AN INTERDISCIPLINARY ART EXHIBITION M E N I E R G A L L E RY, L O N D O N 1ST AUG - 5TH AUG FREE ADMISSION! 51 SOUTHWARK ST LONDON SE1 1RU
The aim of this exhibition is to present some of the various incentives that motivate artists to produce a work of art. These could be, amongst others, filtering and analysing the information we receive; cultural influences and background; building relationships and observing our social environment; what we find aesthetically pleasing; past experiences, traumas; and many more. This resultant selection of artworks is also reflecting on what leads artists to create a type of language, through their concepts and techniques, in order to express their perspectives, their feelings, and their position on subjects of their interest. In addition to the above, it would be interesting to observe how sometimes artists can be triggered by the same or similar impulses, but interpret them in different ways, or choose diverse approaches to portray them.
ART.NUMBER23 STIMULUS Email: email@example.com Instagram:www.instagram.com/artnumber23 Website: www.artnumber23.uk
Art Number 23 is a London-based organisation that is curating shows inside the U.K. and overseas. The aim is to encourage and support artists from all over the world to participate in art exhibitions and help them promote their work. Art Number 23 was founded in 2016, by the artist Constantine Anjulatos, and is being supported by several artists with a common mission: to create a global network of artists, curators, galleries and art enthusiasts and organise art-related events where the participants can socialise, practise their skills, share their knowledge and exchange ideas. Previous projects of Art Number 23 include exhibitions in NYC and Philadelphia (USA), Moscow (Russia) and Athens (Greece). If you are a group of artists or an individual, or if you own or know a space where we can set an exhibition, then please do not hesitate to contact us. We will be happy to listen to your proposal. Top image - Previous art exhibition ‘Stimulus’ held in Berlin, Germany, at the Greenhouse. Bottom Image - Previous art exhibition ‘Stimulus’ held in Athens, Greece at the Municipal Art Gallery of Piraeus. Curated by Art.Number23. (2017)
Hosted at the Menier Gallery, London 1st Aug - 5th Aug Free Admission! 51 Southwark St London SE1 1RU
MENIER GALLERY LONDON,UK Email: firstname.lastname@example.org Phone: 0207 407 3222 Website: www.meniergallery.co.uk
The Menier Gallery offers a dramatic space to view and exhibit works of contemporary art and design. The gallery is situated within the historic Menier Chocolate Factory, minutes from London Bridge, Borough Market and Tate Modern. The gallery is located at the heart of one of Londonâ€™s artistic hubs, and attracts many visitors, including art lovers, theatregoers, local residents and tourists.
Both images sourced from Menier Gallery Website, these Images are from previous exhibitions and are owned by the gallery. ÂŠ Menier Gallery, 2017
PANKOW CREATIVES DESIGN COMPANY Email: email@example.com Mobile: +447871891636 Website: www.pankowcreatives.com
We at PANKOW CREATIVES have a long standing relationship through the love of art, one of our first endeavours as a creative partnership bloomed while exhibiting, assisting and creating promotional materials for the Art.Number23 ‘Stimulus’ exhibition at the Greenhouse, Berlin, Germany. This is where the word ‘Pankow’ (the second largest borough residing within the city of Berlin) comes from, we adopted this name while considering a title for our company, since then we’ve had a mutual love for Berlin thus the word Pankow was used for our company and our creative business had begun. Our company prides itself within the creative industries, fashioning an array of well-designed packages and services such as: Art Direction, Production, Branding, Exhibitions, Graphics, Illustration, Photography and Publishing, all tailored to suit your professional needs.
ges sourced from PANKOW CREATIVES, these Images are owned by the design agency. © PANKOW CREATIVES, 2017
As an artist-led company we are able to draw upon our artistic practices, providing our clients with a thoughtful and unique approach, providing our clients with strong concepts and visually alluring designs. Our extensive knowledge and expertise of visual language allow us to enable our clients to express their creative currency, via the utilisation of our creative practice. We offer a free consultation on all our services, enabling our clients to avail a piece of mind and the upmost benefit from our creative intuition.
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“Life’s experiences conspire and inspire to create works that share the essence of who I am, my fears and desires. The poetry film captures a snapshot of a life lived and emotions felt.”
AMBER AGHA UNTITLED SERIES
Email: firstname.lastname@example.org Twitter: www.twitter.com/amberpoetess Website:www.amberagha.info
Inspired by life an that can shape an I choose to transfo and patterns that into something tha us all. We are one consciousness so experienced my fe are also part of th human experience
I draw inspiration esoteric, the perso I live in. The them out who one is, in others, to self, to t seeking for accep yearning for love
nd the events nd mould us, orm emotions could destroy at connects e body of what I have ears and loves he greater e and knowing.
from the onal the world mes of working n relation to this planet. The ptance and the and home.
Works: # 1 â€“ Playground Year: 2017 Length: 3mins 12 secs Media: Mp4 # 2 â€“ Sobriety Year: 2017 Length: 1 min 18 secs Media: Mp4
“I have a particular interest in issues surrounding mental health, women’s rights and identity, and social and political conditions, and tend to theme my work around these topics.”
AMY OLIVER UNTITLED SERIES
Email: email@example.com Website: www.fragilityofself.co.uk
I have a particular interest in mental health, women’s righ social and political condition work around these topics. M pieces that express vulnerab which also suggest the (often strength within, in an attemp of self.
In terms of the materials I us affinity with aluminium but w an experimental approach a in unconventional ways and boundaries. I have always lo more recently have been usi and digitally edit photo art a very keen to progress. My in is to keep the image simple for the subject matter to be a conversely more intense.
My work and style is ever evo constant learning curve. I am to have been recently accep (April 2017), particularly as journey until 2014 when I w a part - time one year Certifi The Art Academy , London d predominantly self - taught. I am drawn to and inspired b and language of artists such Emin, as well as a myriad of lesser known artists - many o enough to connect with via s
n issues surrounding hts and identity, and ns, and tend to theme my My intention is to create bility and instability but nsubconscious) core pt to capture the fragility
se for 3D work, I have an with all materials I take and enjoy responding d pushing their (and my) oved photography and ing my iPhone to create and this is something I’m ntentio n with these pieces and draw the viewer in; almost secondary and
olving and I am on a m absolutely delighted pted as a WITP artist I didn’t start my creative was 43 and, aside from icate in Sculpture with during 2014/15, I am
by the subjective work h as Schiele, Dumas and f well known/currently of whom I’ve been lucky social media.
Works: # 1 – A Product of Insomnis # 2 – Life, Death and Everything Inbetween # 3 – Sore Throat Year: 2017 Dimensions: #1 - #2 - 4x4 in #3 - 6x6 in Media: #1 - #3 - Print of mannequin with digital edit #2 - The Print and Print of my fingerprint and ink #3 - Print of mannequin with digital edit
â€œPainting becomes the conduit by which I can unravel this complex mix of biography and art.â€?
I find that the act of p more painting in the extrudes the subject m lingered longest in m questions its validity a it should be considere Painting becomes the I can unravel this com biography and art.
The way in which I all movement of paint o the canvas is in itself a deliberate, remove, p recognise. Anything a is possible; chance an collide. This is the jerk unexpected reality pre that resonates with m like nothing else.
