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TRANSITIONS Transitions is the first exhibition to be run by The Union, Winchester. Transitions is an exhibition about the transitory stage between and first and second year practice and the transition that the SU has taken to improve The Union for the student body .It is an interdisciplinary exhibition featuring first and second year students at Winchester School of Art.

M I LKE VEE L 2 TF I NHE AER TBP ARI N IT I D GE NG My work deals with ideas of visual truth, explored through the relationship between painting and printing. I like to play with the ideas of images as illusions as a reflection of reality as an unknowable, subjective thing. Science and maths provide rules and reasons for what we see and experience and have uncovered elements of reality that are impossible to directly experience, as well as events (such as quantum effects and relativity) that demonstrate reality is stranger than we previously realised. Science, maths and art becomes tools by which we can build a picture of the universe.Ideas of the unconscious mind, as described by Jung, show that everything we take in and everything we produce in the world has to be filtered, and inevitably distorted, by our unconscious. This makes the uncertain world we view, even more unknowable. There is an element of self reflection as experiencing and reacting to the world is partly us experiencing and reacting to our unconscious mind. We live in a society that is constantly evolving and mutating. No system or idea can remain the same in a society like this, and this is reflected in my practice, which I like to be constantly evolving. I put the images I encounter through a long process of reproduction and distortion by copying and translating images into other mediums. This allows for experimentation and tries to strip the images of ideas of connotation, denotation, origin and meaning.

J E LSE VSE LI 2CF I A TAY L O R N E A RT PA I N T I N G The work revolves around the genre of Fairytale, creating snapshots into another reality, which has a dreamlike, fantastical quality to its narrative. These depictions have the people from that reality presented in black and white; some have caught us looking whilst we have caught others unaware. Looking at peoples base reactions and expectations of fairytales these pieces create their own fantastical mythology. They create an image that makes you feel as though you can step through into another dimension. They suggest a lack of definite reality and a definite identity.

H A ML E IV ESL 1HG R AD INSDALE PHIC ARTS My photos belong to a photojournalism narrative all under my chosen theme of ‘Urban Decay and Abstract Forms in the Landscape’. My aim for this series was to glorify deteriorating modern sculptures and make them look less like a mess. I was influenced by Lewis Baltz for this project and the way he uses symmetry between the lines and shapes found in built up areas with the borders of the photographs. The effect of this composition brought about a sense of method and orderliness in the images which I am fond of.

L O LR NA B A R N S HAW EVEL 2 FINE ART SCULPTURE Passionate about the world of photography, Lorna Barnshaw is devoted to the exploration of the outmoded and the advanced. The work explores the current coexistence of analogue and digital mediums in both film and photography. Taking advantage of the materiality of celluloid film and the ethereal elements of digital mediums, the two are united portraying a sense of nostalgia whilst welcoming the future of technology. HolePunch is a series of results created utilizing a hole-puncher, found film and a scanner. The film is subjected to an experimental scanning regime reassembling colour, light, shapes and life. “Photographers were supposed to do more than just see the world as it is…they were to create interest, by new visual decisions.” (Sontag., 1979, Pg.89) Key influences include artist and film maker, Tacita Dean and digital artist Rosa Menkman


LEVEL 2 GRAPHIC ART S ILLUSTRATION The 10.10 to Winchester Mapping Movement On display is the final outcome of my most recent project. This self initiated project led me into the unknown, as I began following people, at a discrete distance, as they arrived in Winchester on the 10.10 bus from Bristol. I was intrigued as to the diversity of final destinations of a group of people that all began their journey in the same place. I gained huge amounts of information about each of the five people I followed. I took notes, made sound recordings, took photographs and made sketches. I put all of this information together to create this final piece, showing the routes I took whilst I was in the shadow of others.


L EV E L 2 FA SH ION A N D T E X T I L E S DE SIG N This photography was part of a project based on the two words ‘Tactile’ and ‘Chaos’. The meaning behind it was to give inspiration for colour palettes and design ideas for my woven samples. It involved pouring paint over lightbulbs and trying to catch the moment the paint drips down. The drops created from the lightbulbs are a burst of colour swirls and they have the same format and lines. The patterns are uncontrollable yet controllable as I realised they could be influenced by the amount of diffierent coloured paints poured on the lightbulb which changed the outcome of the stripes and swirly drops. This photoshoot inspired me to look into the idea of uncontrollable but controllable art.

B R LO NWEN REES EVEL 2 GRAPHIC ARTS Nothing was ever going to compare to the personal experiences I gained in China however to have the opportunity to base a project around it was fantastic. There was so much to say and show. The concept behind the format was a divide in my opinions and views on China. The whole book was based around this difficult conflict. The paper stock resembles the change from the initial beauty that is perceived when taking in a new and exciting place, to grey as you start to be aware of the dirt and pollution of the place, where a sense of uneasiness starts to creep in. The photographs where taken by myself while in China and the comments are my personal thoughts recorded in a blog format while travelling. An appropriate perception of China.

