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IA13 Degree Show Friday, June 14th – Wednesday, June 19th 2013 www.ia13.co.uk

D E G R E E S H O W


A C K N O W L E D G E M E N T S We would like to thank those that have helped us

Friday, June 14th - Wednesday, June 19th 2013

throughout this degree, and perhaps even in the years to come. This includes our tutors: Jane Brake,

Holden Gallery

Jon Biddulph, Hazel Jones and Dave Griffiths. We

Grosvenor Building

would also like to extend our thanks to the staff at the

Manchester School of Art

Manchester School of Art, graduates of Interactive

Manchester

Arts, and a special thanks to Paul Tutty; all of whom

M15 6BH

have supported us in realising our ideas and ambitions.

Thanks to the designers of this publication, DR.ME. www.ia13.co.uk


I N T R O D U C T I O N “We have to go from what is essentially an industrial

Welcome to the Interactive Arts Degree show 2013.

model of education, a manufacturing model, which

We would like to thank this collective of individuals

is based on linearity and conformity and batching

for their contribution to the culture of the course, and

people. We have to move to a model that is based

we wish them every success in their future growth and

more on principles of agriculture. We have to

achievements.

recognise that human flourishing is not a mechanical process, it’s an organic process. And you cannot

Please enjoy their show.

predict the outcome of human development; all you can do, like a farmer, is create the conditions under

Jon Biddulph

which they will begin to flourish... Programme Leader B.A. Interactive Arts. It’s about customizing to your circumstances, and personalising education to the people you’re actually teaching…. It’s not about scaling a new solution; it’s about creating a movement in education in which people develop their own solutions, but with external support based on a personalized curriculum.” Sir Ken Robinson: Bring on the learning revolution! TED Talk 2010, TED.com

(Farmer’s son)


S A N D E R S O N

S T R E E T

J A M I E

S A R A H

31.

S A D D I Q U E

A L A N A

L A U R A

32.

M U R P H Y

M I C H A E L

29.

M I T C H E L L

Y A S M I N

30.

M I S D E M E A N O R

D A R R E N

27.

M A E

H A N N A H

28.

L I V E R M O R E

J U S T A R

25.

L I T T L E

K I R S T Y

26.

E L L I E

23.

I L L E S C A S

K I N G S F O R D

L A W R E N C E

P A S C A L

24.

H E A L D

A M Y

22.

H A S K E R

F A Y E

21.

H A R V E Y

M A R G A U X

20.

G R A H A M

L E W I S

18.

G A R D I N E R

J A M E S

19.

F O W D R E Y

G R A C E

17.

D A V I D

16.

S O P H I A

15.

F O S T E R

M I C H A E L

14.

F E R G U S O N

12.

B E C K Y

13.

D A V I S

T H O M A S

11.

D A V I E S

J U L I E T

9.

B E V A N

H A N N A H

10.

B E I C K H O R A S A N I

T H O M A S

7.

A R T E S E R O

F A B I A N

8.

A J A Y I

E L I S A

5.

L A U R A

6.

A H M E D

3.

S A M I E

4.

1. A C K E R L E Y

2.

J A M E S

P H I L I P P A

S W U I N W F W A I R T N T E W R A S T K I N


J A M E S A C K E R L E Y

1. jmartynackerley@gmail.com

Image Caption: Yellow Composition

07891727456 jmackerley.tumblr.com

My practice is concerned with the investigation and

Unconventional interactions with everyday objects

subversion of everyday objects and power structures.

and street furniture are presented in a mundane urban environment. Through these simple interventions and

Expanding from my beginnings as a sculptor, my

convulsions the authority of conventional systems of

work finds its roots in the conventional boundaries

behaviour are questioned, and the rules by which we

of a contemporary sculptural practice whilst also

allow ourselves to be governed are subtly dismantled

utilising the freedom offered by actions and narrative

and examined.

photography. The aim of this hybridised practice is to evoke a conversation that can take place both inside 2.

and outside the work.


1.

samie_ahmed@live.co.uk 07514532351 vimeo.com/samietzuriel

I explore the creation of mess by organised means.

The innovative procedures are filled with references

A combination of common foods, mechanical

to politics, strands of humour and clinical procedures.

components, chance and precision turn my kinetic

Each component adopts its’ own personality and is

sculptures into mini events. The construction of each

focussed on its task to dismember.

experiment is simple and raw, and each experiment has a performance element to it. Spaghetti hoops, beetroots and pomegranates are dissected and splattered through modified components, motors and drills.

