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ArtWorks Open 2019 selected by

Emma Talbot & Alex Schady


ArtWorks Open 2019

Selected by Emma Talbot & Alex Schady Anna Brass Boris Born Chen Winner Emmely Elgersma Gal Schindler Gavin Maughfling Gwenllian Spink Hadas Auerbach Haiyu Yuan James Jessiman Jim Cheatle Jinyong Park Jorge Brito Kenneth Winterschladen Khilna Shah Kiki Xuebing Wang Latifah A. Stranack Lucy Ralph Morwenna Lake Russell Alderton Safira Taylor Sarah Grainger-Jones Songnyeo Lyoo Steph Huang Stephanie Douet Tarek Sebastian Al-Shammaa Vanessa da Silva Victoria Phillips-Walmsley Yang Xu Zara Ramsay


ArtWorks Open 2019 selected by

Emma Talbot & Alex Schady

Emma Talbot’s work and research explores visual autobiography. Through drawing, painting, installation and 3-dimensional making, she articulates internal narratives as visual poems, or associative ruminations, based on her own experience-memories and psychological projections. Emma Talbot is currently Tutor in Painting at the Royal College of Art.

Alex Schady is an artist and filmmaker with a broad interdisciplinary practice. His work uses materials immediately to hand, incorporating modern-life ephemera that is manipulated and re-interpreted across a variety of media. Combining craft techniques and digital processes his most recent work uses the language of science fiction to explore the psyche of contemporary culture. Alex Schady is currently Programme Director, Art Programme at Central Saint Martins


ArtWorks Open 2019 received 564 submissions from 304 artists. On behalf of the trustees of Barbican Arts Group Trust I should like to extend my thanks to all the artists that submitted work. Many artists that were not selected sent touching messages of well wishes for the show. How amazing, my personal thanks to them and best wishes in all their endeavours. Many thanks to Emma Talbot and Alex Schady who generaously gave their time and consideration to all the works submiteed to the exhibition. Thanks to, Lesley Dalton, Neil Irons, Andreea Teleaga, Holly Buckle and Sharon van Heck for all their work on the show. Mark Wainwright Director


As a selector, it’s fascinating to see the 564 artworks submitted to the Artworks Open, to get a snapshot of what artists are concentrating on, the ideas that motivate making and how they’re manifested. So first of all, it seems important to thank all those that submitted work. It was affirming to see the richness and range of artistic output, and the impressive level of the work being produced. It’s also interesting to be on the other side of a process that I’ve engaged with many times myself as an artist - putting your work forward for selection in an open submission - and somehow reassuring to note that the selection isn’t a judgement that differentiates whether an individual work or maker is any good or not. Mathematically, it’s evident that we have to be able to put aside the majority of the work, to hone in on only a few, to pull out artworks that produce a particular subjective reaction between the two selectors. This is the kind of silent contract between selectors and artist –the artists have been generous to show us their work and we’re given the special opportunity to choose a group that holds together as an exhibition. I guess I’m saying that because I know there were some memorable works that aren’t included in the show that are still in my mind, still working away in there, but didn’t sit with the final group. Nevertheless, at the end of detailed deliberation, it’s satisfying to see such a great group of works and exciting to know what a great show this year’s selected open is! The artworks included offer exciting and diverse approaches, negotiating the boundary between method and meaning in multiple ways that really piqued our curiosity. They seemed like they were testing the ways that image (in its broadest sense) and material conveys thought at this point in time, and had a confidence and attitude that called our attention. It has been a real pleasure to be able to put together a selection the last two years, with two artists I admire – my fellow selectors, Tai Shani and Alex Schady. Special thanks to Mark Wainwright at the Artworks Open, for his careful organisation and commitment to providing a supportive platform for artists. It’s particularly valuable that the Artworks Open not only provides visibility to those selected, but also opportunities for prize-winners to extend their practices in the form of 6-week residencies or solo shows. Many congratulations to all the brilliant artists in the exhibition, and a special shout out to this year’s prize-winners. Emma Talbot November 2019


Anna Brass


I’ve spent the last year in Rome looking at cream cakes and thinking about potholes. My studio is crammed with objects and images made from makeshift materials like plaster, straw, bubblewrap and felt. Slabs of marble and mortadella sit alongside big doughy palazzi. Popping eyes and lopped-off limbs refer to the cartoonish violence seen in hagiographic imagery, whilst landscapes and cityscapes made out of cardboard and foam invoke the elastic spaces inside Italian Gothic painting. The work moves between two and three dimensions: lumpy images and pictorial sculpture.


Anna Brass

Beeto 45 x 45 x25 cm cardboard, glue, gold foil, vinyl paint, pigment ÂŁ 500


Anna Brass

annabrass.com

BA - Newcastle University MA - Kingston University

Solo Shows 2019 Pleasant Land, Luna Elaine, London Riddled, Una Vetrina, Rome Group Shows 2019 Al Dente, curated by John Walter, Skelf Greetings, Mauve, Vienna 2018 Bonfire of the Manatees, Lower Green, Norwich 2017 Blumen, Unthank Arts Space, Norwich Awards/Residencies 2018 Sainsbury Scholarship in Painting and Sculpture, The British School at Rome


Boris Born


My works are amorphous, free from definition. The mixed media is applied arrhythmically and form in the paintings is achieved without a premeditated use of line. The reduced palette and single theme generate unity and power. The paintings are quiet, they never scream. They are no sensations, rather disappointments. They don’t shine, don’t glow. They are ‘shaggy’, because they are not harmonious. If they were turned into music, it would probably be arrhythmic. They are discordant, because they are not based on a deliberate concept of harmony. Maybe they obey an ‘inner’ harmony, but it is indescribable, and thus certainly discordant. My paintings are late or early, forgotten or un-forgettable, the right way or the wrong way, heavy or light, rigid or floating, happy or sad. They pulsate, throb. They are wild or tame, slender or voluminous, raving mad or like belladonna, meaty or skinny, fruity or oily, dry, wet, arching, squiggly, wriggly, waggly, full, empty, sandy, earthy, foggy, lumpy or crooked. They wrinkle their nose, they are shy or bold, loose or tight, shrivelled or they have a little bit of everything. They tell the stories of ‘scenarios’. They are serious final paintings.