ASHLEY GREAVES EMERGENCE
Name: Ashley Greaves Email: firstname.lastname@example.org Website: www.ashleygreaves.co.uk
painting generates sense that it matter that has my mind and then as to whether ed any further. e conduit by which mplex mix of
low the free over the surface of a challenge. Paint, paint, deliberate, and everything nd calculation k off moment; an esented before me my subconscious
Works: # 1 â€“ Emergence Year: 2017 Dimensions: 67 cm x 15 cm Media:Ink and graphite on paper
â€œI see myself in a new world created of my own. A world of my memory. A world unrealistic yet made from the realistic. I deconstruct images and then construct them in a new manner, creating a new place, a place of my own.â€?
My work revolves aro term nostalgia. Living and as I have shifted myself in a new world own. A world of my m unrealistic yet made f
I deconstruct images them in a new manne new place, a place o place that is jumbled No-one remembers a whole. I create image photography and ma creating a new place using various materia originates from the w (love for a place), lov where I have spent ha form of diaspora, bei I am at times mentall
ONE MORE VISION 7 AND A ROLLACOASTER RIDE Email : email@example.com
ound the basic g half my life in UK, to Pakistan, I see d created of my memory. A world from the realistic.
and then construct er, creating a of my own. A up in memory. anything as a es from my own anipulate them e. I work in 3D als. My work word topophilia ve for the place alf my life. It is a ing physically here, ly somewhere else.
Works: # 1 – One More Vision 7 Year: 2015 Dimensions: 50cmx75cm Media: collage – archival print on waterford sheet – 3D work #2 – A Rollacoaster Ride Year -2016 Dimensions- 64cmx96cm Media – collage and mixed media on lasani (Archival print on waterford sheet) – 3D work
“My illustration’s themes usually revolve around feminism, sexuality, world problems or emotional struggles, often personalized in the form of self-portraits.”
DUTCHDAME AND HER ROPES Instagram: www.instagram.com/b_moura Website: www.godandthedevil.tumblr.com
Through my drawings portray two “spectrum the fails, as I like to c belong to the individ human, and often me or behavioral flaws th so I think I try as muc to create drawings th judgemental when it subjects.
On the other hand, I drawings that represe more universal or co and circumstances th us, and therefore mu and judgemental, suc talk about human rig feminism and so on. we should feel respon artists, more than eve produce ‘shiny objec and denunciate and political, and most o and never scared. W space and be unapo
s I actively try to ms”; the flaws and call it. The ‘flaws’ ual core of being ean emotional hat we all have, ch as possible hat are not comes to these
I try to make ent ‘fails’, as a llective of things hat happen around uch more political ch as when we ghts, lgbtq, racism, nsible as er, to not just cts’ but to try provoke, to be f all humanitarian We should take logetic for it.
Works: # 1 – DutchDame and Her Ropes Year: 2017 Dimensions: A3 Media: Oil on Cardboard and Digital Drawing
â€œSpotted this man at a bar in Bristol in 2015. I felt that this person captured a melancholy that most people feel once in a while, even perhaps more than once in a while.â€?
DARRYN MICHAEL MAN AT THE BAR
Email: firstname.lastname@example.org Instagram: www.instagram.com/darrynmichaelart Website: www.brokerrecords.com/178-2
Darryn Michael is based in Salisbury creates evocative minimalist figurati Themes include m isolation and add
s an artist y, Wiltshire who and emotive ive works. melancholia, diction.
Works: # 1 â€“ Man at the bar Year: 2015 Dimensions: 49.60cm x 40.5cm Media: Acrylic and oil on canvas
“The magical, limitless, seeds of creation within all of us. Especially as children, innocent and unencumbered by the weight of life. In the purest form of imagination, creativity and freedom - Where the world really is theirs.”
FELICIA CHARLES THE WORLD IS YOURS Email: email@example.com Twitter:www.twitter.com/feliciaHandmade Website: www.feliciacharlesart.com
My ‘Flow’ collection takes a themes of freedom, strength has been inspired by my ow through which the free-flowi in the application of my brus and the indulgence of colou as personal catharsis. I work colour, feeling my way throu of the energy I want to transf hint to content and interpreta
However, there isn’t a right o interprets differently or sees d through the background of e joy of art. My work usually fo figurative subject matter, sem way or another embellished enamel, metallic or pearlesc
This brings each piece to life gives the subject an aura an my work. I definitely like to c magical quality to this collec a positive message. The coll I paint to this day all started ‘Midas Touch’. A happy acci workshops I delivered follow in 2007. The portrait was de and inspiring friend of mine. experiment with materials an the whole process invigoratin
an expressive view on h and hope. Each piece wn life experiences; ing nature of this work shes and palette knife ur and texture, are used k deliberately with each ugh, constantly mindful fer. Each title provides a ation.
or wrong. Each person different images coming each piece. That is the ocusses on a single mi-abstract and in one with gold and silver leaf, cent paints.
e, viewers have said this nd adds to the energy of create a dream-like if not ction whilst conveying lection and the way with the piece titled ident during a series of wing my first solo show edicated to a strong . This was a complete nd leftover paints, I found ng.
Works: # 1 â€“ The World Is Yours Year: 2017 Dimensions: 76cm x 61cm Media: Gold leaf, acrylic and pearlescent paint on canvas on deep edge canvas.
“I aim to explore the Aesthetics of Grime in the Urban Environment. The unpolished spaces, hidden spaces layered in time with dust, grime and forgotten things.”
Taken from the series ‘T the Places’, during my l time living in London I s in unoccupied buildings guardian. This building colourful history of occu was now in limbo await and to be redeveloped, I sought to document th fractured way focusing u the previous occupants.
There is a certain level o with the images, denyin view the whole of the bu denouncing the notion in the building felt like a echoed from the walls.
The images become lik that can’t quite be put b become abstract mome right.
GEMMA LAND THE SPACES BETWEEN THE PLACES Email: firstname.lastname@example.org Website: www.cargocollective.com/gemmaland Website: www.pankowcreatives.com Instagram: www.instagram.com/gemma_michelle_land
The Spaces Between last period of started to live s as a property in particular had a upants. The building ting a new owner , in this timeframe he building, in a upon the traces of .
of mystery evoked ng the viewer to uilding and thus of ‘ruin porn’. To live a place where stories
ke puzzle pieces back together, they ents in their own
Works: # 1 – Suspension # 2 – Drips Year: 2015 – 2016 Dimensions: # 1 – 16x16 in # 2 – 16x16 in Media: # 1 – Silver Gelatin Print # 2 – Silver Gelatin Print
“The migrant crisis has prompted artists to ask us to think about our shared humanity. This video explores the significance of clicking on online images.”
Hayman’s practice is un extensive research and range of ‘epistemic obje artworks’. In other word artworks to investigate t study, linking practical o virtuous circle.
This video artwork is a r migrant crisis and the d year-old Syrian boy Ala its starting point an artw my work, and explores the artwork and events.