Image Caption: Untitled

2. S A M I E A H M E D


L A U R A A J A Y I

3. laura_aj04@hotmail.com

Image Caption: Photography by John Lynch

07756746789 about.me/laura_ajayi @lauraajayi

Visual perception and the mind’s eye fascinate me.

My interests in fashion, film and music are visible

I am intrigued by the reaction of the audience.

throughout my practice and I think of my artistic

Optical illusion, geometric shapes, interior and

development as a visual diary.

exterior design, and decorative patterns all influence my practice. The use of monochrome in my work is very important as it reflects my personality in an abstract manner. 4.


3.

eart7@hotmail.com 07503966239 elisaartesero.com @ElisaArtesero

Image Caption: ‘Leap and the net will appear’ and ‘Sunlight Bowl’ (from Sun and Moonlight Series)

4. E L I S A A R T E S E R O


F A B I A N B E I C K H O R A S A N I

5. f.beick@hotmail.com

Image Caption: Untitled

07585080806 about.me/fbeickhorasani f-beick.tumblr.com

For years I have explored different mediums &

I will attempt to encapsulate my own identity in the

formats, subjecting them to a diverse range of

form of bread. Questioning what makes me who I am

themes.

& what components are integral to be classified as an

Recently I have focused upon ‘The Self’ & what

‘Irish-Iranian’?

elements collate to create ‘Identity’.

My intentions are to hopefully, through the

Investigating how, as a species, we cling on to our

consumption of ‘Me’, provoke the question,

individual customs & defend the components that constitute our self-identity.

“What would I taste like?”

6.


5.

tom.bevan2@hotmail.co.uk 07874050002 about.me/tbevan2 @TBevan2 As an artist, I am a storyteller. My work focuses on

and how the art of bookbinding can be utilised to

how stories represent us as people – not only the

transform the potential of a book and realign its

stories we choose to read, but also our own personal

position amongst its digital counterparts.

stories and how we share these with those around us. My work is traditional in method but with a digital conscience. The digital age has revolutionised stories; how they are produced and distributed and my work considers the consequences of this. Particular regard is paid to the relevance of ‘the book’ in society,

Image Caption: 4.02pm

6. T H O M A S B E V A N


H A N N A H D A V I E S

7. hannahdavies91@hotmail.co.uk

Image Caption: Untitled

07505142889 about.me/hannah_ruby_davies

I strive to find beauty in the grotesque, to straddle

Colour is a very important aspect to my work; finding

the border between them, and combine this with my

a balance between translucent and vivid, in what is

fascination with the human body, ‘flesh’ in particular.

often considered to be a relatively neutral thing, flesh.

Working predominantly with my own face and body,

Working with this organic, pulsating mass, my work is

I attempt to blur distinctions between representation

concerned not with the individual, but with the human

and abstraction. Whether it is through Photoshop,

body, completely detached from whom it belongs to.

through paint, through exploring my own physical limitations, or indeed a combination of these. 8.


- propose new ways to inhabit the city.

33 (0) 678018543

- cross borders between sculpture, photography,

about.me/julietdavis cargocollective.com/julietdavis

7.

juliet-davis@laposte.net

writing, sound (poetry), performance, video. - stare at your environment to disturb it, mimic working instructions to create endless

INSTRUCTIONS (how to make an artistic project) - investigate public, “experienced” space. - work with existing materials, forms and words, (make shifts). - don’t try to make expressive movements / forms, but rather geometric, banal, “neutral” moves that still

and/or absurd actions. - have several relationships with the public: participants or witnesses of an almost invisible action, exhibition visitors who haven’t experienced a “live” event, people who learn about a project through discussion.

bring expression / meaning. - disturb daily actions, create gaps in the continuum. (make absurd actions / movements, not clearly related to art)

Image Caption: Untitled - Sigh(t)ing the city, action / photographic series, 2013. (collaboration with and) Photograph by James Ackerley

8. J U L I E T D A V I S


T H O M A S F E R G U S O N

9. tom.ferguson@live.co.uk

Image Caption: Untitled

07522350037 about.me/t.ferguson tomfer.tumblr.com

@TomVerb

At school, teachers would always read out my stories

of telling the same story in different mediums. These

and I would be sat there, my heart beating, whilst

different mediums have their own limitations and

everyone listened to what I had created. The teacher

benefits.

would say that they were interesting stories and that I clearly had imagination. However, they would later

The film and performance are visual, but the audio

add that my technical skills were not very good. I

piece is a narration offering more, not necessarily

hadn’t quite got my punctuation or spelling right.

trustworthy, information.