Boris Born

Series: The way you shout into the forest, the same way it comes back to you. (19/048) 60 x 50 x 2 cm mixed media on paper ÂŁ550


Boris Born

www.borisborn.com

BA - Free University of West Berlin MA - Philosophy and German Literature

Solo Shows 2018 ‘New Pictures from Alleland’ - Pictorem Gallery, London 2017 ‘Pictures from Alleland’ - Stone Space Gallery, London


Chen Winner


My work revolves around the primary experience of falling in and out of touch with ourselves and our surroundings. The movement of the self as it fluctuates between an experience of separateness from or absorption in the world, in a search for an indiscernible closeness is underlined by a presence of lacking or muteness which is at the root of my practice. I create sculptural objects and environments which skirt between the made and the found, between domestic spaces and landscapes. This duality has to do with the human desire to feel at home in the world.


Chen Winner

Witness 17 x 30x 5 (each) cm sculpture £800


Chen Winner

chenwinner.com

BA - Visual Communication, Bezalel Academy of Art and Design, Jerusalem, Israel MA - Print, Royal College of Art, London, UK

Solo Shows 2017 Gilgamesh, Solo Show, Gabirol Gallery, Tel-Aviv, Israel Group Shows 2019 And in me too the wave rises’, Lewisham Art House, London, UK Orbit UK Art Graduates Show, OXO Bargehouse, London, UK; Juried by Stephanie Dieckvoss, Aindrea Emelife, Oli Epp, Gabrielle du Plooy Eyes of Many Kinds, CGP Gallery, London, UK 2018 Nof, Group Show, Provender Camden Market, London, UK 2017 A moment, Outline Festival, Beita Gallery, Jerusalem, Israel 1:50,000, Group Show, Studio Poink, Tel-Aviv, Israel Awards/Residencies 2019 Lewisham Arthouse Graduate award scheme (Shortlisted) 2017 The Clore Duffield Foundation Scholarship for Masters programs at the Royal College of Art The Kirsch Foundation Grant Jerusalem Print Workshop - Young Artists Scholarship, Artist Residency


Emmely Elgersma


Surrounded by buckets of PVA glue and stacks of newspapers, Emmely Elgersma uses her studio like a surreal kitchen, concocting wonky sculptures and wobbly objects that look good enough to eat (but probably don’t taste very good). Creating clay from kitchen products and papier-mâché out of household chemicals, Elgersma’s work is rooted in her formal training as a ceramicist, just with a couple of jokes thrown in. The result is an exploration of what vessels mean to us as human beings, like those old Roman pots they keep digging out of holes in Wiltshire but bright pink or baby blue, and full of the heady power of everyday emotions, like the memory of winning the World Cup in 1966 or drinking afternoon tea with your nan. She is absolutely serious and utterly unserious at the same time. Currently, she’s waiting to see if she’s made it into the Guinness World Record books for making the biggest ever papier-mâché sculpture back in February 2019. It was very, very big. Too big, if anything. She’s also almost completed her FA Level 1 coaching qualification so will happily tell you why 4-4-2 is more effective with a diamond and inverted wingers. The result is a joyous collision of colour, history, football and ceramics.


Emmely Elgersma

Vierendertig 90 x 80x 30 cm papier-mâché, emulsion, varnish, hanger £3,000


Emmely Elgersma www.emmely.co.uk

BA - Central St Martins BA Textile Design 2012 MA - Chelsea College of Arts MA Fine Art 2017

Solo Shows 2019 Biggest Papier-Mache Pot World Record Attempt with Limbo Gallery, Peckham. The Biggest’ Winsor & Newton Gallery 2017 Pot Luck MAFA Gallery Group Shows 2019 PUB: duo show with Jo Kitchen @ The Function Rooms NW1 ULTRA: Art for the Womens World Cup - presented by OOF at J HAMMOND PROJECTS 2018 Art Car Boot Fair - Granary Square Secret Art Sale Royal Academy 250th Summer Show 2017 MA Summer Show, Chelsea College of Arts Awards/Residencies 2019 Elephant Lab Residency 2017 Shortlisted Bloomberg New Contemporaries CBRE Spitalfields Public Sculpture Award Projects 2019 Welcome Home, Healing day - Elephant West Publications 2019 https://www.timeout.com/london/news/this-artist-in-peckham-is-making-the-biggest-papier-mache-sculpture-ev er-032819 http://www.oliverholms.com/diary/2019/7/1/in-process-006-emmely-elgersma https://elephant.art/ceramicist-breaks-craft-build-beautiful-diy-pots/ 2018 http://www.lenarachoudhury.co.uk/Meet-The-Artist-Emmely-Elgersma https://www.arts.ac.uk/colleges/chelsea-college-of-arts/stories/in-the-studio-emmely-elgersma-ma-fine-art https://contributormagazine.com/fashion-story-closer/


Gal Schindler


My work depicts mostly women and questions of the representation of the female body within the history of Fine Art and Painting. There is a certain tension about the different scales I use—small scale of just a few cm or as large as 3 meters tall. The figures in my paintings retain an ‘unfinished’ look—the idea of subtraction and negative space play a significant role within the way I approach the surface and start making work.


