coding software to create ‘live_loop’ (s)/(ed) sound pieces that develop in real time. The process-lead sounds produced with coding are often surprising, at times artificial and difficult to listen to but at others beautifully harmonic as the coded sounds build their own sense of musicality.

April Dodds - works with textiles, soft sculpture and performance to camera within her practice, focusing on the concept of movement and weight of materials.

Influenced by the eccentric patterns, colours and dance movements from the Bauhaus and Oskar Schlemmer’s costume parties, Dodds’ creates soft sculptures which can act alone as singular works, exist within an installation, or be applied to the body as an appendage in order to test how the weight of these objects can affect bodily movements.

Ashleigh Stores - takes on the privileged position of observer, creating works that deal with how we interact with one another and the spaces we inhabit.

Embracing an experimental approach to art-making, Stores’ process-driven approach explores the way in which language changes and moulds around the people and objects we encounter and then in turn, what we leave behind.

Lucy Watkins - works alongside idea’s surrounding artefact and future, the Anthropocene and visioning life in a post-human era. Inspired by ecology, yet sympathising with current climate concern, her sculptural practice challenges and playfully explores these topics. Fuelled by this sense of fragility, not only referenced through an ecological stand point but also through her materiality of clay, her precarious display mechanisms allude to feelings of anxiety or potential damage. Her work binds sculpture and ecology together to explore these topics in a visually playful and lively practice.

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HEAD, SHOULDERS, KNEE’S, AND? Head, Shoulders, Knees, And ? was an exhibition of artworks, reading groups, workshops and collective actions. It was initiated and co-curated by Olivia Chakraborty, Sophie Crocker and Katie-Ann Jackson.

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PROJECT WEEK

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Workshop: Relocate Led by: Ria Martin, Bethan Williams, Sophie Crocker (Artist in Residence) Students will be invited to bring a selection of their own works for a journey across Newcastle City Centre and Heaton. Works will be repurposed, replaced and reimagined as they travel through context, time and space. Works can be paintings, sculptures, photographs, prints, videos on portable devices etc.

Workshop: The Colourful Zoo Photosesh Led by: Joanna Georghadjis

top and bottom: Workshop images from Prose and Polyhedra

This workshop will be focused on painting and fashion photography and participants will be part of a public art display. All participants will be painting stripes, on various surfaces and objects in a fun party-like atmosphere.

Elements of humour and playfulness are aspects of my personality that I aim to portray through my own practice.

Workshop: The Bunker Presents – Circuit Training Led by: Sophie Crocker, Charlie Dimbleby-Meakin, Olivia Chakraborty, Katie Bell, Ed Lawrenson Each member of The Bunker will run an experience that delves into parts of their practice with a key concentration on creating a collaborative piece of work.

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Workshop: Prose and Polyhedra Led by: Camille Nguty and Jack Smith This workshop aims to explore the relationship between sound and space through the use of spoken text and a series of three dimensional objects. During this session we will construct our own devices to project sound and have these engage in‘conversation’with one another.

Workshop: Using the Erotic Led by: Sophie Crocker, Katie-Ann Jackson, Olivia Chakraborty This workshop will entail a brief reading/ summary of Uses of The Erotic: The Erotic as Power by Audre Lorde. As the text is based around the body from a feminist perspective we will facilitate a guided relaxation to connect people with their bodies. We will be reading the text as the guided relaxation is underway. A discussion around the text and around the connection between the text and the communal relaxation will follow.

Workshop: Characters of Clay: A session of making and discussing Led by: Kara Chin This workshop invites you to join me in my studio to learn the‘slabbuilding’method to create ceramic objects and characters, and through this encourage a conversation around the use of fiction and mythology in contemporary art practices.

Workshop: Performative Materialism Led by: Sian Hutchings and Samuel Barry This workshop will explore notions of performative materialism through responding to research via performative situations. We will create a theatrical proposition from an academic text, trying to understand how an academic paper can become a performative one, and how the liveness of material and body through text can generate new forms of knowledge making.

Workshop: Viewpoints ‘Rigorous Playground’ Led by: Lazlo Pearlman Viewpoints is a playfully rigorous system of improvisation, often done to music, which will put you in physical conversation with your fellow improvisers, the space, the music, and yourself.

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CONTEMPORARY ARTS GUEST LECTURE (CAGL)

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CAGL This programme gives students an outlook into the contemporary art world outside of a university setting. Students are visited by an average of 60 artists and curators over the three years as an undergraduate. The lectures offer opportunities to listen to practicing artists and professionals talk about their artworks, methods and experiences. Each speaker offers a valuable and fascinating perspective on their practice.