The artwork I chose is G Perro or Perro Semihund Goya’s so-called ‘Black intensely moving paintin given almost human lik way it looks up tragicall
GREGORY HAYMAN DOG
Email: email@example.com Vimeo: www.vimeo.com/gregoryhaymanartist Website: www.axisweb.org/p/gregoryhayman
I usually spend a huge a researching each artwo no exception. But, whe usually results in an artw research is the artwork.
nderpinned by he produces a ects’ or ‘research ds, he makes the subject of his outcomes in a
response to the death of the threean Kurdi. It takes as work, as is usual with synergies between .
Goya’s Dog, or El dido. It is one of k Paintings’. It is an ng where the dog is ke expression in the ly pleading for help.
amount of time ork, and this one is ereas the research work, in this case the
Works: # 1 – DOG Year: 2017 Media: Video artwork.
“The art represents the struggle of the working class people living in the UK which is why it works well on the theme of dark, grunge and rusted steel for this particular work of art.”
Currently working wit method of addressing the local community. steel industry in Redca now closed down and people unemployed a stricken.
I aimed to explore the art that represents wh means to people and today so did this by u with rusted images of plants and collapsed Teesside.
The art represents the working class people which is why it works of dark, grunge and r particular work of art.
HAZEL DIXON WORKMAN’S HAND
Email: firstname.lastname@example.org Facebook: www.facebook.com/SeaBeastUK Website: www.seabeastofthenorth.co.uk
th rust as a g problems in In this case the ar, which has d rendered many and poverty
e issue by creating hat the industry d also what it is using steel plates f the industrial habitations of
e struggle of the e living in the UK well on the theme rusted steel for this .
Works: #1 - Workmanâ€™s Hand Year: 2016 Dimensions: 5.8 x 8.3 in Media: screen print
“I started this as a personal journey because I wanted to become more comfortable with death itself and it’s something we all shy away from.”
JACOB WEEKS UNTITLED SERIES
Email: email@example.com Instagram - www.instagram.com/jacobweeksphoto Twitter: www.twitter.com/JacobWeeksphoto Website: www.jacobweeks.com
Who we are? Where And why? In our cultu to discuss issues relat even mention it even thing that we all have that one-day we will a we are fearful of deat want to face it, in juxt we are also fascinate and like Freud agrees ‘unconscious desire to
This is a personal pro investigating what ha we die? These series the journey of the bod cremations. This proje all closer and togethe the taboo surroundin photography, and pu spaces where they wo choose to be.
e we are going? ure we do not like ting to death or though the one e in common is all die. As humans th and do not taposition to this, ed with death s; we all have an o die.’
oject and journey appens after are exploring dy through ect will bring us er and open up ng death with my ush the viewer into ouldn’t ideally
Works: # 1 – 175 Minutes Year: 2013 Dimensions: 71x 61 cm Media: Giclée fine art print mounted on dibond dition of 10 # 2 – 168 Minutes Year: 2013 Dimensions: 71x 61 cm Media: Giclée fine art print mounted on dibond Edition of 10 # 3 – 171 Minutes Year: 2013 Dimensions: 71x 61 cm Media: Giclée fine art print mounted on dibond Edition of 10 # 4 – 183 Minutes Year: 2013 Dimensions: 71x 61 cm Media: Giclée fine art print mounted on dibond Edition of 10
â€œMuch of our mind is dwelling in the delightful or unknown routes of the nature of our memories and the mysteries of our desires or uncertainties. Moreover, for someone like me, being born and living in Costa Rica, the routes of nature are part not only of my mind but also of my life, colouring my spirit, my emotions and my paintings.â€?
My visual system is a syn perception of nature, lif That world of the tangib time ephemeral diversity of Costa Rica that preva proposal that I translate and metaphors. My gestural and lyric ab as broad as the wind w trees, in that constant be rid of life.
In my process, the morp on the canvas are route the cosmos and its multidimensional spa colour and mysteries to colours of nature, the to territories, the fractal-ne and vegetation in front light and water, are my
JAVIER MARTEN HERRERO ROUTE OF NATURE
Email: firstname.lastname@example.org Twitter: www.twitter.com/JMHSP Website: www.javiermarten.art
nthesis of my fe and the world. ble and at the same y of the forests ails in my plastic e in sensual forms
bstract language is when it blows on the ecoming and getting
phologies I portray es to the freedom of
aces and time, full of o be deciphered. The opography of natural ess of rivers, roads of the movement of stimulus.
Works: # 1 â€“ ROUTE OF NATURE Year: 2017 Dimensions: 20 X 25cm Media: wire, found objects
“The series of several recent pieces all partake of a commonality of material and form, and yet each is unique, having their own identity within a space and therefore each piece asks to be regarded separately. As such it plays with and alludes to an ‘emic’ consideration of the study and meaning of the collective and that of the individual within a specific context.”
EMIC & ETIC CONSIDERATIONS Email: email@example.com Website: www.jillgibson.co.uk
I have an interest materiality, using a commercial and d products allowing to stretch, and dis often carry on mo work is set aside t the uncontrolled p generating forms.
Ultimately, the wo in a consideration human and enviro issues that face us changing world. M considers both em issues – social con from a female per
in exploring and combining domestic g the materials stort and oving after the to dry. I enjoy process of .
ork is rooted n of complex onmental s in a rapidly My work mic and etic nsiderations rspective.
Works: # 1 â€“ Aglaia Year: 2017 Dimensions: 45cm x 41cm x 16cm Media: insulating foam (reclaimed), expanding foam, gloss paint, acrylic base
“My work is inspired by colour, the natural world,the materials to hand, a need to create an expressive space.”
JO BROWN WESTERING
Email: firstname.lastname@example.org Twitter www.twitter.com/jobrownarts Website: www.jobrownarts.co.uk
After studying at Bretton Hal and a career in teaching Jo late start with Art began with She felt compelled to explore freedom of expression it offe is still often a feeling of lands influenced by her surroundin with its dramatic undulations of weather. She compare thi landscape and climate of th she grew up. Her inspiration Nature and landscape (incre urban landscape). Ultimately painterly space, the material its tangible elements - line, p configuration, process and s juxtaposition. Paint can convey emotional stuff drips, pours, spreads, p slides fascinates Jo. Texture t in her work,: a material prop the work of the hand and ca via a screen. As with the Abs medium of her painting is co space. As Robert Motherwel painting is ...the mind realizi space.
Confronted with the blank ca Jo Brown uses mostly oil or a also spray paint, powdered p collage, oil bar. The exciting she feels, is to create a perso others might enter and enjoy respond to in their own way.
A work of art is a world in its emotions of the artist’s world
ll University of Leeds Brownâ€™s comparatively h landscape painting. e abstraction for the ered. Years later there scape in her work, ngs in the South Pennines s, big skies and lots is with the gentler he Kentish Weald where n may emanate from easingly elements of y her interest is in the l properties of paint and plane, gesture, spatial surface, layering and
life. The way this slippery pools, thickens, thins, too is important to her perty of paint that is annot be experienced stract Expressionists the olour (which is light) and ll put it: ing itself in colour and
anvas or board or paper, acrylics, but sometimes pigment with glue, g and demanding work, onal space , one that y and .
self, reflecting senses and d. Hans Hoffman.
Works: # 1 â€“ Westering Year: 2017 Media: Oil on canvas Dimensions: 30 cm x 30 cm
“A book sealed inside the form records the creation of this object. GUACCA is a reliquary of related creative and destructive processes reflecting the history of its own making.”