Gal Schindler

Malign Blossom 15 x 20x 3 cm oil on wood panel ÂŁ800


Gal Schindler

https://gal-schindler.squarespace.

BA - Slade MA - Royal College of Art

Group Shows 2019 Heals London Design Festival Mansard Gallery Awards/Residencies 2019 Henry Tonks Prize, Slade Publications 2019 THALIA Magazine


Gavin Maughfling


My paintings examine the contingent and fluid nature of queer experience, and the ways in which its foundations continually re-adjust to changing social conditions. They suggest that our never-ending reshaping of identity is enriched by the handing on of knowledge between generations, both down and up, through the recounting of personal trajectories, the private documentation of domestic lives, and the celebration of political struggle. Their imagery roams across recent decades of queer experience, taking in sources including gay home movies from 1950s America, YouTube video blogs by young queer Londoners, Instagram memorial sites as well as my own photograph and film archives. The young queer men in ‘All the Boys’ are clubbing, somewhere in America in the early 1980s. The painting is from a series of gesso panels I made this summer, in which I explored queer friendship and the support and tenderness it can offer in the face of struggle. In this image, I was drawn to the way this group of partying friends are clinging together, caught in a moment of fragile, defiant, exuberant solidarity.


Gavin Maughfling

All The Boys 70 x 50x 3 cm oil on gesso panel £1,200


Gavin Maughfling

www.gavinmaughfling.co.ukcom/

Bachelor of Fine Art, Ruskin School of Art, University of Oxford Master of Fine Art, University of East London

Solo Shows 2019 Did You see Me Coming?, no format Gallery 2017 Voice, Westminster Reference Library Group Shows 2019 Creekside Open, APT Gallery, selected by Sasha Craddock This Year’s Model.Studio 1.1 2018 Beyond the Binaries, House of St. Barnabas Beyond the Binaries, Quayside Gallery, Newport, Isle of Wight 2017 In the Open, Sheffield Institute of the Arts


Gwenllian Spink


Metamorphic rocks are a transformation of ancient sediment. Heat and pressure cause new atomic structures to emerge, a new material that echoes its former self. Gwenllian Spink’s practice is a cultural and historical metamorphism, a crushing and reforming of the world that surrounds her. Currently, the artist’s work mimics Neolithic remains scattered across the Welsh landscape, where she grew up, using the visual language and cultural influences she has gained through living in London over the past four years. Researching Neolithic histories has led onto another body of work, influenced by the existence of prehistoric ‘axe factories’ - sites where axes were mass-produced and distributed across large distances, not only as functional tools but also as potential status symbols. Infant trainers fulfil a similar social niche today; objects of practical purpose rendered useless and used to convey status, distributed across continents through global markets. To convey this absurd thought, Neolithic Axes (2019) is a series of reconstructed infant trainers imitating the form of prehistoric axes; in this new context you’re invited to view them as tools of war, each brand a clan competing for your attention.


Gwenllian Spink

Neolithic Axe (New Balance). 15 x 14 x 5 cm trainers, wood ÂŁ65


Gwenllian Spink

gwenllianspink.comcom/

BA - Fine Art Drawing at Camberwell College of Arts.

Solo Shows 2019 Adlais Hynafol, Ancient Echoes Group Shows 2019 ‘The Westmorland Landscape Prize’, Rheged Centre, Penrith. ‘Time Cannibal’, Brockley Gardens, London ‘UKYA City Takeover’, Surface Gallery, Nottingham 2018 ‘Elephant x Griffin Prize’, Elephant Gallery, London ‘Raiders of the Lost Art’, Lewisham Arthouse, London ‘Marginalia’, Leiepark, Ghent Awards/Residencies 2018 Vanguard Court Studio Award Shortlisted for Elephant x Griffin Prize Projects 2019 ‘Gwrthsefyll’, Off-Site Exhibition, Syfydrin, Wales


Hadas Auerbach


The work of Hadas Auerbach (a middle child) deals with psychotherapy and science; often materialised through animals, animal parts, installations and textures. Her work moves from empirical knowledge and research to folktales and mythology with a focus on the connecting strands that stretch between them.


Hadas Auerbach

A Monk and a Monkey 30 x 40 x 0.4 cm water colour on paper ÂŁ800


Hadas Auerbach

BA - Slade School of Fine Art, London, BFA painting MA - Royal College of Art, London, MA printmaking

Group Shows 2019 ABSINTHE §3, spit & sawdust, London CRYING HORSES, husslehof, Frankfurt am Main IN ACTU. IN POTENTIA, städelschule-fffriedrich, Frankfurt am Main 2018 SLAP DASH FOR NO CASH, newington library, London THE SKIN OF THE EYE, vermilion sands, Copenhagen 2017 LET’S SEE, WHERE WERE WE? IN THE PIT OF DESPAIR, de ateliers, Amsterdam Awards/Residencies 2019 LANDWIRTSCHAFTLICHE RENTENBANK PRIZE, Städelschule, Frankfurt am Main Projects


Haiyu Yuan


The main conception of the work is to examine the uncertainty of the “solid state” of our time from the perspective of contemporary people. People of every age are faced with uncertain things, and the uncertainty we face in this era is particularly large and complex. Just like the small loopholes that appear after the computer program self-updates, it inadvertently carries us to the unknown. This feeling is like when humans find that science seems to be capable of constructing virtual reality, because there is only one real truth, while virtual reality can be countless, which make us fall into confusion and anxiety. And this confusion and anxiety is the uncertainty of the “solid state” that my work is about to present. Most of my works combine the fragmentary image fragments of the pop culture of the younger generation, reorganizing them, collage them, and then creating them. Create a new narrative and conflict in the work with the banal image, thus challenging people’s daily one-demensional thinking mode.