Alongside lectures, the visiting artists often offer workshops or one-to-one tutorials which enable students to work with them and gain further insights into their practice, and to learn through themes and approaches that relate to their own.

With thanks: the CAGL programme has been led by Joanne Tatham and Kate Liston.

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SEMESTER 1 / AUTUMN AND WINTER 2016

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YEAR 1

21st September Caroline Achaintre Caroline is exhibiting at BALTIC until the end of 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.

19th October Hardeep Pandahl Hardeep develops non-linear, semiautobiographical narratives though drawing, painting and sculpture. He exhibited in New Contemporaries in 2013 and had a solo exhibition at David Dale Gallery, Glasgow in 2015.

16th November 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

28th September Mathew 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.

26th October Dawn Mellor Dawn’s paintings of celebrities have been exhibited widely. She is represented by Team Gallery New York.

23rd November Reuben Henry 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.

5th October Stuart Tait Stuart is Northumbria University’s current Warwick Stafford Fellow and will be exhibiting at Gallery North this autumn. His practice is primarily collaborative, working as part of artist groups AAS and Reactor.

2nd November 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.

30th November John Court John is a performance artist whose work considers the power relations inherent in language. His durational performances have been presented extensively and internationally.

12th October 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.

9th November 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.

7th December Kayt Hughes Kayt won Northumbria’s Woon Foundation Art Prize in 2015. The results of her residency at B39 will be shown at Gallery North in an exhibition opening after her talk.

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SEMESTER 2 / WINTER AND SPRING 2017

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YEAR 1

18th January 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 will exhibit at B39 in 2017.

15th February 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 as a starting point from which to consider landscape genre painting.

5th March Sophie Michael Sophie’s solo exhibition Trip (the Light Fantastic) was shown at Tate Britain in 2016 as part of their Art Now series.

25th January Toby Paterson Toby makes paintings, reliefs and constructions that derive their formal vocabulary from post war modernist architecture. He has exhibited widely, and is currently working on a public commission with Newcastle’s Laing Gallery.

22nd February Dennis McNulty Based in Dublin, Dennis works across an expansive range of approaches that includes both sound and sculpture. His solo exhibitions include PROTOTYPE, Limerick City Gallery of Art and A Stew of Universals, ZK/U, Berlin.

22nd March Alice Theobald 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.

1st February 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.

1st March 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.

29th March Luke McCreadie Luke was the 2013 recipient of Northumbria’s Warwick Stafford Award and has continued to live and work in Newcastle. In 2016 he had a solo exhibition at the Zabludowicz Collection in London.

8th February 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.

8th March Kate Liston Kate recently completed a practice PhD at Northumbria, using writing, video and sound to “expose the inherent materiality of knowledge through sensual engagement with matter and grubby handling of ideast.

5th April Kathryn Elkin Kathryn is the 2017 recipient of Northumbria’s Warwick Stafford Award. She works with performance, video and writing to create works that merge the autobiographical with popular culture.

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YEAR 2

SEMESTER 1 / AUTUMN AND WINTER 2017

20th September Iris Priest Iris is an artist and writer concerned with nurturing synergies between different disciplines. She recently completed a writing residency with Castlefield Gallery, Manchester

18th October Katie Cuddon Katie works across clay, paper and installation. She collaborated with artist Celia Hempton on the exhibition Pontoon Lip at Cell Project Space.

Katie is currently working on a series of blown glass sculptures.

15th November Kirsty Hendry Kirsty is an artist and writer working in Glasgow. In 2016 she collaborated with a group of artists to create the app cursorware.me to explore the ways in which fitness technologies coopt the body for capitalist gain.

27th September Jo Coupe Jo’s work is rooted in an ongoing investigation into impermanence and decay. She creates sculptural works that are informed by investigations into the Natural Sciences.

25th October Alex Charrington Alex works with painting, drawing and printmaking, in which he layers pigmented motifs to reveal the fragile and ephemeral nature of the medium.

In 2016 he exhibited Push Me, Pull You at Platform A, Middlesborough.

22nd November Maggie Roberts Maggie a.k.a Mer, a.k.a. Orphan Drift works with digital media fused with watercolour, photographic collage, oil paint and sheen mediums to make immersive science fictions. Mer (Maggie) lives and works between London and Capetown.

