CONTENTS I n t r o d u c t i o n . . . . . . . . 2 - 3 H a r p r i y a . K a u r . . . . . . . . . . . 4 - 9 R o s a l e e n . W i l l i a m s . . . . . . . . . . . . 1 0 - 1 5 E r i n . L i m m e r . . . . . . . . . . 1 6 - 2 1 B e a t r i c e . A l l e n . . . . . . . . . . . 2 2 - 2 7 M a d e l e i n e . M u i r . . . . . . . . . . . . . 2 8 - 3 3 E n v i r o n m e n t . . . . . . . . . . . . . . . 3 4 - 3 5 A a s i f . D a v i d s o n . . . . . . . . . . . 3 6 - 4 1 R e b e k a h . D a y . . . . . . . . . . . . . . . . . . 4 2 - 4 7 E a b h a . L a m b e . . . . . . . . . . . . . . . . . . 4 8 - 5 3 F r a n k i e . L e w i s . . . . . . . . . . . . . . . 5 4 - 5 9
A mutual underst inal, one’s enviro mately relationsh that bind our art gether. Some of u over the shared ex voice to the often spoken, others o on the process of whilst a number o weight put on th one's environmen collective we are gaining insight int er interprets the nect and underp
tanding of the limonment, and ultihips are themes tist’s collective tous are connecting xperience of giving n ignored and unover the emphasis f a likely futile task, of us unite over the he importance of nt. By joining as a working towards to how one anoththemes that conpin our practices.
HARPRIYA KAUR
My current practise revolves around the ideas of class and identity repre scapes in Leeds. I am currently focusing on the complexities of race and on the cross identity of being British-Asian and what this means to me. Mov posed me to a larger Asian community than what I was used to at home as we are from a higher class; this opened my eyes to the way working class peop and I wanted my work to focus on this. I have been looking at the way ethnic changed post-industrial landscapes especially, in comparison to the transit stu
Covid is real, 35mm film, Hyde Park, Leeds.
Elizabeth Street, Acyrlic on paper, 29.7 x 42 cm.
A T s th w p m
esented by landidentity, focusing ving to Leeds exell as people who ple are regarded c minorities have udent community. Mahmood Halal Butchers, 35mm film, Hyde Park.
Kids play in the street, 35mm film, Harehills, Leeds.
As an artist, the most important thing to me and my work is representation. The contemporary art world lacks British Asian artists and I want to make sure I fill the gap. The artists Rosie Vohra and Hardeep Pandhal inspire me he most when it comes to this as both artists focus on cross identity and what it means to come from somewhere else but not really belong. This is a prevalent idea within my practice, and I think the juxtapositions of the transmit community and locals in Leeds can really help to push this idea further.
Number 99, 35mm film, Harehills, Leeds.
Rosaleen, Relationships: Relationships are about the proximity you thing. In my own work, relationships have proved fundamental to the w ple collaborating with people like my grandfather for interviews, or see
Follow phy. B thetic how i that b
Untitled, 6.5x11.5cm, acyrlic experiment on brick.
When exploring student areas within Leeds, my work has been a series of observational drawings using materials like fine liner, charcoal and acrylic paint. I tend to focus on the relationship between drawing and painting, I like to see painting as extended drawing. I don’t think about what I am doing too much, it becomes automatic and playful.
have to someone or someway in which I make, for exameking the help of technical staff.
Suits on the washing line, 35mm film, Harehills, Leeds.
wing on, I have also been exploring the Asian community in Leeds through photograBy using 35mm film photography, I feel as if my work creates a visually similar aesc to George Shaw’s paintings. Throughout this process, I also intend on exploring industrial landscapes have been changed through different communities whether being through places of worship or through the vandalism by students for example.
Madeleine, Memory: Nostalgia: time, trauma, peace, store, weak, haunt, re-written, future, learn, identity, retrieve, unconscious, preserve, hold, inaccurate, distrust .
Grandma brushes her hair, 35mm film, Hyde Park, Leeds.
ROSALEEN WILLIAMS My current practice revolves around the contents of my grandfather’s shed, including the objects that are within this space and the archiving and storage of them. I am focusing both on the museological nature of this space, as well as the motivations my granddad has to collect and preserve its objects. Bowl, Digital Collage, 29.7cm x 21cm.
Map, collage, 29.7cm x 21cm.