L IL ESV ESL 2 A NDREWS F I N E A RT PA I N T I N G The focus of my work has been to break down the boundary between the different dimensions of art, resulting in a series of works that cannot be described by the traditional definitions of painting, sculpture, photography, performance or installation alone. The piece I have chosen to exhibit is a photograph of a life model whose skin I painted directly onto in order to create the illusion that she is 2D. The photograph is completely unedited, digitally or manually.

HO PE TA L B OT LEVEL 2 FINE ART PRINT My work focuses on themes of the interior and exterior, the physical manifestations of mental processes and a delight in colour, shape and pattern. I love craft and technique so take particular joy in the physical act of cutting lino or paper, the repetition being hugely soothing to me. I find humour to be very important within my art so try to create pieces about subjects which interest me, juxtaposing sometimes rather heavy subject matter with a certain lightness and frivolity. I find myself inspired by literature, in particular the novels of Evelyn Waugh and Nancy Mitford.

ESTELLE BOUDOT DE LA MOTTE LEVEL 2 FINE ART The first set of images where shot in Paris, 2011, night time. Procured under quick move they illuminate; Confining specific location, delving them into there devoid space. The dreamlike mirage of particles let to intrigue, questioning depth. The second pair of photos were shot alternatively. Captured in impromptu. They obstruct, dash, identity. Trangressive through there Self containment. Still, defracted within time; settled to opposite atmospheres; they hide and let you in.

SALO ME MUTTER LEVEL 1 FINE ART Gothic towers and arches suspended in the sky, a medieval ecclesiastical dream beautiful but sinisterly looming. I find Gothic Cathedrals fascinating because I love them and sometimes loathe them, at times I cannot even look at them. They have an ethereal, dream-like quality. I associate them with a fear of heights and nightmares, but I cannot ignore my appreciation of their aesthetic and function. To me they embody the dark and light in one, opposites together; it makes me uneasy.

K R I S TL IE VNE L A2 G RSAH CHETININA PHIC ARTS “Light me” is the name of my installation piece based on my study of light and its uses. The piece is made using a natural light video projection and a cut out word “light” in Morse code on an A2 foam board projector screen. The word is being projected onto a wall, creating a double layer projection, introducing at least three different uses of light in one piece. The aim of this piece is to help people see how one simple matter such as light can be used and interpreted in various ways.

P H I LL E IV EPL 2PF A WA L L INE ART My work pivots around my interest in the way that light travels and the way our vision perceives this. In this case, exposing light through solid objects using the process of screen printing. The use of thread in my work can be seen as something weak, acting strong. I created confined, densely concentrated square’s of thread. Marrying the strict restraints of geometric shapes, with the fluid uncontrollable nature of thread. I used various fragile paper’s and materials to print onto with the hope that the materials would hate the aggressive nature of screen printing and would fold or crease under the pressure.

LL E VYE LD2 FII NAE A RKT NEE WI MTE DH IA The majority of my work is politically informed, and has focused more recently on the security measures imposed for the Olympic games. I am interested in juxtaposing these systems of control with the patriotic and celebratory stance taken by the promoters. The power relations established within society and the latest instances of civil disobedience provide evidence of the tense exchanges underpinning everyday life in modern Britain. My work attempts to highlight these and to question both the role of the state and that of the individual in relation to them.


LEVEL 2 FINE ART SCULPTURE My work currently revolves around the use of positive and negative space in relation to one specific form. Uniquely, both the original and the negative casts are completely the same altering your view of what is the original and what is a replica. I am exploring how the viewer’s perception of the form can alter through the use of light, colour and interaction, allowing the peaks and troughs to bend and change upon the audience’s individual engagement. I hope to push the boundaries of materiality and form allowing the viewer to be absorbed in the work rather than to stand apart from it.


L EV E L 2 FA SH ION A N D T E X T I L E S P R I N T The World Land Trust is a conservation charity that protects the worlds most important and threatened habitats. During a Live Project working with the World Land Trust, I aimed to create lively and inspiring Printed Textile designs to spread awareness of the animals that the World Land Trust are helping to save from extinction. This design is inspired by the Yellow Shouldered Parrot from the tiny Margarita Island off the shores of Venezuela. I wanted to create something that captured the beautiful exotic birds within their natural habitat, without which they could not survive.

P E LTE VEE L R1 F I NDE ARR TI V E R Peter Driver: walking in relation to absolutely nothing (excerpts) The altered map, text and three canvasses are part of the documentation of an elevenmile circular walk I made south of Winchester on Holocaust Memorial Day 2012. While walking, I contemplated some of the things that would not exist if nothing had ever existed - an exercise inspired by Heidegger. The place names and typography within the circle have all been replaced by examples of the things that occurred to me as I walked. I also made drawings at one-mile intervals on the walk and the three canvases were developed from those sketches.