Haiyu Yuan

Smile is a basic manner 30 x 50 x 3 cm iol on canvas


Haiyu Yuan https://www.instagram.com/yuan_lean/?hl=zh-cn

Fine Art - Jiangnan Unniversity MA - Painting - Royal College of Art

Group Shows 2019 Tentousandgreen Art Fair Backward Reading - 508 gallery 2017 Digital projection - Med Gallery


James Jessiman


My practice focuses around the instinct of collecting as a human desire. The work engages with this from a personal and empathetic perspective, having fervently collected fossils, keyrings, miscellaneous collectables amongst other things from a young age. Completing collections and displaying these objects in my home became a primary, solitary objective from childhood, through to teenage years and into adulthood. Drawing is the beginning of all works – whether Computer aided CAD designs, or charcoal works on paper. The lexicon of these drawings, which develop into sculptures are derived from toys and products collected as a child growing up in the 90s. Often my works and ideas emerge by accident, through a design intended to carry, or exhibit objects. I enjoy playing with the value system an artwork demands – to put this more clearly I like to subvert my works by introducing a seemingly futile function. Sculptural works pose as display devices for miscellanea, possessing a secondary function alongside the artwork: a keyholder, a mantelpiece, a crate for the transportation of artefacts. Larger scale sculptures in ‘Mantel’ (Copperfield London, 2018), and the Key-holder series, produced for 30DAYFREETRIAL (SET, London 2018) address the notion of functionality within decorative art. These works appear as four mantelpieces - familiar domestic structures from seemingly different stylistic categories. The works in Mantel became modes of display for the 25 other artists works on show. Made from an index of materials, (cork, cast plaster columns, rope netting) which referenced historical design dialogues, ‘work(s) straddled design, function, furniture and art’.1 My works carry a common dialogue of the alien, the strange and the unknown. A collection of early Science Fiction paperbacks and an interest in outlandish mid century architecture have informed the aesthetic. Collected archives of printed matter inspire me, and imagery from this feeds into large scale screen- printed works. My career as a printmaker has lead to an interest in collage, a technique contributing to a new sculptural understanding. Coils, ropes, and string are motifs that are utilised throughout, embedded as a functional act of holding, hanging, tying together elements of sculptures. These reference the natural, prehistoric worlds and patterns are found in digestive systems, plant forms, architecture and design from ancient civilizations. Through the use of collage - both of collected ephemera, and of materials and production, these works attempt to address the very personal relationship between people and their objects.


James Jessiman

Deff Bedder 54 x 58 x 9 cm spray paint on Jesmonite, mounted on upholstered foam and board ÂŁ2,700


James Jessiman www.jamesjessiman.com

2012 - Kingston University, London / BA Illustration 2017 - Royal College of Art, London / MA Printmaking

Group Shows 2019 Upcoming – Pavillion, Glasgow 2018 Sinkhole Project, Ginny Projects London Mantel, Copperfield, London 30DAYFREETRIAL, Set, London 2017 Super Super, Kingsgate Project Space Horizontal Smile, Hockney Gallery, RCA Awards/Residencies 2017 The Tiffany & Co. x Outset Studiomakers prize 2017 (Shortlisted) Augustus Martin Prize 2017 Projects 2018 Jolene’s Unit (Curated) Publications 2018 Mantel - Lynda Morris, David Steans 2018 2017 Lushington Bellevue - Snöar Press, London 2017


Jim Cheatle


“I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her “I love you madly”, because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still there is a solution. He can say “As Barbara Cartland would put it, I love you madly”. At this point, having avoided false innocence, having said clearly it is no longer possible to talk innocently, he will nevertheless say what he wanted to say to the woman: that he loves her in an age of lost innocence.” Umberto Eco. Reflections on The Name of the Rose. 1994 MODEL AS PAINTING For the most part the Fragmentation Series is made from reproductions of one sort of another. The marks are made in a similar way as to that of a model maker, cast, prepared and painted with acrylic and enamels. The surface which they sit on looks like paper or canvas however this is also a reproduction, cast in resin from paper or canvas. Detailed images of the fabricated marks are printed and embedded into this cast surface, abstracting and mirroring the pictorial plane tying marks and images together. This series continues my long-standing interest in mark-making, processes of reproduction and simulation. The works are highly self-reflexive, generating content from within themselves for the next work, like some strange, organic abstract reproductive system. They are avatars or caricatures of previous painterly archetypes, with the idea of ‘the model’ as a sort of nostalgic immortalising trophy a commodified testimony to the loss of the real.