1st November Ed Carter Ed is an artist and musician who creates musical compositions and interdisciplinary projects in response to sites and contexts. He is interested in pattern, association and chronology.

Ed also releases music as Winter North Atlantic.

29th November Taryn Edmonds Taryn works with moving image, photography and sound, weaving a documentary approach with installation and live elements to explore the socio-political relationship connecting people and architecture.

She was recently included in the Transmission Exchange screening event at NewBridge Studios, Newcastle.

4th October Rosie Morris Rosie is an artist interested in the“thingness” of air and architecture as a frame that roots our sense of place and presentness within the world. She exhibited Circles are Slices of Spheres at Laing Art Gallery, Newcastle 2016-17.

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11th October Judy Thomas Judy describes her practice as Artist Facilitator. She recently worked as Artistic Producer on Mortal Fools productions of Hamlet and The Tempest as part of the Future Ready project with young people with special educational needs and disabilities (SEND) at Collingwood School and Media Arts College.

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8th November Flora Whitely Flora studied at Newcastle University and Chelsea School of Art and Design. She is represented by Vane, Newcastle and is based in Berlin. She has performed at Auto Italia and the Barbican as half of Better Place Portraiture.

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SEMESTER 2 / WINTER AND SPRING 2018

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17th January Susie Green Susie works with painting, drawing and performance and is concerned with bodily intimacy. She collaborates with Rory Pilgrim at The Brilliant State and Simon Bayliss as Splash Addict.

14th February Paul Moss Paul is Co-Director of Workplace Gallery in Gateshead and London.

He studied art at Newcastle University and established Workplace with Miles Thurlow in 2002. He has travelled to represented gallery artists at art fairs around the world.

14th March Serena Korda Serena makes large-scale ensemble performances, sound and sculpture that reconsider aspects of communion and tradition in our lives. She recently completed the Norma Lipman/ BALTIC fellow in Ceramic Sculpture at Newcastle University.

24th January Paul Stewart Paul is an artist, curator and writer. He is Co-Director and Lead Curator of Middlesborough Art Weekender. Paul is currently completing a practice-led Fine Art PhD at Teeside University.

21nd February Joy Labinjo Joy was the first place winner of 2017 The Woon Prize. Since September she has been working at the Woon Studio, Baltic39 towards a solo exhibition at Gallery North, Summer 2018.

21st March Sarah Jury In 2013 Sarah completed an MA in Critical Writing in Art and Design at Royal College of Art. Today she is a curator at Res, a mutable project based in a gallery and workspace in Deptford, South East London.

31st January Paul Merrick Paul works within an expanded field of painting. He makes objects that combine found objects with painted grounds. Paul is represented by Workplace Gallery in Gateshead and is based at Lime Street Studios in Ouseburn, Newcastle.

28th February Ilana Mitchell Ilana is Artist Director of Wunderbar – an organisation based in Newcastle that facilitates projects that bring audiences & artists together. Ilana is interested in spontaneity and immediacy, in works that have cultural and political urgency.

7th February Laura Bygrave Laura graduated from the Royal College of Art in 2010. She makes work that combines cartoon-like humanoid forms in painting and sculpture. Laura lives and works in Norfolk.

7th March John Lawrence John works across video installation, sound, writing, digital image and publishing. He draws connections between diverse material as a way to highlight how we use the production and dissemination of cultural objects to communicate ideas.

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3rd October Martine Viale Born in Montreal, Canada, Martine Viale now lives and works in Perpignan, France. Martine works with durational performance and is inspired by the interval between art and the everyday.

31st October Marita Bullmann Marita works across performance, photography and installation. Her work explores situated perception in everyday life. She lives and works in Essen and Cologne, Germany.

28th November Rebecca Halliwell Sutton Rebecca was the 2016-2017 Woon Fellow at Northumbria University. She recently curated Beacons – a programme of 3 exhibitions, talks and a publication at Caustic Coastal, Manchester.

10th October Jessy Jetpacks Jessy works across many medias, including 3D print, video and virtual reality. She recently exhibited with Union Gallery in London and in the group show Chumming as part of Glasgow International 2018.

7th November Nicola Singh Nicola recently completed a practiceled PhD at Northumbria University. Her solo exhibition Pushing Attention opens at Eastside Projects, Birmingham in October.

5th December Mike Pratt Mike recently worked on a public art commission in the Netherlands.

Mike studied Fine Art at Northumbria University before going to Amsterdam to undertake the De Ateliers residency.

17th October Aideen Doran Aideen makes work with found material, image and text annotating and transforming them to make moving image, sound, installation and writing.