Object Geographies I, Digital Collage, 15cm x 20cm.
Object Geographies II, Digital Collage, 15cm x 20cm.
Madeleine, Relationships: I'm interested in the posthumous relationship I have with my father and how this migh change throughout my practice.
Through a series of five interviews, I have spoken to my grandfather about eight chosen objects from his collections. Questions have included the size and feel of each object, their provenance and histories, where these objects live in the shed and why they have been chosen as part of the interview series. Additionally, the interviews have explored the personal memory that these objects harbour and the broader life my granddad has lived.
Lantern Slides, Digital Collage, 15cm x 20cm.
Through exploring this space, I have wanted to bring together my interests in archaeology, heritage, archiving, objects and memory as well as a recurring fascination with the passing of time and how we, through culture, document this. I enjoy ‘making’ and ‘thinking’ in the spot where art stops and broader subjects take shape, or spaces in which art can sit in dialogue with other disciplines.
Beloved Object, Digital Collage, 29.7cm x 21 cm.
Chosen Objects, Risograph. 42cm x 29.7cm.
Erin, Space: Space is all encompassing. It can feel safe or threatening. Personal space is important and sacred, especially in my own life.
On top of investigating the function, sentiment, value and materiality of ‘things’ and the archiving of these ‘things’, this project has also allowed me to explore ideas of relational aesthetics and established that my relationships with people (in this case my grandfather) are an important aspect of my art making and audience.
Madeleine access an
ERIN LIMMER My practice has recently focused on ideas surrounding personal environment. The process began whilst thinking about my own experience of isolation and the feelings that came with this. I found myself becoming increasingly fixated on my surroundings and found comfort in them. In conjunction, however, I also felt extremely stagnant, due to the repetitive nature of my routine. My bedroom became a place that I knew completely and was a source of both comfort and distress. I wanted to represent this turmoil in my work, which took the form of painting.
e, Space: In my practice, I am thinking back to my childhood. I find it easier to nd process difficult memories when I stage them in memories of physical spaces.
bubble, oil on paper, 44 cm x 59.4cm.
The subject of the paintings I have been creating are an honest way to this was the space I spent most time in. I began taking photographs the variou
from bed (1), oil on paper, 14cm x 10 cm.
from my desk (1), oil on paper, 14cm x 10cm
capture the ‘every day’. I wanted to produce scenes from my bedroom, as us areas of my room that I faced with every day to use as my reference point.
from my desk (2), oil on paper, 14cm x 10 cm.
Beatrice, Objects: I think objects carry an internal monologue that enables subjective conversation about their being without the need for explanation. The concept of an object living and having an identity is important towards my practice in the way I assist and alter objects narratives, whilst still viewing myself as the editor and the object as the author.
Objects have a place in my personal life, displaying and storing objects that I enjoy looking of a certain point or person in my life. I am interested in the fine line between object and th become monumentalized, their journey from material mass to possession, and their inheren sonal value.
Alongside this, I was also thinking about the nature of isolation and lack of communication with the ‘outside world’. I began researching communication methods that I could use to reach strangers that around me, that didn’t involve technology. A process that stood out was letters and postcards, as they are almost a lost form of communication. I studied a collection of vintage postcards that I owned and developed a fascination with what was once a primary form of communication. From this research, I became interested in creating a collaborative project, which I have decided to develop in tandem with my own practice. The project involves asking strangers, and people around me, to depict a space they spend a lot of time in on a post card. I hope this will provide an interesting insight into people’s lives and thought processes, further allowing me to develop a form of intimacy with strangers.
g at or that remind me hing, how objects can nt yet transient per-
Post Card Project, Oil on paper collaborative series,
BEATRICE ALLEN My current practice revolves around the search for Matt Stubbs, a name listed on a mug I purchased from a charity shop in October 2020. The mug has two photos of a baby dressed in a santa costume, alongside text ‘Happy Christmas 2004…Love From Matt Stubbs’. My practice focuses on curating a search to find him whilst simultaneously creating my own Matt Stubbs.
I am interested in the absurd nature of the mug and why and how it ended up in a charity shop as well as how finding personal information and tracing individuals is made accessible through the internet.
Photos of the original mug, Side One and Side Two.