JOAN AINLEY GUACCA
Email: email@example.com Website: www.axisweb.org/p/joanainley
GUACCA was conceived as question and safeguard its o suggesting reflection on the Focussing on the nature of fa own reality. It was made for ‘The First Pu nationally and internationall and individual collectors and of 200 by RGAP (Research G Publications). The piece has in which a book can becom way in which ashes or reliqu are things on which one can remnants of the past.
Porcelain form fired to 12 Each form containing a sing GUACCA (33mm x 23.6mm
COVER Title set in Times 14 point, o 80gsm copy paper Laminated using Mumro Dia laminating sleeve 160 micro Ring bound with 1.55 nichro
CONTENTS Eighteen pages, each with a form, photocopied using Ca Copy scanned by Epson sca Photoshop 3, output to laser 80gsm copy paper
GUACCA has been widely e internationally including Kera Postmodern Ceramics Festiv and is held in both private a including the British Art Libra Bibliothèque Nationale de F
s a work that would both own secret inner life, significance of being. aith, it seeks to affirm its
ublication’, distributed ly to museums, galleries d curators in an edition Group for Artist’s s to do with the manner me a memory, and the uaries and their contents n focus attention as
210-1240°C (oxidising) gle copy of the book m)
output to laser printer on
amond Laminator, on / colour clear ome wire
an image of the porcelain anon B/W copier anner processed through r printer on both sides of
exhibited nationally and ameikon, International val, Varazdin, Croatia and public collections ary V&A, London and the France, Paris.
Works: #1– Year: 1996 - ongoing Dimensions: 5cm x 11cm x 6cm Media: porcelain, nichrome kiln wire, card, printed paper
“In his latest photographic series Goddard abandons structural forms and urban environments to explore the emotional and psychological state which he associates the global city space. The work features writhing tormented figures devoid of the context; lost, alienated, brutalised and contorted in agony. The Ghosts of Nithstang do not offer reason or explanation, it is purely an evocation of emotion.”
JOSEPH GODDARD GHOSTS OF NITHSTANG Email: firstname.lastname@example.org Twitter: www.twitter.com/josephgoddarda1 Website: www.josephgoddardartist.com
Joseph Goddard is an a ordinarily concerned wi inherent ideology, forma effects it has upon it inh
He explores these them photography, and paint broaden and investigate Emotional states and ps experiences are the und his Ghosts of Nithstang that draws on the artist’ and anxieties of modern environment.
The work removes the s context, suspending the a blunt and vacuous ba heightens a bruising use stark contrast offers a he emotion; an undeniably sensation frozen for the unflinchingly to confron viewers’ attention.
artist who is ith architecture, it’s al aesthetics, and the habitants.
mes in sculpture, ting in order to e related ideas. sychological derpinnings of g series, a project ’s personal fears n life in the urban
subjects of all em in isolation, ackdrop which e of colours. This eightened sense of y raw and wretched audience, held nt and challenge the
Works: # 1 – Ghosts of Nithstang 1 Year: 2017 Dimensions: 30 x 46 cm Media: Photographic Print
â€œThe work is about mental processing of change, analyse, filing and the creation of mental space.â€?
JULIE EDWARDS RESTORE
Email: email@example.com Twitter: www.twitter.com/ArtJulied Website: www.juliedwards.co.uk
My work is about world. Ideas are w poetic linear struc wire, fabric and fo The work is powe and intriguing. Th process of making is as important to finished piece. I a exploring themes transience of time a collective journe
being in the worked into ctures using ound objects. erful, emotional he often-difficult g the work me as the am interested in of change, the e, moments on ey. Works: # 1 â€“ Restore Year: 2016 Dimensions: 16cm x 16.5cm x 20cm Media: wire, found objects
“The paralysis of analysis” title was taken from Haruki Murakami’s book, the artist see it as another name for anxiety attacks he suffers from.”
KAROL KOCHANOWSKI THE PARALYSIS OF ANALYSIS Twitter: www.twitter.com/kpkochanowski Website: www.karol-kochanowski.com
Karol Kochanowski (b.1986 works in Manchester, UK. H graduated in 2013 from BA Metropolitan University, winner of Ken Billany Prize 2 paintings been exhibiting internationally including New (North Carolina), Berlin and Manchester.
His work is abstract and non style. Light floating forms han within an open space, punct graphic, semi-geometric elements. These are poetic d landscapes in which chaos, logic and self-destruction co discordant harmony which describes the fragile and pai beautiful way in which a dam mind makes sense of the wo approaches his painting in a instinctively haphazard way. journey without a map and arrival at my final destination a surprise. In a sense, the genesis, gestation and gentl process interests him more th the end product.
“The paralysis of analysis” tit Haruki Murakami’s book, th artist see it as another name suffers from.
6), Polish artist lives and He A Fine Art at Manchester
2013. Karolâ€™s abstract oil
w York, London, Raleigh d
n-representational in ng tuated and anchored by
depictions of emotional
o-habit, in clashing and
inful yet curiously maged orld. Kochanowski an It is always an intrepid
n is always something of
le nurturing of the han
tle was taken from he e for anxiety attacks he
Works : # 1 â€“ The paralysis of analysis Year: 2017 Dimensions: 21 x 15 cm Medium: Oil on Canvas Textured Paper
â€œThe two dimensional surface can be a theatre on which elements appear.â€?
KATH DURKIN THE HUNTER
Email: firstname.lastname@example.org Website: www.kathdurkin.com
The two dimensio can be a theatre o elements appear. blank space is diff to and so I used th of cutting intricate shapes out of pap was then tossed o action created en me to continue cu and ordering the shapes. This is ho began to appear collage. Some sha vegetation and a formed. A spear s of paper was plac which broke up th and lead me to vi hunter.
onal surface on which Sometimes a ficult to react he method e but random per. The paper onto card. This nough stimuli for utting shapes placement of ow ‘The Hunter” through apes suggested forest of sorts shaped piece ced horizontally he composition isualising the
Works: # 1 – The Hunter Year: 2014 Dimensions: 21cm x 29.5cm Media: Oil collage on card
“Wan’s artworks are all painterly - whether it’s the obsessive exploration in his series of self-portraits,or the ‘decorated’ dollar bills contributing to large-scale major installations.”
UNTITLED PORTRAITS Website: www.kimwanart.com
Kim Wan (b.1970 artist of Malay-Ch English heritage. K artworks are all pa whether it’s the ob exploration in his portraits, or the ‘d dollar bills contrib large-scale major Surprisingly graffit strong thread thro art career. In the U worked with muse institutions such a Portrait Gallery, TA the Institute of Co Art and the Nation International exhib shows in New Yor Philadelphia, Athe Siena, Beijing, Mo the Louvre, Paris.
0) is a British hinese and Kim Wan’s ainterly – bsessive series of selfdecorated’ buting to r installations. ti has been a oughout his UK he has eums and as the National ATE Modern, ontemporary nal Gallery. bitions include rk, Miami, ens, Berlin, oscow and at
Works : #1 Untitled portrait - 1 #2 Untitled portrait - 2 Dimensions: 20 cm x 20 cm Media: Oil on Canvas
“We cannot reconstruct the past; its traces and remnants can only become the raw materials with which new objects and narratives are created in the present.”