Jim Cheatle

Fragrmentation No.55 52 x 41 x 6.5 cm cast surfaces and components, pigments, resin, enamels, concrete, rubber, indian ink, inkjets, mirror polished luminium (sides) ÂŁ3,800


Jim Cheatle www.jimcheatle.co.uk

BA - 1989-1991 University of Central Lancashire. Fine Art: Painting. MA - 1998-2000 Central Saint Martins, Communication Design

Group Shows 2019 Carousel. Curated by Amelia Bowles and Antoine Langenieux-Villard. 17–25 May 2019 The Koppel Project, London Substantifs: New Painting and Materiality in the Screen Environment. Curated by Jim Cheatle. 5–27 April 2019 Arthouse1 Gallery, London. Reflective: Jane Ward and Jim Cheatle. Curated by Julia Alvarez 27 April–25 May 2019 Bearspace London. 2018 Surfaced: Surface and Materiality in the Screen Environment. Curated by Jim Cheatle. 19–27 May 2018 Thames Side Studio Gallery, London 2017 Summer Salon. Angus-Hughes Gallery, London. 18 August-2 September Publications 2019 BENEATH IT ALL: SUBSTANTIFS @ ARTHOUSE1 2019. Tom Out Blog writes on the Substantifs show at Arthouse1 Substantifs: New Painting and Materiality in the Screen Environment. Catalogue Essay by Jim Cheatle 2018 Tainted Love: Thoughts on ‘Surfaced: Surface and Materiality in the Screen Environment’ 2018. www.Instantloveland.com article by John Bunker. Surfaced: Surface and Materiality in the Screen Environment. Catalogue text by Jim Cheatle 2017 Jim Cheatle: The Fragmentation Series 2016. Matt Price for Fused Magazine


Jinyong Park


I have made a series of A4-sized paintings that constitute my own geometric hieroglyphs; this body of work is based on my linguistic experience. When I experience spoken words–whether I understand the words as meaningful or only as sounds–I recognise this as both a physical and a psychological experience. I choose one of the words–more likely I happen to be occupied with that word–and then I think about my personal relationship with that word. It is based on my knowledge, associative memory and imagination about the word. This includes bridging the gaps between my mother tongue and foreign languages in a random and illogical way–one sound can have different meanings in different languages, for example–which composes an internal wordplay. This process of thinking is intertwined with my bodily responses to the spoken word’s phonetic qualities, such as length, tone, stress and intonation. I translate the abstract perception and my body’s sensory experience into my imaginative hieroglyphs. Each of them embraces and delivers the personal narratives of the studied word. I think of my painting as a manuscript, rather than as a representative image on paper; it is my way of working as a writer who develops the palimpsest in one’s own language. I paint a medium on the paper and sand it several times so that the paper is no longer ordinary. I also work with drafting tools, such as sharp pencils, rulers and bradawls. I repeat the process of painting, sanding, and drawing, which engenders unexpected and random changes of the image, as well as collects traces and flaws on the surface.


Jinyong Park

gul 29.7 x 21 cm acrylic on paper ÂŁ800


Jinyong Park jinyongpark.com

BA - Fine Arts, Kookmin University, Seoul, 2013 MA - Painting, Royal College of Art, London, 2015

Group Shows 2019 ING Discerning Eyes, Mall Galleries (London) Catamaran, Thames Side Studios Gallery (London) Wells Art Contemporary Exhibition, Wells Cathedral (Somerset) 2018 Young Contemporary Talent Purchase Prize 2018, The Cello Factory (London) Window Project 2012 - 2018, Gazelli Art House (London) Art on a Postcard Secret Auction, WeWork (London) 2017 Snaps Is the Name of the Game or A Few Words on Secret Writing, BAGT ArtWorks Project Space (London) Griffin Art Prize Shortlist Exhibition, Griffin Gallery (London) Awards/Residencies 2019 Winner, The Hopper Prize Spring 2019, Hopper Prize Longlisted, Contemporary Visions, Beers London (London) 2018 Finalisted, Young Contemporary Talent Prize 2018, Ingram Collection (London) Winner, Window Project Spring 2018, Gazelli Art House (London) 2017 Shortlisted, Griffin Art Prize 2017 (London) Projects 2019 Beyond a Dull Moment (Micro-Residency), St. Augustine’s Tower (London) 2018 Our Universes Meet through the Word-holes (Window Project), Gazelli Art House (London) Publications 2019 Jinyong Park, Hopper Prize Journal (online), 17 September 2019. Wells Art Contemporary catalogue, Wells Art Contemporary, Somerset: 2019 2018 Young Contemporary Talent Purchase Prize catalogue, Ingram Collection, London 2017 In the Studio, FOCI Magazine (online), 19 March Issue #1, Art Maze Mag: 2017.


Jorge Brito


For quite some time my paintings have not been about a figurative representation, but an exploration of environments that likely do not exist - who can know for sure? Sometimes I refer to these as unreal landscapes, which I create by the means of painting and drawing. These mediums allow me to make non-existing places real, if only in a flat surface. My aim is to materialise these dreamlike landscapes. By means of painting, with the unifying focus being the idea of a path through the composition, leading the eye and the imagination ever forward and beyond. If the viewer can muster the capacity to see past the immediate field of view, perhaps they can also sense and recognise the succeeding new world I perceive.


Jorge Brito

UW 2 40x 60 x 2 cm acrylic paint on cotton canvas £600


Jorge Brito www.jorgebrito.net

BA - Fine Arts - University of Lisbon

Group Shows 2019 ArtWorks Open, Barbican Arts Group Trust, London Projects 2019 “Temple” Publications 2019 Collecteurs - The Collective Museum of Private Collections (online)