She recently co-curated and exhibited in Bone Meal – part of GI2018.

14th November Adam Hogarth Adam incorporates printmaking into an expansive practice that includes performance. He studied Fine Art at Northumbria before going on to Printmaking at the Royal College of Art. He is currently etching fellow at The Royal Academy of Arts.

12th December Laura Guy Laura’s research explores shared histories of lesbian community and visual culture after the 1960s, particularly focusing on photography.

She is part of the research group Cruising the Seventies.

24th October David Lisser David’s work asks questions about the future, focused through the ways we engage with food. His recent collaborative work Last Ditch Attempt used a tandem-bike ridden mobile seed library to disperse seed pods.

21st November Matthew de Kersaint Giraudeau Matthew is an artist who runs several projects including the Bad Vibes Club – a forum for research into negative states. Matthew lives and works in London and is an alumnus of Fine Art at Northumbria.

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30th January Hamja Ahsan Hamja is an artist, writer, activist and curator based in London. His practice encompasses all media: conceptual writing, building archives, performance, video, sound and making zines.

27th February Maria Fusco Maria is a Belfast-born writer based in Glasgow, and Professor of Fine Art at Northumbria University. She writes fiction, critical and theoretical texts and edit publications and my work is published internationally and translated into ten languages

6th February Kara Chin Kara works across animation, sculpture, painting, sound, and horticulture.

She is the 2018-2019 Woon Fellow at Northumbria Univeristy. Kara’s work was also selected for 2018-2019 Bloomberg New Contemporaries.

6th March Simon Mathers Simon is an artist working with painting, printmaking and sculpture who is interested in the translation gap between the information that we digest and how to present it physically.

3th February Tess Denman-Cleaver Tess’work spans live performance, performance writing, artist publication, workshops and installation. She recently completed a residency at Middlesbrough Town Hall culminating in a performance as part of Middlesbrough Art Weekender.

13th March Allan Hughes & Mark Jackson Allan and Mark collaborate as Blue Mountain/Arcturus – a collaborative project exploring their individual research activities in authorship, fictioning, game-play, coincidence and resonance.

20th February Martyn Hudson Martyn is an Applied Sociologist of Art and Design and a Critical Theorist whose primary research interests lie in Sound Art, Cultural Landscapes, Classical Origins of Critical Theory and Aesthetics, Socially Engaged Practice with Communities and Designled methodologies.

20th March Dean Hughes Dean is an artist working with drawing as process, often presenting work as wall-based sculptures. His work was featured in Phaidons book Vitamin D: New perspectives in Drawing. He completed his BA at Chelsea College of Art and is now Professor and Head of the Department of Arts at Northumbria University.

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27th March Xiuching Tsay and Sara Sigurdardottir Xiuching and Sara are currently studying on the MA Painting course at the Royal College of Art, London.

They will each separately share their practice and experience of postgraduate study.

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Left Page: All images Kara Chin

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Right Page: All images Arcturus games - Dr Mark Jackson & Dr Allan Hughes

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IN MEMORY OF PAUL MOSS

Paul Moss changed what was possible for artists working in the North East of England. Paul was an artist, curator and co-founding director of Workplace Gallery. But not only that, he was genuine, selfless and an all-round remarkable individual. We feel so lucky to have had the chance to have met Paul and listen to his inspiring lecture within the CAGL sessions and just want to take this opportunity to say thank you.

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CONTACT

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IRENE ANDREOU eirhnh-9@hotmail.com @ireneandreou.art

APRIL DODDS april.a.dodds@live.co.uk @aprildodds_art

HANNAH GRAHAM hannah.graham@live.co.uk

PIPPA KELLY philippa.kelly98@hotmail.com @pipkelly.art

EVAN BEESLEY evan.beesley@hotmail.co.uk @evan_beesley

ZOE FINNEY zoe_finney@hotmail.co.uk @zoefinney_art

BETH GREENHAFF bethgreenhaff@icloud.com @bethgreenhaff

MIA KERRIDGE @miaisweird

KATIE BELL bell.katie@outlook.com https://soundcloud.com/user-834191871

REBECCA FLYNN rebeccaflynn72@gmail.com @rebeccaxflynn

TOM HALLIMOND Tomhallmond@yahoo.com @painting_tomh

ALANNAH LAMB lamb.alannah@gmail.com @alannahlamb.art

MELISSA BELL melissabell1@live.co.uk

DAISY FOO daisy.foo.art@gmail.com @daisy.foo.art

GRACE HARRISON gracejharrison@gmail.com

FAY LAMPLOUGH faylamplough@gmail.com

OLIVIA CHAKRABORTY oaechakraborty@gmail.com @oliviachakk

GABRIELLA FORTINI gabriella.fortini@gmail.com @gabriella.fortini.art

EVA HOPPER evahopper17@gmail.com @Eva_hopper

RIA MARTIN ria.p.martin@outlook.com @riamartin

BETTY PRESENTS bettydoesstuff@gmail.com @bettypresents https://bettypresents.hotglue.me/