LITO APOSTOLAKOU LONDON ROCKS
Email: email@example.com Instagram: www.instagram.com/inklinks Twitter: www.twitter.com/inklinx Website: www.litoapostolakou.com
Lito Apostolakou comes history. She is interested of texts, and the texts’ p open to different uses a Her art materials are the writing tools of the histo the document, the text, the record. At the core o is the investigation of th preserve and dissemina perceived.
London Rocks is a recor Thames through photog writings, prints and soun viewed as an archive of made objects and fragm and go with the tides, a texts written about it and and places in its vicinity. Thames-as-an-archive l objects, its changing sh of the texts, the thrill of d washed on its foreshore
Rocks are photographe bridge of tidal River Tha The image of the rock o photograph is traced wi magnifying glasses and of the shading on each substituted with historica texts linked to each loca
s to art from d in the visual forms potency as objects and manipulations. e raw materials and orian - the archive, the paper, the ink, of her art practice he ways we capture, ate the past, real and
rd of the River graphy, ink tracings, nds. The river is f natural and manments that come and of a variety of d about the people y. The allure of the lies in its hidden hapes, the multiplicity discovery of the past e.
ed near or under a ames at low tide. on each printed ith the use of d archival ink. Part traced rock is al or/and literary ation.
Works: # 1 â€“ London Rocks: Lambeth Year: 2017 Dimensions: 29.8cm x 24cm Media: Digital transfer film mounted in antique drawer # 2 â€“ London Rocks: Southwark Year: 2017 Dimensions: 29.8 x 24cm Media: Digital transfer film mounted in antique drawer
“Through the unsettling nature of light, these paintings explore solitude, displacement and vulnerability.”
LOIS WALLACE PERFECT DAY
Email: Lois.firstname.lastname@example.org Twitter: www.twitter.com/wallace_lois Website: www.loiswallace.co.uk
Drawn to places t inspired by the sub epic and the over my work is concer depicting presenc movement and sti psychological land explore what is ‘b and how we can i indeterminate thro I hope to depict n are charged with and emotionally r the viewer. The pa derived from phot in the landscape. a strong photogra the paintings are n of the photograph through the proce to create a narrati beautiful but at th unsettling.
that are blime, the rwhelming rned with ce and absence, illness. These dscapes beyond usâ€™ interpret the ough painting. narratives that significance resonate with aintings are tographs taken While there is aphic element, not depictions hs, but evolve ess of painting ive that is he same time
Works: # 1 â€“ Perfect day Year: 2015 Dimensions: 28 x 22 cm Media: Oil on copper
“I emphasize transience: 62 the constantly changing nature of materials and the constantly changing nature of the viewer’s direct experience.”
As an artist it would be work takes over my life, it any other way. Intrigue by my surroundings my random, and emotiona colour and boldness its poetic form can take on range. From abstract to functional to concrete, n stone and I love dabblin designing and making j and creative writing.
Already a published po designer maker with pre continue to enjoy the da the studio surrounded b odds and ends of fabric imposing tools and mac
My best friend is my blo following closely behind tend to play and then d that works well for me.
LOU GILMORE-GEORGE ECHOES
Email: email@example.com Instagram: www.instagram.com/Lougilmoregeorge_art Website: www.lougilmoregeorgeartist.com
fair to say that my , yet I wouldnâ€™t have ed and inspired work is at times al. Bursting with sculptural and n many diverse o functional, nonno form is set in ng in anything from jewellery to painting
oet and established evious sales, I ays and nights in by scraps of metal, c and heavy, slightly chinery.
ow torch and d is my sketch book. I document, a process
Works : # 1 - Echoes + # 2 - Head f@#k Year: 2017 Dimensions: #1 - 20 x 30 + #2 - 30 x 40 Medium: Mixed media and acrylic
â€œI emphasize transience: the constantly changing nature of materials and the constantly changing nature of the viewerâ€™s direct experience.â€?
LUCINDA BURGESS INSIDE OUT
Email: firstname.lastname@example.org Website: www.lucindaburgess.com
I emphasize transience: changing nature of mat constantly changing na direct experience. I choo that are capable of dram transformation: wood, s and glass. By putting th through the same proce highlight the infinite vari and lack of control that of the natural world. Th serves to underline the t repetition in fact.
By incorporating natura as rusting, burning or re an implication that chan and cannot be avoided for example, that mild s polished in order to ma surface accentuates the ever stays the same, reg desire to hold it still.
Through the use of a m the greater simplicity, ge uncomplicated display o the viewer to more easil and difference at a subt
: the constantly terials and the ature of the viewerâ€™s ose materials matic visual steel, paper, liquid hese materials ess repeatedly, I iety, unpredictability t are so characteristic he use of repetition truth that there is no
al processes such eflecting, there is nge is inevitable d. The requirement, steel be repeatedly aintain a reflective e fact that nothing gardless of any
minimalist aesthetic, eometry and of materials allows ly appreciate change tle level.
Works: # 1 â€“ Inside out Year: 2016 Dimensions: 35 x 35 x 10cm Media: Mild Steel
“This is minimalist still-life for an age of hypnotic 24-hour TV news and live blogs from war zones.”
MAGGY MILNER LOSS
Email: email@example.com Website: www.maggymilner.com
As a photography work contemporary art practi constantly preoccupied symbolism to denote m work I have investigated of still life, blurring the b ‘transient sculptures’ an by placing ready made institutional interior spac view is controlled by the culminating with a phot Blue is a response to the news reporting and poli for the last few years, w from the comfort zones day we observe tragic, s From the side lines we w horror and atrocities. This work is not an over protest. It’s more a lame deep sadness and a sen The objects in the imag stir the imagination and viewer. There are clues and waste and loss and the colours are vivid, the enigmatic, and like poe audience to read betwe
king within ice I have been with use of meaning. In recent d traditional notions boundaries between nd ’installation’ objects in an ce. The angle of e camera lens, tographic end point.
e flood of imagery, itical jargon which, we have consumed of our homes. Every shocking events. witness devastating
rt or angry antiwar ent. It springs from nse of helplessness. ges are chosen to d memories of the that suggest death d suffering. Although e message is dark, etry, requires the een the lines
Works: # 1 – Loss - From the series BLUE Year: 2006 Dimensions: 31.8 cm x x 47cm Media:Archival Photographic Print Mounted
“An artist is somebody who produces things that people don’t need to have, but that he - for some reason - thinks it would be a good idea to give them.” (Andy Warhol)
During the last 18 tried to raise ques decaying relations kind of folly make to the wrong peop we possibly mistak moments as preci of our little person the difference we it social conformit the seducing pow
The coloured pen clean, almost san portraits of seemin relationships. The errors but without
MARIA XINOPOULOU UNTITLED SERIES
Email: firstname.lastname@example.org Instagram: www.instagram.com/mariaxinopoulou Website: www.marixino.com
8 months I have stions about ships. What es us give space ple? How can ke meaningless ious elements nal worlds? Is it try to strike? Is ty? Or is it just wer of Eros?
ncils produced nitized, ngly unfamiliar ey may point to judging.