Kenneth Winterschladen


In his book Sculpting in Time, the Russian filmmaker Andrei Tarkovsky wrote, ‘The film-maker, From a ‘lump of time’ made up of an enormous, solid cluster of living facts, cuts off and discards whatever he does not need, leaving only what is to be an element of the finished film, what will prove to be integral to the cinematic image.’ In my practice, painting allows for a comparable form of ‘sculpting’, one that extends beyond time, encompassing sensory and emotional memory, lived and imaginary experiences, and painting’s influence on perception. Through painting I am searching for a quiet profundity. One that is not found by looking forward towards a future, but rather looking backwards; scrambling and reconfiguring the contents of the past to create a different iteration of what has previously existed. Often drawing from the diagrammatical language of textbooks and educational information, my work questions society’s tendency to reduce hugely complex instants of wonderment and excitement (‘life’) to supposedly easily understood and clearly articulable examples or answers (‘lessons’). By referencing visual signifiers found in instructions or illustrations in the exploration of both specific individual experiences and common collective experiences, the work seeks to point to the absurd suggestion that even the more simple aspects of our lives can be readily understood. The somewhat casual and graphic nature in which the subjects are rendered lends itself further to the desire to be easily deciphered, but while the objects, figures or places may be familiar or recognizable, the ways in which they relate to and interact with each other demands more care and attention. The introduction of outside materials in my work, such as rope and wood, has aided in my continuing interrogation of the structure and function of a painting. Can a painting function as a time machine, a window, a book, a sentence, a film, all at once? It is a question that I feel has already been answered, and will never be answered, at the same time.


Kenneth Winterschladen

Sed Fugit 80 x 60 cm oil, wood, cord, MDF, and screws on jute over panel ÂŁ1,500


Kenneth Winterschladen @ nethwinter

BA - Painting 2015, Tyler School of Art, Philadelphia MA - Painting 2020 Royal College of Art

Group Shows 2019 Painting’s For Changing Seasons (Forthcoming) - Bridget Reilly Studios Work In Progress - Royal College of Art 2018 Group Show - Cloud 9 (Philadelphia) 2017 ‘Sense of Place’ - Spillway Collective (Philadelphia) 215 | 610 ‘- The Gallery at DCCC (Philadelphia)


Khilna Shah


I’m a London-based abstract artist producing small to large-scale works in a range of traditional mediums fused with ground pigments; glass; stone; wood, metal, gold liquid/leaf; textiles, and more. A multidisciplinary approach of painting, sculpture and installation has evolved into experimental mixed media layering processes that I label as ‘sculptural paintings’ and which I work on in batches, purely because each piece is a lengthy undertaking dependent on the characteristics of the materials used. The process itself is spontaneous - which often generates further avenues of exploration for future compositions - culminating into an ongoing visual documentary of heightened thoughts, feelings and experiences that are not always rationally understandable. The ideas for creating series of works originate from everyday life content - drawing out the significant and revelatory from the fleeting and mundane - and based on the dominant thoughts that are present in my awareness at that time. Life events; people and places; sounds and smells; music; the cosmos, beginnings and endings of existence; the natural world and its’ elements; emotions ranging from joy to despair, all delivered in their various objectified combinations to balance the short narratives of moments in time, grouped together like chapters in a book.


Khilna Shah

Ancient Wise 50 x 50 x 4 cm acrylic, oil, ink, various paint mediums and textures. ÂŁ1,400


Khilna Shah www.khilnashah.art

BA - Fine Art (Ba Hons), Leeds Metropolitan University

Group Shows 2019 Canal Side Artists Winter Exhibition, London Spring Art Fair, Landmark Arts Centre, Teddington 2017 Art In Mind, The Brick Lane Gallery/The Annexe, London


Kiki Xuebing Wang


The work portrays objects of desire in a strangely economic fashion, creating a paradox of scale and location to question the total being of the luxuries. Contrary to their usual representations, the work is depicted in an “in your face� manner; handbags, watches, and garments are represented in an intimate size, so much so that the appearance and integrity of the luxuries are in turn compromised. Investigated here is the possibility of transformation between non-valuable and the luxury, and the multiplicities of fictions and realities.


Kiki Xuebing Wang

Untitled(Loafer) 58 x 47 x 3.1 cm oil on board £2,200


Kiki Xuebing Wang thekikiwang.com

BA - UCLA MA - Royal College of Art

Group Shows 2019 Treasure Island Phantoms, CLC Gallery Venture, Beijing Sympathetic Magic, Zona Mista, London Group Show at Bridget Riley Studios, London 2018 One Hundred Gardens, Slime Engine Gallery, Shanghai Works on Paper, Little Gallery, Los Angeles


Latifah A. Stranack


As an artist I am interested in how cultures attract and collide, creating a new hybrid voice of the future. Understanding the dynamics of exile and migration, is for me, a direct consequence of my upbringing. I believe that my mixed heritage has been a rich source of material to work with, though at times it has also created numerous questions within me about identity, sense of belonging and place in the world.The sense of not quite belonging, yet, at the same time being an observer of life, the tiny tremor of conflict within oneself, that is also a way to see the divisions and connecting threads that link each one of us to a complex wider world. My work shows the strength and frailty of the human body. I create my art to begin a dialogue with the viewer, to talk about social and political world issues that affect us all as humans, regardless of race, religion or gender.