I’ve spent the last few years exploring different ways 10.

to tell a story and I have become interested in the idea


9.

foster.rebeccalucy@gmail.com about.me/beckylucyfoster

Looking at the construction and deconstruction of

Currently the deconstruction takes place through

language, my work explores how we form words,

the process of cutting up my writing and weaving

subvert meaning and hide behind language. These

it back together as a form of construction. Taking

themes are studied through my own personal

the opinions of others as well as my own thoughts,

thoughts and experiences, concealing them

it focuses on the themes of faith and religion,

behind codes and processes of deconstruction and

specifically my own experiences.

construction.

Image Caption: Untitled (weave 3.4), 2013

10. B E C K Y F O S T E R


M I C H A E L F O W D R E Y

11. mike@cathode.tv

Image Caption: Untitled

cathode.tv @cathodeDOTtv

Since starting the Interactive Arts course, I have

Learning some coding fundamentals has enabled me

learned new methods of approaching my work and

to move beyond the functionalist limitations of off the

developed new ways of generating ideas. I have been

shelf design packages. In the future I hope to continue

greatly inspired by the work of other artists and have

my studies to a postgraduate level, eventually working

begun to develop a visual language of my own. This

with physical computing and data visualisation.

language is often partially comprised of a traditional technique, subverted by a digital mechanism. The end result could be anything from a process-based work of kinetic sculpture to a generative lyrical couplet. 12.


11.

gardiner_sophie@outlook.com 07596098855 sophiagardiner.wordpress.com

Image Caption: Wanga Bottle, (Drapetomania Project, 2013).

12. S O P H I E G A R D I N E R


D A V I D G R A H A M

13. davidjacksongraham@hotmail.com about.me/david_graham/ david-jackson-graham.tumblr.com/ @DavidJ_Graham

My practice is centred on the idea of producing imaginative and exciting visual films. Focused on presenting the idea of human emotions in an artistic way, an important factor to my work is the approach to creating inventive ways to distort and alter the subject. With emphasis on producing visual narratives, using the movement of the body and other materials to create a variety of effects in order to provoke the audience emotions, allowing the piece to be 14.

open to interpretation.

Image Caption: Stills taken from ‘Ink Experiments’ film


13.

grcharvey@gmail.com about.me/graceharvey graceharvey.tumblr.com/ @_graceharvey I am fascinated with the concept of unseen presence. More specifically, my interest lies with the areas of our architectural surroundings that are located out of sight and the sense of void that is evoked by these areas. My practice is concerned with emphasising the conceptual potential of these spaces. I work sitespecifically to alter my architectural environment in order to manipulate the viewer’s experience of a space; to question what we think we know.

Image Caption: Research Image: “The wall cavity that encompasses our studio”

14. G R A C E H A R V E Y


J A M E S H A S K E R

15. jameshasker@hotmail.co.uk 07854710836

Image Caption: Expanded Portrait via Acrylic Paint Special Thanks to all those who have participated in my work.

Drawing has always been my main medium within my

The goal of these pieces is to create a portrait on my

work but this year I have taken a different direction

own body whereas the restrictions in the process’s I

then I would have ever conceived before I started

go under will restrict me from drawing the portrait. I

university. Focusing upon the themes of portrait and

have incorporated myself into my expanded drawings

control. This has leaded me to create individual pieces

to demonstrate and explore the intimate relationship

of ‘expanded drawings’, these drawings are process-

between the artwork and the artist.

based portraits in which I have set restrictions and limitations in the way I draw them. 16.


15.

lewisjheald@hotmail.com 07840317098 lewisheald.wordpress.com My work is about the adaptation of objects, bringing

the object in a new context and inspire them to think

them into focus through mechanical processes. The

about the object in a new way.

pieces I create are primarily kinetic, enjoying works that are physically animated. I create such work in an attempt to progress from static pieces as I believe the marriage of art and physics creates something truly fantastic. I aim to engage my audience, humour them, have them view Image Caption: How Long is a Piece of String? Mk2.

16. L E W I S H E A L D


M A R G A U X I L L E S C A S

17. margaux.illescas@gmail.com 07975511773

Image Caption: Testing Exhibition, Untitled audio picture, M.Illescas, 2013

cargocollective.com/millescas

I am an interactive artist inspired by the quotidian

Lately, I have had an interest in our perception of

experience of life, sometimes a particular moment,

spaces through sound. This work has been challenging

the way I felt at that moment. People inspire me

because it gives me a new way to approach the

as individuals.

relationship between sound and image.