Works: # 1 – “Don’t call me beautiful.” Year: 2015 Dimensions: 100cm x 140cm Media: colored pencils on paper # 2 – “Never yours/Always.” Year: 2015 Dimensions: 100cm x 140cm Media: colored pencils on paper
â€œMemories are curious things.Sometimes they masquerade as thoughts, feelings or images, without revealing themselves as memories.Sometimes they come to mind and seem relatively meaningless, other times they overwhelm consciousness and cast us back into a vividly remembered past. They emerge into consciousness from somewhere else and give us pause for thought. It is significant because memories are an intrinsic part of us- they are the database or the content of the self. They ground it in a remembered reality that constrains what the self can be now and in the future, and what it could possibly have been in the past. Because of this, memories are not some sort of mental wallpaper that merely provide a backdrop for the self. They are alive, free, sometimes alien, occasionally dangerous mental representations, that can overwhelm as easily as they fulfil. ( Breuer& Freud 1895).â€?
MARIE EM EXPECTANCY
Email: Marieem1805@hotmail.com Website: www.mariemartist.com
Using a surrealist â€“ in human body to expre self-portrait, one that psychologically event These experiences are through what I consi therapeutic and catha an emotionally raw v and highly personal l Sculpture I made con violence and menace
On the other hand th , vulnerability, presen burnt out and corrup based on feelings- no object.I attending to c that have a psycholog than bodies as a end no tools between me I use. I create my wor My hands transmit m will reveal the uncons
nspired vision of a ess an emotionally is inspired by ts from my past. e transformed ider to be artic process into visual distressed language. nvey an image of e.
hey show sadness nce of living death, pted. My work is othing to do with create sculptures gical truth, rather ding result. There is e and the material rk with my hands. my energy to it. They scious.
Works: # 1 â€“ Sculpture Title: Expectancy Year: 2016 Dimensions: 183 cm x 45 cm Media: Plaster, string, ink.
“I use found photographs as a starting point to investigate both the stories they may contain, and the function of the object itself; in terms of identity, evidence and truth.”
Your organisation looks real when artists are encouraged love to take part in one of yo Here are my details:
I work with printmaking and archives to explore ideas of identity. Playing detective, I u as a starting point to investig they may contain, and the fu itself; in terms of identity, evid This work has been made as my family history.
Vanishing Point and Spurens workings of an early photog grannie.
In the 1930’s she was taken from post-natal depression. It was thought that she died we discovered she was alive still living at the asylum. There are no photographs o years.
The work explores both the v photographs to provide us w connection and identity, and constructed and accepted w narrative.
MELISSA CAMPBELL SPURENSICHERUNG AND VANISHING POINT Email: email@example.com Website: www.melissacampbellfineart.com
lly interesting, it’s so nice d and supported. I’d our exhibitions.
d photography, using love, loss, and female use found photographs gate both the stories unction of the object dence and truth. s a result of investigating
sicherung are regraph of my great-
n to an asylum, suffering
there, but 60 years later, e, recovered, and
of her during those lost
value we place on family with feelings of d the myths that are within the family’s
Works: # 1 – Vanishing Point # 2 – Spurensicherung Year: 2017 Dimensions: #1 - 18 x 27.5cm #2 - 25x27.5cm Media: #1 - Screen-print on Somerset 300g #2 - Photo-etching on Fabriano 300g
“I try to make very honest sculptural responses to life.”
All my work has a from my own jour made from direct ceramics, bronze objects. I like to in in the pieces to he even if the pieces noticeable. All my from my own expe reactions to life. I what keeps me m in, I love to expres art and sculpture.
MICHELLE CLARKE-STABLES RETURN TO SENDER
Email: firstname.lastname@example.org Instagram: www.instagram.com/mc_stables Website: www.mcstables.co.uk
a narrative rney, they are plaster ,resin, and cast found nclude objects elp tell a story are not always y work comes eriences and guess that’s making 20 years ss life through .” Works: # ‘Return To Sender’ Year: 2017 Dimensions: 5 cm x 5cm original framed Media: Watercolour paper and Grandmothers ashes.
â€œMy abstract art, rather than depicting exact representation, is an emotional response which explores the themes of human experiences, physical landscape and Political events.â€?
MYFANWY WILLIAMS SEA CHANGE I
Email: email@example.com Website: www.myfanwywilliams.com
Many months of my childho travelling back and forth to A the continent on Union Cast been fascinated by the sea. My paintings reflect the man influenced my work, includin ancient monuments, change of nature and landscape.
The interaction between the mankind, which has taken p civilisations began, is explore work.
People, places and politics a other and their passages can history. My paintings explore they begin when I respond to photographs and then I allo intuitively into abstract image
The stimulus for this present migrants struggling to escap countries for a better life in E cross the seas in very dange images make reference to o dark seas and threatening b Dislocated people are at the individuals have little or no c Social media are also playin these predicaments evolve. T pace and one wonders wha What role does the onlooke exempt from responsibility. T will affect us all.
ood were spent at sea, Africa, circumnavigating tle liners. I have always
ny factors that have ng travel, archaeology, es in society and a love
e physical landscape and place since the earliest ed as a journey in my
are all linked to each n be traced through e inner landscapes: o fragments of my own ow the ideas to develop es.
work is the plight of pe strife in their home Europe, attempting to erous conditions. The orange life jackets, the borders. e mercy of politicians; the control over their fate. ng their part in the way The exodus is gathering at the future will hold. er play? No-one is The ripple of sea change
Works: # 1 â€“ Sea Change I Year: 2017 Dimensions: 26cm x 26cm Media: Acrylic on watercolour paper
“Gear interrogates archaeologically ‘liminal landscapes’ pinpointing & connecting, using lines, which mimic the natural, highlight the man made, with historical concerns.”
Gears practice centres aroun surface, mimicking the natur made with concerns around today.
An essential part of this proc repetitively, The ‘Edgelands’, this action coupled with colle authenticate the developmen to a ‘truth to materials’ respo that he’s touched. Gears outcomes are not a d action, but elements such as and threads, which take on way’, creep into his work.
Our understanding of reality choose not to see is part of t of Gear, in which phenomen approach within his practice philosopher talks about noth as it seems ‘ambiguity is esse existence and everything tha several senses’.
Marks on paper, sculpted ob record of an intervention in t all aspects of Gears drawn l language whilst interrogating the Coxmoor ‘liminal landsc making connections.
NICK GEAR UNTITLED SERIES
Email: firstname.lastname@example.org Instagram: www.instagram.com/nickartofgear Twitter: www.twitter.com/nickartofgear Website: www.artofgear.co.uk
nd exploring lines on a ral, highlighting the man d the historical, informing
cess is walking, , of Coxmoor, where ecting enables him to nt of his ideas and points onse of the landscape
direct description of this s contour inspired marks the notion of ‘mapping a
y, what we see, what we the journey and practice nology is another e. As Merleau-Ponty the hing is as straightforward ential to human at we live or think has
bjects, or a photographic the landscape are lines, which allude to g archaeologically cape’ pinpointing and
Works: # 1 – Routes [Of Understanding] Year: 2017 Dimensions: 45cm x 38cm Media: Abstract pen drawing with added tracing paper, thread & ‘entomology’ pins. # 2 – Echos [& Shadows]. Year: 2017 Dimensions: 55cm x 26cm Media: 3 Objects sculpturally combined as a drawing/collage with added thread & entomology pins.