Latifah A. Stranack

You will be here, forever 30 x 35 cm mixed media painting ÂŁ660 (unframed)


Latifah A. Stranack www.latifah3rayoflight.com

BA - Central Saint Martins Graphic design, illustration pathway 2011 - 2014 MA - RCA visual Communication 2015- 2017

Solo Shows 2019 Brick Lane Gallery Annexe Group Shows 2019 Swissartexpo Zurich Nou wave at the old biscuit factory Fold Exhibition, Lewisham Project Space 2018 Karamel Arts Space, Wood Green What is DRAWing Triforium Gallery, London 2017 What Now Show, Centre 4 Recent Drawing Awards/Residencies 2017 Quentin Blake narrative drawing and illustration prize RCA Publications 2019 https://fieldreadings.co.uk/2019/04/19/common-affairs/ Art presents life zine Dwell time arts publication issue 2


Lucy Ralph


I am intrigued by the body and how it functions, both in the context of its own internal processes and how it reacts to external incidences which can change its course of nature. I am interested in how the mind and body collaborate together but also hinder each other. Rooting from a medically complex, autobiographical foundation, my practice examines the workings of the human body and creates subtle compositions as a response, which highlight its delicacy and resilience when faced with obstacles and trauma. At the age of 15 I underwent total reconstruction and fusion of my spine which, although fortunately not disabling, its restrictions and complications have permeated many aspects of my life. Every day, this continues to spur my preoccupation with health and its exploration through art. I I regularly use fragmented and partially-erased forms, which are both figurative and written, that evoke the existence of physical and emotional memory and the enduring traces of subjects that were once there despite being seemingly absent to others. I express fissures through elements of fragmentation and erasure but also by frequently using bare canvas and negative space. This, alongside the incorporation of thread and the action of stitching into the canvas, carving into wood and etching into copper to create prints, considers the vulnerability of the human body whilst the canvas/surface undergoes treatment as if it were the body itself - constantly fluctuating between destruction and possible reconstruction. In a bid to take back ownership of my own body, the surface I am working on becomes (my) anatomy, constantly undergoing change in an operation which I am performing. Furthermore, my work reflects upon the bio-political challenges which society faces at present. The current global medical climate means there seems to be near-universal frustration with inaccessible or inadequate care, as well as a lack of doctors and hospital beds. Many patients feel like the destiny of their health is out of their control, yet has it even found its way successfully into the steady hands of a healthcare professional?


Lucy Ralph

Horizontal II 40 x 50 cm framed etching with aquatint (1/3 edition) £660


Lucy Ralph lucy-ralph.com

BA - 2017 Fine Art Central Saint Martins, 2018 BA equivalent (Licence) L’Ecole des Beaux-Arts de Paris MA -2 019 Masters 1 at L’Ecole des Beaux-Arts, completing Masters 2 in June 2020

Solo Shows 2018 Degree Exhibition, Atelier Guillaume Paris, L’Ecole des Beaux-Arts, Paris Group Shows 2019 Possession of My Self, curated by Noah Becker, Elga Wimmer Gallery, Chelsea, New York Final graduate show, The Cooper Union Gallery, New York 2018 Collective exhibition, Sketchy: London, Stour Space, London, UK Collective exhibition, Seuils (Thresholds), Gallérie du Crous, Paris Collective exhibition, Binary Sunrise, Gallery de Beaux-Arts, Paris 2017 Final Degree Show, Central Saint Martins, London Awards/Residencies 2019 5 months (one semester) at The Cooper Union School of Art, New York 2017 Clyde and Co Art Award participant Projects 2019 For a solo exhibition at Gallerie du Crous, Paris, in June, I am currently stitching together parts of the body (individual canvases) to construct a suspended form metaphorically referencing the fragile body in an ongoing operation, fluctuating between destruction and possible self-reconstruction.

MA Thesis in process - ‘The historical and philosophical issues surrounding medicine, healthcare and bio-politics, through the lens of artists’

Working towards my Masters Degree Show which will be a solo exhibition in the Gallery of Les Beaux-Arts Publications 2018 https://www.londontheatre1.com/reviews/sketchy-nights-part-of-the-sketchy-london-exhibition-2018-review/ http://www.officiel-galeries-musees.com/galerie-du-crous-de-paris/article/seuils http://www.londonlive.co.uk/news/2018-08-08/sketchy-night-art-exhibition-opens


Morwenna Lake


Morwenna Lake lives in Surrey and works in London. She is a multi disciplinary artist whose practice encompasses cast metals, textiles, thread, and printmaking. Her work emerges from an endless curiosity about archaeology, anthropology, the cosmos, nature, materials, and sensory perception. How we interpret our environment and our experiences is a constant wonder to her. Now, through technology, our society seems to have limited its experience to something more indirect than in previous eras. Her concern is that by not using all our senses to experience the world first hand, they will atrophy. She is intrigued with the concept of order and chaos. Together they form the basic building blocks of the Universe and, at the same effect our daily lives. Everything seems to be in flux. Everything changes, and it is that moment in metamorphosis that most interests her. Is it going towards chaos or is it going towards order? Moreover, at what point are we in this continuously flowing cycle? She believes there is an unquantifiable moment when this change occurs, like the moment between the in-breath and the out-breath. She situates her work in that very moment. The act of making has an intensity akin to a peak experience. It is fulfilling and absorbing, frustrating and exhausting. It is a place of sanctuary, a physical place, as well as a mental place. It is a kind of heterotopia (as posited by French philosopher, Michel Foucault) – somewhere different to the everyday.


Morwenna Lake

Haiku Peak 1 35 x 35 x 8 cm wall based sculpture - bronze ÂŁ900


Morwenna Lake www.morwennalake.com

BA - 2011-14 BA (Honours) Fine Art, University for the Creative Arts, Farnham, GU9 7DS Surrey