Eabha, Memory: /ˈmɛm(ə)ri/ noun 1. the faculty by which the mind stores and remembers information. "I've a great memory for faces" Cuimhne noun cuimhne (fem.) (genitive singular cuimhne,
Conversations with Matt Stubbs, First Contact Point Message.
nominative plural cuimhní) 1. memory (with ar plus the thing or person remembered) Tá cuimhne agam ar an lá sin. I remember that day.
Frankie, Identity: Identity relates to the attributes that make up who a pe pose of the body in relation to forming a part of our identity is im
Map Pinpoints - Location Collection
The search has consisted of messaging numerous Matt Stubbs on Facebook, alongside studying newspaper archives, ancestry archives and acting agencies. I recorded the research and created profiles for individual Matt Stubbs. These consist of sketches of Facebook profile pictures, facts and assumptions gathered from information on the profiles, which I am accumulating into a book. I aim to emphasise the absurdity of the search throughout my practice, with a needle in a haystack approach.
Letters to Matt Stubbs Collection, Letter Front.
for example, in how we dress and present ourselves to others. Accessories like tity in both an emotional and physical sense.
erson is. Currently in my practice, questioning and challenging the purmportant. Identity surfaces in many forms when we express ourselves,
Letters to Matt Stubbs Collection, Letter one.
e jewellery and clothing allow people to conceal or reveal parts of their iden-
Matt Stubbs, Profile Collection.
Throughout this process, I have constructed combined fact files and statements about Matt Stubbs, gathered from various profiles, which I am advertising in newspapers and posters, creating an ideal reconstruction of Matt Stubbs. The book exhibits an internal monologue of all my research, demonstrating the in-depth processes I have gone through.
Looking 4 Matt Stubbs, Posters Collection.
I also intend to monumentalise the original mug by displaying it as the centre of my practice as well as designing and creating a series of printed mugs with the subject focusing on the new ultimate Matt Stubbs.
MADELEINE MUIR As I recall, the room I slept in as a child, in my late father’s flat, had all four walls painted a deep red. When I re-remember the room now, the carpet is also a deep red, but I am less trusting of this recollection, perhaps I have exaggerated my memory of the room over time.
Work in progress, acrylic on wood, 5cm diamenter.
I am aware that by re-remembering spaces left in the past, they become warped, and that details forgotten may be mistakenly replaced by made-up constructions. I want to hold on to that deep red that I found so exciting and unusual as a child and also as another memory related to my father that I can keep a hold of.
Rosaleen, Space: Space can be physical, emotional, psychological, domestic, social or virtual. Space can be mapped, explored and navigated in so many ways. Some spaces can seem limitless, while other spaces have clear boundaries.
In my own practice I am fascinated with the spaces we inhabit that are cination to is my grandfather’s shed, which stores his life’s objects. Thi space itself.
e everyday, liminal, or personal. A space in which I have taken particular fasis particular space feels living, as if its museology has been orchestrated by the
The focus in my practice at the moment is to recreate the colour of the walls. My method is to conjure up the room and then mix acrylic paint until it is as close to matching the colour in my mind, I save this mix by painting it onto a wooden ball. I set the painted ball aside if it is not akin to the walls, and start again. So far I have eight painted wooden balls and am not yet satisfied with the colour of any of them. I am conscious that my task may be futile; that I will not be able to accurately remember and/ or reproduce the colour, however, I am not disheartened to continue as it is the desperation in grasping at dwindling memories that I am ultimately interested in conveying.
Work in progress, acrylic on wood, 5cm diamenter.
Frankie, Relationships: Relationships involve a connection, or a symbiotic understanding of working in unison in order to complement one another, whether it be objects or people. In my work, the process of making is significant therefore the relationship between material and my person is important, even if this involves working against each other in some form. For example, using my whole body in replacement for a paintbrush or clay tool allows me to leave a sense of human contact contributing to a relationship with the material.
Eabha: Within my paintings the environment becomes the focus, I am often more drawn to them than the people.
Erin: I have come to realise that my env i r on ment is very important to me. There is a strong re l a t i on ship between the env i r on ment I'm in and my feeling of safety. I enjoy observing every env i r on ment I am placed in, which is often a theme in my p r a c t i c e.
Harpriya: Environm ed to where we liv tice, I look at th from the perspect landscapes and ho sent the ways in nities interact wi
ENVIRONME
Rosaleen: Environment is your surroundings whether it is in nature or in your I have found making art about my environment unavoidable. I can feel trappe ment and free in another, my environment and my emotions are often linked consistently throughout the past year. Environment also relates to landscapes how they coexist with one another and the experience of individuals within a
ENT
bedroom. During the pandemic ed and lonely in one environd. This is a theme I’ve explored both natural and urban and a landscape.