“The dream seems to reveal a future that we must all prepare for in our own way. I wondered if there might be a machine to see between worlds (in the way that the dream does). It is not a real machine and of course it cannot work. It is powered by our hopes.”
PAUL TUPPENY IN THE DREAM
Email: email@example.com Website: www.paultuppeny.co.uk
Paul Tuppeny’s wo several strands, de from a core intere that we present ou our-selves. Drawin visual language o and presented his tional artworks de invoking our inna which transcends and the now.
ork follows eveloping est in the way ur species to ng upon the of museums story, instruceliver messages ate sense of self the individual
Works: # 1 â€“ In The Dream Year: 2015 Dimensions: 65cm W x 25cm H x 25cm D Media: Wood, brass, acrylic, electric light
“Photography is capturing the absence of images, unlocking the receptive paths to memory. My inspiration comes from memories fractured and forgotten.”
RAVINDER SURAH AFTER THE ENDING
Email: firstname.lastname@example.org Twitter: www.twitter.com/rndgphotography Website: www.pankowcreatives.com Website: www.rndgphotography.com
Abstraction is deception, it lu own visual senses into some untrue or none existent, it pla and can trigger tranquillity, c other amalgamation of feeli After The Ending was create red inks into a container full was mounted with speakers sound from the 2005 Sky N news coverage, these sound YouTube. Once the sounds a dropped into the water crea these patterns are the indexic imitate the waveforms played force of the inks dropped fro water enables a spread of co through the waves, distorting rhythms with its own organic
This work represents the tens colour to emulate blood wh of life and death, in contrast the unknown and ending. Th is shot in still water with no s calmness, the second image Bombings’ is shot with sound through water, a symbol of c atrocity. Using abstraction and beaut study the surface of the imag them and question the relati Ultimately it is the process of that prevails, something whic waveform.
ures us in translating our ething which perhaps is ays with our perceptions calmness, fear or any ings. ed by dropping black and of water, the container that are projecting News - London bombings ds were sampled from are played the inks are ating unique patterns, cal trace of sound which d from the speakers, the om a distance into the olour which protrudes g the waveforms natural c presence.
sion of atrocity using hich projects the notions t darker colours signify he first image titled ‘Birth’ soundwaves representing e titled ‘London dwaves projected chaos, distress and
ty I ask the viewer to ges, to feel perplexed by ionships between them. f the calm and manic ch is only stressed via the
Works: # 1 – Birth. # 2 – London Bombings. Year: 2016 Dimensions: 60.96cm x 50.8cm Media: Photographic Print Mounted.
“The art work portrays the very moment of a new beginning of mankind that just came from a world of chaos, and finally encounters with, and rebirths in nature, evolving in symbiotic harmony.”
I aim to allow speed, intensity image world into the work. Th images sourced from the inter daily newspaper. Colour is hei mimic the computer screen an are often appropriate from pa past.
In this way the position of the w remixed status of painting toda daily record of my movements
I also make diary paintings, U sublime landscapes and the d produces unexpected narrative my own taste/subjectivity and b intentions of the painting itself; sincerity and endeavour of the exposing my own daily subject images.
A type of diaristic unexpected s occurs, that exposes my own s to reflect the flippancy and sinc
The diary paintings are titled in record, like impressionism cau activity; whilst the larger repres imagine the ‘interior bones’ of difference and flexibility in the a desire to make it more critica
RICARDO DI CEGLIA
Within the new series of works changing light conditions there oppositional image strategy to once’. This works reference ph film and will be shown under c lights to expose an interior stru
Email: email@example.com Website: www.diceglia.com
I sustained a practise between this International perspective h and to contribute within semin whilst on the MFA course.
and the multiplicity of the he work is retrieved through rnet, the magazine and the ightened, made artificial to nd the surfaces of the work ainterly languages of the
work absorbs the hybrid ay and attempts to insert a s and image consumption.
UV paintings and Urban display of the work together es and collisions beyond beyond the original ; they connect with the e history of painting whilst tivity, desires and use of
sequence in the paintings subjectivity and an attempt cerity of the image world.
n relation to time and ught on CCTV, a daily sentational paintings can f celebrities! I believe this work is healthy and I hold al and developed.
s that I aim to show under e is an aim to use an o include â€˜twoâ€™ paintings at hotography, animation and controlled changing UV ucture of the painting.
n Sao Paulo, London and helped to shape the work nars and critical discourse
Works: # 1 â€“ Rebirth Year: 2016 Dimensions: 56cm x 30cm Media: Acrylic on Birch Tree Barks Collage.
“ My name is Robin Johnston. I’m an urban photographer and video producer based in Glasgow, Scotland.”
find Glasgow to be a v interesting city, not nece is particularly beautiful, but because it provides textural qualities and flu It is constantly inspiring. urban environment is a my work so far and I ac interesting details and b photography.
Recent photography exh solo show Skypark, Gla - March 2017 and at G Lane Gallery in 2014 a had my work featured r exhibitions such as FOT Kelly Gallery Winter Exh Glasgow Institute for the Glasgow, the RSA and S Artists (SSA) annual exh
R OBIN JOHNSTON GLASGOW BACKSTREETS Email: RobinJohnston75@gmail.com
very visually essarily because it which it can be, a combination of uctuations in light. . The decay of the strong theme in ctively seek out background for street
hibitions include my asgow in January Glasgowâ€™s Hidden and at I have also regularly in national TOspace, the hibition, the Royal e Arts (RGI) in Society of Scottish hibition in Edinburgh.
orks: W #1 Glasgow Backstreets 1 Year 2013 Media: Digital Photography #2 Glasgow Backstreets 2 Year: 2012 Media : Digital Photography #3 Glasgow Backstreets 3 Year 2013 Media : Digital Photography
“Improbable archetypical beings explore an estranged desolate world where reremembered things from my past evoke memories and symbolic associations of loss.”
RONALD GONZALEZ SMALL BLACK FIGURE STUDY Email: firstname.lastname@example.org Website: www.ronaldgonzalezstudio.com
Ronald Gonzalez/Professor Department of Art & Design Binghamton University | Bin The sculpture of Ronald Gon characterized as having a hi mysterious allure. Working over the last enigmatic sculptures have fu autobiographical metaphors production of angst-ridden f through his distinct use of m oeuvre of sculpture marked and spiritual trauma. His recent work has focused figures made from schemati assembled together with a w objects, antiques and collect time and place. The work is metal filings, burned wax, gl creating a dramatic tonal ra and reveal anthropomorphic the internal workings of their heads. Gonzalez’s figures re animistic mode of thought a fetishistic mementos that pos imbued with primal energy a overtones. His archaic breed confrontational, austere and the border between human phantom. Gonzalez’s impro beings explore an estranged reremembered things from his past evoke m associations of loss, transfor and psychic pain.
of Art | Sculpture/
n nghamton nzalez can be ighly personal and
t four decades Gonzalez’ unctioned as s of dread. His obsessive figures, mediated materials has created an with psychological
d on a series of black ic steel armatures, wide assortment of tibles that are laden with then further eroded with lue and black soot ange that both obscure c objects that suggest r re-animated surrogate epresent an appearing as charred sses a visceral quality and ruin with apocalyptic ds of figures are d hermetic, standing on and doomed obable archetypical d desolate world where
memories and symbolic rmation
Works: # 1 – Small Black Figure Study: Year: 2017 Dimensions: 13” x 3” square Media: Manipulated found objects, wax, wire, metal filings, glue, and soot over welded steel
“Painting is a process of experimenting and doing research about history and science. Science, History and Arts are inseparable branches.”