LEVEL 1 GRAPHIC ART S ILLUSTRATION My current work is mostly drawings or digital, my background in art was primarily focused on painting. I love painting portraits because I believe there are many stories to be told from observing a persons face; such as their expressions, moods and the colour, lines and shapes that make up a persons face. This mixed media portrait was an experimentation of medium and colour, as I like to use unrealistic colours in my work. I used oil paint, pastel and inks.

I S A A CL E V EW HITCOMBE L 1 FINE ART The recording of a transition implemented by an architectural change. The change from tearis housing to multi-storey high rise flats in the 1960 and 70’s and as well as other factors change community build up and the segmented of ages. Communities cannot be maintained over more than 3 storey and there is a limit (3 storey) on the distance between community space and the home. These print show that even small architectural change have experimental effect on a community. Each print was left at the entrance of the studio for a week, the only different was the implementation of a wall in the studio. The Lighter print was before the wall then the darker print as immediately after the wall was added. The prints reflect the dividing up of the room and the community that had grown in the studio.

L E S L EL EY BLAKELOCK VEL 1 FINE ART My painting expresses my internal drive. By applying the paint with a force I manage to capture a moment in time. ‘Out of Control’ 2012 - Lesley Blakelock Painting on MDF – plaster, household paint, enamel paint, emulsion, powder paint, biro My sculptural work is about regeneration and repair, in which I alter objects from their original state and give them a new existence. This work was inspired by the Renaissance period looking at formal structure and the way weightless movement is framed around a central point. I also took inspiration from the novel ‘Brave New World’ by Aldous Huxley. ‘grow’ 2012 - Lesley Blakelock sculpture – plaster, gloss paint, pigment, powder paint

NATHA N MOLINEAUX LEVEL 2 FINE ART THIS IS A PERFORMANCE What I wish to show in this exhibition is my ability to work freely with only my imagination on a project. I wish to be live during this exhibition. In all fairness I have no clue what so ever at this point in time what I will do, all I know is that I plan to bring the things I wish to use and just make it a fun experience. My aim for what I am about to create is to have a good freestyle flow. So give me something and I’ll show you what I can make of it.

M AL T T GOODSMITH EVEL 2 FINE ART SCULPTURE My work is influenced by modernist industrial process and eastern traditions such a Zen and Daoist thought and practice. I have been largely working with digital medium, but here bring a minimal composition into a painted form of print, resembling zen caligraphic scrolls. I prefer such abstraction to be left open to intepretation, however I hope themes of the natural and industrial, optical dynamics of movement, and social proximity can be be felt too.


LEVEL 2 FINE ART NEW MEDIA When watching a film the viewer is very aware of this fact. Even the most high-tech 3D filmic experiences will fail to persuade the viewer to forget their physical and mental existence within this world. By creating familiar spaces virtually and situating them within the correlating space, my films attempt to question how one perceives reality and alters how one views and thinks about the physical space around them.


L EV E L 2 FA SH ION A N D T E X T I L E S K N I T W E A R As a knitwear designer my practice is influenced by the study of historical textiles and the traditional applications of the craft of knitting. Through the understanding and development of the technical applications of the knitted stitch I try to create innovative textiles with unusual yarn and colour combinations. I am a highly experimental designer and enjoy creating texturally complex pieces which describe the varied sources of inspiration I have. I am inspired by unusual imagery and find sculpture, photography and fine art to be key areas of influence. It is the synthesis and study of these wide ranging influences which fuels my initial design process and early sample work. The piece seen above is from the accessory collection Ageing Opulence. These accessories were inspired by a wish to comment on the current economical climate. A wish to convey the vulgarity of wealth seen in contemporary culture was central to this project, with a overriding aim of creating overly opulent fabrics using culturally relevant yarns. Rubbers, plastics and synthetic fabrics sit alongside cashmere and silk, providing a ‘’tongue in cheek comment’’ on wealth as waste


L EV E L 2 FA SH ION A N D T E X T I L E S P R I N T With strong influences from the surrounding architecture and a mixture of current and classic films, these pieces help to portray a combination of old and new through modern technology and symbolised motifs. These are inspired by the Victorian era to contrast with the modern day surrounds and lifestyle. I have also been heavily influenced by the understanding of development cycles seen through the ages: how the beginning of industrialisation is new and revolutionary until it becomes mundane and part of everyday structure as we build and advance technologically and in society. Post apocalyptic stories are popular for the reason of going back to the very basics among the ruins of the future to recreate something better through the survival of the fittest.

S AL ERV EA H BENSON L 2 GRAPHIC ARTS My work has involved producing the advertising for Transitions, including posters, banners and indeed this very publication. Each element focuses on the transition of colour which is an important part of any piece of work. My exhibition piece uses the pool table as an extention of this concept; focusing on the transition of light which is made up of every colour. This is intended to create a different outlook on the movement and changing nature of the game.

THANK YOU With thanks to everyone that helped in the setting up of the show and to all of the artists for their participation in the exhibition it couldn’t have been achieved without them. Jessica Taylor Curation Officer The Union, Winchester

Transitions Exhibition Booklet  

Accompanying exhibition booklet for 'Transitions' at Winchester School of Art - June 2012