. 2. the natural world, as a whole or in a particular geographical area, espe-
n o u n 1 . the surroundings or conditions in which a person, animal, or plant lives or operates. "survival in an often hostile environment"
e n v i r o n m e n t / ɪ n ˈ v ʌ ɪ r ə n m ( ə ) nt , ɛ n ˈ v ʌ ɪ r ə n m ( ə ) nt /
ment is relatve. In my prache environment tive of different ow they reprewhich commuith each other.
Aasif: The environment is the infrastructure and society we surround ourselves in. The landscape around me is crucial for my practise as so much of it revolves around found materials I find within my environment that I repurpose within my work. This varies from taking a photo or creating sculptural forms.
Within my practice, I like to explore the materiality of different objects and how to document and manipulate these materials into varying forms. I like to do this through a range of mediums, including photography, casting and mixed media sculpture work.
Photo 1, 35mm film.
Photo 4, 35mm film.
Photo 2, 35mm film.
AASIF DAVIDSON
Photo 6, 35mm film.
Photo 5, 35mm film.
Within my 35mm photography, I like to document the landscape surrounding me, to capture different types of materials within their intended environment. This can range from the metal work from an abandoned car, or the bricks on a building. By shooting these images on 35mm at night, I aim to create a cinematic setting around the materials I document.
Photo 3, 35mm film.
Rosaleen, Materality: Materiality in my work relates to the attention given to the way it looks or behaves. For example, different weights of paper are more dura paper requires more care if I don’t want to damage it.
Cement Cast 1, (24cm x 23cm x 11cm), Screen printed cement cast .
Back of Cement Cast 1.
My cement casting work centres around creating DIY moulds out of cardboard and polystyrene. I purposely choose basic forms of casting to create non-uniformed cement shapes. I sometimes like to work on top of these cement casts by screen printing and painting on the surface of the cast.
Cement Cast 3, 21cm x 14cm x 15cm, cement cast.
Cement Cast 2, 33cm x 12cm x 9cm, cement cast.
I find exploring materiality exciting as my painting can become reactive or sometimes a material allows for less control resulting in an unpredictable result.
e surface I am manipulating or painting on. It’s how I can affect the able and can take on sculptural qualities whereas thinner, more fragile
REBEKAH DA
During the first lockdown of the pandemic, my work was inspired by daily walks. Th main source of inspiration. Making art inspired by these walks reignited a longsta couldn’t make art about anything other than environment and emotional experience
AY Wild Eyes, acrylic on unstretched cotton canvas, 100cmx163cm
hey were the only thing giving me structure in my life and became ritualistic and my anding passion for landscape drawing, and painting. This time however, I felt like I es, as the pandemic stripped away many distractions and other escapisms in my life.
Frankie, Materiality: Materiality relates to the character or attributes that the material holds. To me, materiality i all about the tactile sensation. As the process of making is just as significant as final outcomes within my prac tice, the correct material is crucial to allow me to become immersed in the making experience.
My work is currenting shifting between representing the landscape as an image, and representing the experience of the individual in the landscape. Representing the landscape involves a process of field drawing as references, in this set of images are screen prints using my initial drawing. This process of screen printing can often be unpredictable, resulting in wanted accidents. For each of the prints shown, there are about five others, each with different ‘accidents’ and atmospheric qualities. Unpredictability has also been part of other experiments and is probably most prominent in my snow paintings.
Yellow Abstract, acrylic on canvas board, 20cm x 20cm.
Snow Painting, No.2, acrylic on paper bag, 29.7 x 42 cm.
Snow Painting No.1, acrylic on paper bag, 29.7 x 42 cm.
Landslide, acrylic on paper bags, 150cm x 120cm.
Dangerous at Night, acrylic screen print, 29.7x21cm.
Peaceful at Noon, acrylic screen print, 29.7x21cm.
I approached these paintings as a collaboration between myself and the weather. The paintings started as blobs of paints mixed with snow, I then let the snow melt and freeze and melt again letting the snow, ice and water mix with the paint uncontrollably. In painting I do have control over, my aim is not to present a strict representation, but instead atmosphere and emotion. I approach the piece in a way similar to meditation. Each time paint meets the surface is like an exhalation and I feel more at peace with my place in the world. As I paint, I look for harmony and balance as the colours intertwine and contrast with each other.