SCARLET FULLILOVE Fullilove@protonmail.com @isignoranceblissart

LORNA HUBBARD Lorna.hubbard@hotmail.co.uk @hubbard.lorna

AMY MATTHEWS Amymatthews96@outlook.com @amymattt

CHARLIE DIMBLEBY-MEAKIN charlie.dimbleby2@gmail.com @c_r_d_m spurge.online

MICHALAKIS GEORGIOU michgeoart@gmail.com @michalakisgeo

KATIE-ANN JACKSON katieannjackson28@gmail.com @katieannjackson_art

ALANA McCLUNG mcclungalana@gmail.com @alana.arts_

SOPHIE RUTH ASCOUGH sophieruthascough@hotmail.com @sopruh

PHOEBE GOLLAN phoebe.gollan1@hotmail.com

MICHELLE JACKSON Chell.jackson@outlook.com @chelljacksonart

BETH MIDDLEMAST bettybarmaid@live.co.uk @BethMiddlemast

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JORDAN MOORE jordanvlmoore@gmail.com

LUCY WATKINS lucyjaynewatkins@gmail.com @lucy_lou_sculpture

CAMILLE NGUTY Camille.nguty@gmail.com

JENNY WATSON jenniferwatsonn@gmail.com @jennywatsonart

OLGA PALLIKARA olgapallikara@gmail.com

KADDIE BLAKEY Kaddie.blakey96@hotmail.com @kaddieblakey_

LAUREN RICHARDSON STACEY Lauren.richardson.stacey@hotmail.com

ANDREAS XENOFONTOS xenofontos.ax@gmail.com

AIMEE ROBINSON Aimeejr8@gmail.com

SYEDA EMRANA YASMIN Syeda-Yasmin97@hotmail.co.uk

EOGHAN ROBINSON & KATIE MURPHY eoghankatieart@outlook.com EoghanKatieArt

RUSSELL YATES russyates@hotmail.co.uk @russellyatesart

JACK HEDLEY SMITH jackhedleysmith@outlook.com @that_jack_smith https://this-wonderful-utopia.hotglue.me

JORDAN YOUNGER jordanyoungerart@outlook.com Â@jordanswasti

ASHLEIGH STORES ashleighstores@yahoo.co.uk @ashstores

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THANKS

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We would like to thank Academic Lecturers and Technicians: Rupert Ashmore, Mike Booth, Alfons Bytautas, Chun-Chao Chiu, Charles Danby, Keith Ellison, Matthew Harle, Matthew Hearn, Ysanne Holt, Victoria Horne, Paul Helliwell, Allan Hughes, Dean Hughes, Mark Jackson, Rona Lee, Kate Liston, Luke McCreadie, Paul Merrick, Tom O’Sullivan, Adam Phillips, Matthew Potter, Ginny Reed, Jason Revell, Sunghoon Son, Sue Spark, Judy Thomas, and Mick Wootton.

Thanks also to those involved in the planning, organising and undertaking of the Fine Art Auction 2019. A special thanks goes to auctioneer Jim Railton.

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 opportunities you have given us has been integral to our development as emerging artists and we look forward to working with you in the future.

With a particular thanks to:

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Baltic and Baltic 39 Gallery North and Gallery North Project Space The Hancock Pub Newbridge Project Space and Bookshop Newcastle Arts Council The Tyneside Cinema Vane Gallery Workplace Gallery

Lead Editors: Charlie Dimbleby-Meakin Ashleigh Stores Lucy Watkins Editors: Katie-Ann Jackson Michalakis Georgiou Amy Matthews Executive Editor: Charles Danby Assissed by: Allan Hughes Kate Liston Sue Spark Image credits: Š All rights reserved. All images are copyright and supplied courtesy of the artists listed (pp13pp109), all other images are as captioned.

Published by the Fine Art Department, Northumbria University, 2019. 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 earliest opportunity.

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