The artwork takes a critical v and cultural issues. Interests interactions as well as in Pop progress on material experim important part of creating.
While The use of a variety of in each project my methodo subject matter of each body materials and the forms of th often consists of multiple wo different history, grouped aro and meanings. During resea areas of interest arise and le work. This work is creating a and art. Therefore artwork sh discoveries and Hubble with images a study Nebula’s as material on the surface is lin the Earth.
This work represent the Mod materiality theories. These s from nature for creating a co Earth. Communicate with pa canvas. Using materials such meanings are connecting be
SILA GUVEN HELIX NEBULA
Email: email@example.com Twitter: www.twitter.com/silaguvenkoc Website: www.silaguven.com
view of social, political in cross-cultural pular Science and mentations take
f materials and processes ology is consistent. The of work determines the he work. Each project orks, often in a range of ound specific themes arch and production new ead to the next body of a bridge between science how astronomical h Hubble Telescopeâ€™s a form of Art. The nen ropes that signifies
dern Art as surface substances - materials onnection space to the ainting and material on h as, linen ropes and soil etween Earth and Sky.
Works: # 1 â€“ Helix Nebula Year: 2016 Dimensions: 70 x 50cm Media: Painting
â€œOur nature to try to comprehend what we see is innately shared when perception is representational.â€?
SOOJIN HONG UNTITLED SERIES
Email: firstname.lastname@example.org Website: www.soojinhong.net
The works play wi inclination to try to provided informat fullest, when perce representational a of what we subjec habitually see. Per on repetition in its forms and interpre paintings become a tool or a remind wander for cohere
ith our innate o comprehend tion to its eption is and abstractions ctively learn and rception relies s countless etations. The e an object as der of how we ence. Works: # 1 – Unequal Strength and Flexibility Year: 2017 Dimensions: 41 x 51cm Media: Acrylic and mixed media on canvas # 2 – Every Morning Year: 2017 Dimensions: 26 x 31cm Media: Acrylic and mixed media on canvas # 3 – Depends on the weather Year: 2017 Dimensions: 41 x 31cm
“My Architecture Series reflects a comfortable “sense of place”, a hazy familiarity about to be shaken by an unforeseen set of events that changed my life forever.”
My expressive, abstra mixed media constru broad themes: transie fading memories and habitats/environment
I find working in layer pattern and texture al but as I originally train I often find myself lea architectural forms, sh materials and textures avid collector of old t vessels and unusual, which occasionally fin my work.
Through my landscap try to express the ever evolution, movement the surrounding envir moments - frozen in t capture. Nothing stay
VERITY NEWMAN ARCHITECTURE SERIES
Email: email@example.com Instagram: www.instagram/verityjanenewman Website: www.veritynewman.blogspot.co.uk
act paintings and uctions reflect three ent journeys, d personal ts.
rs of colour, lmost meditative, ned as a sculptor, aning towards hapes, structures, s. I am also an tools, domestic curious objects, nd their way into
pe pieces, I r-changing t and energy of ronment: fleeting time - hard to ys still for long.
Works: # 1 â€“ Architecture with Green Year: 2016 Dimensions: 20cm x 20cm Media: Acrylic on canvas, framed and mounted on reclaimed wood
“Mingyi’s painting aims to visualise claustrophobia, which is a fear of being trapped into a closed space.”
WANG MINGYI CLAUSTROPHOBIA 26 Email: firstname.lastname@example.org Website: www.wmingyi.com
Mingyi’s painting aims to vis which is a fear of being trap The spaces in her works sym eternity. Within such a place element you can think of wil and all these things together -despair. The hole seems to getting out. However, do we are going to face through th escape? Or just another dea you are the only thing that m At last, you finally manage to connects with the real world, will see something is not righ the perspective is wrong, and is not a real “thing”. It is the itself.
The artist starts working by p ribcage on wood panels. Th layer of extrusion and impris that the human body is also then, by painting a actual co of the traces of a human rib creates a horrifying sense of into a wall”, which is also th abandoned and forgotten. The work “Claustrophobia 2 and an irregular fuchsia patt indicate a sense of imprison means a strong vitality and a escape.
sualise claustrophobia, pped into a closed space. mbol the collective fear of e, time, space, and every ll be stationary forever, r form a horrifying wordbe the only hope of e actually know what we he hole? A successful adly silence room where moves? o find something that , a still-life! But soon you ht, the shadow is missing, d then you realize that it face, or the body of fear
printing CT images of his gives the works the first sonment while indicating a confined space. And onfined space on top bcage, the artist hence “burying a human he fear of being totally
26”show us an armchair tern. The armchair nment, the fuchsia pattern a possible of successful
Works: # 1 – Claustrophobia 26 Year: 2017 Dimensions: 20cm x 30cm Media:watercolor on MDF panel
Artists Residency in London Bridge! Keep checking our website for updates on new exhibitions, opportunities and more as we always have something new going on!
ART.NUMBER23 NEWS AND UPDATES Email: email@example.com Instagram:www.instagram.com/artnumber23 Website: www.artnumber23.uk
The studio is located in London Bridge, less than a minute walk from London Bridge station and the Shard, and close to the White Cube Gallery and Tate Modern. We offer a space of 4 m x 3,40 m with three big windows that provide plenty of natural light, a beautiful view and all the necessary utilities. Artists of all mediums are welcome to apply. After the end of each residency, we will select some of the artworks created by the artists, to take them with us and exhibit them as part of our international shows. How to apply: Please send us the completed Artist Residency application form, you can find this on our website. Along with the application form you should attach a sample of your work and your CV, please do not forget to quote ‘Artists Residency’ in the subject field of your email when sending your application. Please note that viewings of the space can be arranged by appointment only! For more information, please do not hesitate to contact us at: firstname.lastname@example.org Top image - Previous art exhibition ‘Stimulus’ held in Berlin, Germany, at the Greenhouse. Bottom Image - Previous art exhibition ‘Alienation’ held in Philadelphia, U.S.A, at the James Oliver Gallery. Curated by Art.Number23. (2017)
This is an E-Exhibition Guide created to save the trees, this guide is hyperlinked to artist pages, click a name and go to their websites and don’t forget save our trees! www.woodlandtrust.org.uk
© All Images of Exhibiting Artists, 2017 © All Images Sourced of Businesses and Galleries, 2017 © Design PANKOW CREATIVES, 2017
Published on Aug 1, 2017
Published on Aug 1, 2017
Another of our E-Exhibition Guides we created for Art.Number 23 in order to save the trees and enable the exhibition a wider audience outrea...