Rosaleen, Memory: I am really interested in the boundary of personal
How we document the passing of time, through memory of it, in art or anything else, is a recurring interest that I hope to continue to explore.
ÉA
Magdalene Laundry Series. Oil on wood - 28x36cm.
I am currently developing my practice through the exploration of two main strains of work. The first is research based, which focuses on my Irish heritage and family history, by looking at the Magdalene Laundries in the Republic of Ireland. Often this subject matter is seen as uncomfortable and unspoken. I am exploring this history through a variety of mediums, specifically oil painting and film.
ABHA LAMBE I have created my own interpretations from current and historical secondary footage, focusing on the buildings of the institutions and the women who resided there. I have also experimented with colour, inspired by artists such as Walter Sickert to use flesh tones instead of the monochrome of the footage, presenting uncanny and uncomfortable imagery.
Donnybrook Laundry, Light Series, oil on wood, 25x51cm.
My second strain of work is based on my continuous interest in abstraction, as a key theme, which links my contextual research and interests together. Currently my interest is in non places, looking at liminal spaces that have no identity or history. These spaces contrast that of the Magdalene Laundries history and significance however in this combination I am experimenting with their possible connection.
Light Series . Oil on board, 20x25cm.
My current paintings, Light Series, are oil paintings on different mediums displaying the abstraction of light onto walls, similarly to the Laundries in a focus on the beautiful within the mundane. Experimenting with colour and focusing on the minute details of subjects ignored by society.
Grey Wall, Light Series - oil on canvas board, 25x36cm.
FRANKIE LEWIS Inspired by feminist artworks and literature, my current practice is focused around the human body and its constraints, mainly through sculpture, painting and video representation. My ongoing focus is video work, including my jewellery designs, which will contribute to a series of performances. My jewellery is influenced by my interest in historical body adornments and embellishments which form a key aspect in my experimentation of the impact of external decoration to the function of the body through the medium of video. The context surrounding historical body jewellery is important in addressing adornments’ past and present function in representing themes such as status, power, sexuality. We are able to conceal and reveal parts of our body and personality through wearing jewellery, as well as exaggerate parts to emphasise control and power.
Through performat aries of our phys es on how these
My chunky, bold d dure through brea lable deterioration a vehicle of the s
tive exploration of the body, I attempt to stretch and question the boundsical form. My first version of the video series, ‘Beauty is pain’, focusjewels inhibit our everyday movements, even basic activities like walking.
designs emphasise the strain, hardship and pain the wearer has to enaking out of these bodily restrictions, almost replicating the uncontroln of the body. Going deeper, questioning the purpose of the body as soul, rather than as part of our identity, is another avenue of thought.
Untitled, acrylic, charcoal, ink on canvas. 153x114cm
Aasif, Materiality: For me materiality is an exploration of a single or variety of d manipulated and documented to create different forms with a sense of tactility
'Beauty is pain', Stills from video series, 0.56 second loop.
different matters. What attracts me to the term is how found materials can be y and weight.
Harpriya, Relationships in my work, I tend to ish and Asian and wh
The importance o making comes to t my practice as m interaction with m sense of physical enjoy working with rials within my pra tactile experienc body painting has form a close relat biotic dialogue be ment of my body
At present my ph had an influence practice, introduc ing means of findi bodily restraints ments to act as a for my body. My in ate a series of res test the ability of m far I can alter mo and posture to ch discomfort. By c 'Beauty is pain', Body art stills from video series, 12.97 minute loop.
Beatrice, Identity: To me, identity is both permanent and temporary. I think identity, w object consists of layers that are impressionable and can change. I am interested in ho discoverable to strangers through the internet and archives and how this information
s: Relationships are about connection. Witho explore the relationship of my cross identity of being both Brithat this means to me as an artist in the contemporary world.
of the process of the foreground of my personal bodily material leaves a human contact. I h a range of mateactice as I like the ce. For example, s allowed me to tionship and symetween the movey and the paint.
hysical health has e on my current cing an interesting a way for the and embellisha form of healing ntention is to crestraints to further my body and how ovement, position hallenge levels of creating a sense
whether that of human or ow much of our identity is n shapes individuals.