My preferred mediums are sound and the moving image. Creation leads me to research and research to creation; both are essential to each other and it is a long process before I consider the final piece. 18.


17.

fayekingsford@gmail.com

I have found over the course of my studies that I

I have gathered evidence of my life, mostly from

am continually questioning who I am. Rather than

my family. I’ve gathered their accounts of different

resisting this and seeing it as a distraction, I chose to

periods of life, photographic verification of places

embrace it and look deeper into it.

I’ve been and people I spent time with. I’ve examined ways of presenting these accounts and snapshots in

Like most others, I have my memories of growing

ways that map out my own life, encouraging others to

up, my experiences, the places I have been and the

question their own histories.

people that I have met. These memories are inherently one sided, clouded or even rose-tinted.

Image Caption: “Life Journey” (2013) Photograph by Pete Kingsford

18. F A Y E K I N G S F O R D


A M Y L A W R E N C E

19. imaginaryartwork@gmail.com

Image Caption: Untitled

07972828408 about.me/AmyLawrence

Manifesto 01

20.

i.

The process of completion must allow for the

vii.

Results are encouraged.

uncontrived.

viii.

The viewer becomes creative accomplice.

ii.

The work must have no completion date but

ix.

Gap between art and life is teased

always a duration.

and loosened.

iii.

Present behaviour as art.

x.

Performance as situation, situation as

iv.

The live image is always a truthful

power relationship.

representation.

xi.

Social choreography may transform

v.

A dialect between the material and

un-reactive objects.

immaterial is necessary.

xii.

The catatonic viewer as ideal participant.

vi.

Present a non-spectacle as process.


19.

scumbola@yahoo.co.uk 07758011776 scumbola.blogspot.com

Mixed-media artist, self-styled sad clown, and purveyor of surrealist eyeball-buggery.

Image Caption: Screenshots from “the Little Spermaid” and “Butter Won’t Melt”, two experimental horror shorts.

20. P A S C A L L I T T L E


E L L I E L I V E R M O R E

21. ellie_livermore@hotmail.co.uk

Image Caption: Untitled

07584089080 about.me/ellielivermore ellielivermore.tumblr.com

Investigating the educational and social dynamics

‘Participatory Quilting’ is open to flick between the

credited to participatory art, ‘Participatory Quilting’

two, one minute a collaborative sewing project, the

invites viewers to contribute to its evolving surface.

next acting as a socially engaged one. In this work, I

Introducing multiple levels of involvement, the

look to further understand the relationship between

audience can choose to watch, to sew and/or

the political and the social as well as learn more about

insert a ‘theme’.

the nature of participation.

The often overtly political approach taken in many participatory artworks’ cause us to critique 22.

the niceties of the ‘community arts’ tradition.


21.

kirstyround5@hotmail.co.uk 07843838990 kirstymaeart.tumblr.com @KirstyMae20 I have an interest in art as therapy, used as a cathartic

The idea that it may have a great impact on their life,

release. I explore this in my practice by looking at the

a normality if you like, but to passers by, outsiders,

fears, anxieties and traumas that everyone deals with,

strangers, there is no way of knowing.

regardless of significance. At the time of writing this, my works focuses on the burdens of others, their traumatic experiences, and the impact it has on that individual. Image Caption: Untitled

22. K I R S T Y M A E


J U S T A R M I S D E M E A N O R

23. Jussylt@hotmail.com

Image Caption: Fuck War, Make Art (60” x 60”)

07761731782 about.me/jmisdemeanor

Art is a vital part of my life. It allows me to express

I like to challenge myself with large-scale projects. I

my feelings, thoughts and concerns, whilst raising

am currently recreating war scenes that confront the

awareness of controversial and traumatic, social,

viewer with the harrowing reality of what many face

political and environmental issues.

on a daily basis.

Employing a child’s perspective has been a dominant theme throughout my work; deconstructing nursery rhymes and lullabies, adapting familiar found imagery 24.

to engage the viewer and provoke thought on varying subject matters.


23.

mitchell.b.hannah@gmail.com 07813709780 about.me/Hannahbmitchell

My work responds to my own memories and

I ultimately view my work as a multi media process,

surreal experiences. I explore the body and absent

with my main outcomes falling between photography

consciousness and document this through a variety of

and film.

techniques. I am fascinated with natural and artificial environments, and use these to re-create experiences.

Image Caption: Untitled

24. H A N N A H M I T C H E L L


D A R R E N M U R P H Y

25. darrenmurphy@live.co.uk

Image Caption: Untitled

07815821692 about.me/murphydarren @bonesmurphy An interest in dialogue is the main drive behind my

Recordings and documentation are produced to

work. I previously felt it necessary to create objects

provoke further meditation on the dialogues enabled

to facilitate conversation and exchange. However, I

by my process-based practice, allowing me to widen

realise the conversation itself is the integral part of

the transmission of these conversations beyond the

my work.

bounds of their initial participants.

Acting, in the words of Peter Dunn, as “context provider” rather than “content provider”. I create the

Special Thanks to Rowlinson Garden Products for

environment for discussion rather than the object

supplying furniture.

that provokes it. As a result, the social effects of the institution and location are an important consideration 26.

in my practice.


25.

Yasminsaddique@hotmail.com 07585056575

Image Caption: Containing Memoirs

26. Y A S M I N S A D D I Q U E


M I C H A E L S A N D E R S O N

27. mjsanderson24@gmail.com

Image Caption: Untitled

07432704812

In art, beauty is as important as its ability to provoke.

Working in mixed media, my current work aims to

I make art that generates a deeper meaning while

represent family identity and how it is morphed

remaining accessible.

through illness. This work has evolved through the use of studies from old photographs, interviews and

The human form, parts of or in its entirety, is always

personal experiences that have took place.

been present in my practice. To me it is accessible on an instinctive level. They generate ideas of identity

I attempt to question the viewers understanding of

and representation.

cancer and the affect it has on the family dynamic as a result of this work, as well as develop a stronger

28.

understanding and appreciation myself.


27.

alanastreet@hotmail.co.uk @Alanastreat

With a soft spot for objects that have seen better days, my work intrigues our need to fulfil certain gender instincts, and how our perspective on sex affects our emotional capacity in relationships.

Image Caption: Vagina Stool (development) - 2013

28. A L A N A S T R E E T


J A M I E S W I F T

29. melancholyromance@live.com

Image Caption: Gravity

about.me/melancholyromance @MelancholyRo

My body of work concentrates on a fusion of both

captures a melancholic emotion infused with aspects

photographic stills and Haute Couture garments,

of romance, which engages a battle between darkness

establishing themes such as future and time. My stills

and beauty. This creates an intriguing atmosphere

are directed towards fashion portraiture, which often

invoking the viewers awareness; what constitutes

contain narratives.

physical attraction can be.

Through the making process, there are two main distinguished moods become dominant and continually juxtapose each other to create a constant 30.

and stable interaction of differences. This oxymoron


29.

sarah@sarahunwin.com 07889814839 sarahunwin.com @sarahunwin My work responds to material culture while examining how we collectively explore, archive and measure our human condition. I view my work as a composite of sculpture, process art and installation.

Image Caption: Untitled

30. S A R A H U N W I N


L A U R A W A R T E R S

31. beasty_meow@hotmail.com 07740823073

Image Caption: Photograph of investigations into naturally formed Mandalas.

about.me/laura.warters

In this modern time, our spiritual selves and conscious

I use these symbols and concepts to remind people

minds are easily overlooked. I have been exploring the

that we are all connected. I believe it is important to

circular form, or Mandala. It connects us in so many

remember that we are connected to each other and

different ways, physically, spiritually and consciously.

to think about the world on a more spiritual level.

The Flower of Life also intrigues me; this geometric

Currently, using 3D designs and painting have enabled

design is believed to be the basic pattern from which

me to bring my concepts to life.

everything is derived, just by looking at this pattern we are able to re-connect with our core selves. 32.


31.

flick.watkin@gmail.com 07825330232 pippas-sketchbook.tumblr.com @Flick_Watkin Focused on ideas of xenophobia, my work deals with

This is a question I have been examining and exploring

the fear of others and of the unknown.

in my work. Using my personal experiences and those of people around me, I have tried to discuss this idea

We tend to fear that which we cannot relate to and do

of ‘the other’ through the medium of film.

not understand. This idea of otherness can lead to the ‘us and them’ mindset that can cause the persecution of people from groups other than our own. Is this human nature or is it something we can overcome?

Image Caption: Clitheroe, Blackburn and Burnley film stills.

32. P H I L I P P A W A T K I N


www.dr-me.com



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