Solo Shows 2018 4Cs - Red Cube Gallery, Frensham Rd, Frensham, Farnham, Surrey GU10 3DS -1 Jan-17 March https://www.morwennal ake.com/installations Group Shows 2019 Amsterdam – Unit 4b, 24-28 Wild’s Rents, London SE1 4QH – 22-24 November Four - Barista Lounge Farnham, 11 Downing street, Farnham GU9 7PB - 6 June-22 September 2018 Continuing Bodies, part of Future Knowledge exhibition – Modern Art Oxford, Oxford OX1 1BP - 21 Sept-28 Oct Salon des Refuses – Candid Arts Trust, 3-5 Torrens Street EC1V 1NQ London - 7-10 June Standing in the Light – Guildford Cathedral, Stag Hill, Guildford GU2 7UP - 24 May-22 June 2017 A Museum of Modern Nature, Wellcome Collection, Euston Road, London - 23 June-8 October Awards/Residencies 2019 Artist in Residence – Sept 2017-May 2019, Bohunt School Wokingham, Arborfield, Reading RG2 9GB 2018 Continuing Bodies – April-Sept 2018, (Wytham Woods) Modern Art Oxford, 30 Pembroke St, Oxford OX1 1BP 2017 Natures Connections – University of Derby, Markeaton St, Derby, W. Midlands – 9-10 September**


Russell Alderton


Russell is a layerist. His visual language moves through layered compositions, unpacking emotional and psychological folds of colour and shape. All of his pieces start digitally, where the infinite playground of the computer provides exploration with complex geometries, working on the microcosm vs macrocosm of shapes through a careful process. A multiplicity of manipulations achieve complex images, which entice the viewer into their layers as a final 3D piece. Russell uses material which can convey the sense of depth he envisions for the composition. Currently this is UV print on transparent medium, but he is also experimenting with traditional paint and 3D printing. Russell is also an electronic musician. ‘My art has a certain sound and my music has a certain shape’. These cross-artform investigations have led Russell to make experimental compositions where animation and music complement each other. Russell’s work tackles social or environmental themes in an abstract way. He has been influenced by his childhood, learning from his father, a professor and lecturer of geology, and went on to delve into speculative science fiction, biology and chemistry, comics and modern culture. “I make art as a response to what is going on in the world, utilising any influences I have absorbed and channeling them into art that, while abstract, contains meaning. None of what I do is non-representational”


Russell Alderton

Untitled (Red dust 1) 40 x 85 x 1.5 cm UV cured ink on layers of transparent acrylic ÂŁ2,350


Russell Alderton russellalderton.com Group Shows 2019 ArtWorks Open, Barbican Arts Group Trust Southwark Park Galleries 35th Open Four - Barista Lounge Farnham, 11 Downing street, Farnham GU9 7PB - 6 June-22 September 2018 Continuing Bodies, part of Future Knowledge exhibition – Modern Art Oxford, Oxford OX1 1BP - 21 Sept-28 Oct Salon des Refuses – Candid Arts Trust, 3-5 Torrens Street EC1V 1NQ London - 7-10 June Standing in the Light – Guildford Cathedral, Stag Hill, Guildford GU2 7UP - 24 May-22 June 2017 A Museum of Modern Nature, Wellcome Collection, Euston Road, London - 23 June-8 October Projects 2019 Abstract Series 2018 Abstract Series 2017 Abstract Series Organic Series


Safira Taylor


I consider each work to be an individual entity that has undergone an endless and repetitive process of creation and destruction. I layer painted paper, dyed fabric and a modelling paste made from PVA glue and corn-starch, then rip layers away, folding and attaching them to other parts of the work, and pouring on more modelling paste to secure the structures. The resulting painting/sculpture dialectic breaks away from the singular panel. I also use plywood, playfully slicing it with a jigsaw to make armatures for the works, often creating lines that extend out of the work using both the plywood and polymer clay. My research is done practically, by staging photo-shoots with insects, lichens, fruits and vegetables. I use these natural objects to guide my abstraction. Often the background of these images is a macro shot of my fingertip. The colours and texture of my fingerprint are an enigma to the textures found on the exterior of an insect. The array of planes found in these objects, as part of a constantly changing ecosystem, find their way into my painting. I mimic the lines, marks, movements and layers that can be found in our natural surroundings using an exploration of materiality and process. The works are constantly evolving into a new type of body. The rough, droopy, matte and swollen elements of a body, be it mammal, invertebrate, bird, amphibian, fish, reptile or other exist through the use of colour and the softness aesthetic of the hardened fabric that alludes to a calcified shell or bone. The works may represent many things, but are not intended to resemble anything in particular; instead the intention is to intuitively evoke deliberations on the human experience.


Safira Taylor

Usca.m 60 x 50 x 50 cm acrylic, modelling paste and gouche on cotton and plywood £850


Safira Taylor www.safirataylor.com

BA - Fine Art, Academie Minerva, Groningen NL, 2013-2017 MA - Painting, Royal College of Art, London UK, 2018-2020

Solo Shows 2018 A Reassuring Depository of Truths,  Oficina Divagar, Almada PT, November 2017 Group Shows 2019 Influencing the Influencer, TORCH Gallery, Amsterdam NL, November 2019 We Can Only Have Fun On Certain Days Warbling Collective, Stour Space, London UK, April 2019 Work-In-Progress Show, Royal College of Art, London UK, January 2019 2018 MOAM X Paradiso 50 jaar, Paradiso Amsterdam NL, September 2018 Paperworks, Corrosia, Almere NL, March 2018 2017 Perspectives Graduation Show, Academie Minerva, Groningen NL, July 2017 Awards/Residencies 2018 Prins Bernhard Cultuur Fonds, Young Talent Awards, 2018 2017 Oficina Divagar, Almada PT, October & November 2017 Kunsthuis SYB, 24uur Residencies, Beetsterzwaag NL, March 2017 Projects 2019 Nescafe Azera X Time Out, Installation at pop up event,Truman Brewery, London UK, June 2019 This Art Fair, Installation in entrance hall, Beurs van Berlage, Amsterdam NL December 2017


Sarah Grainger-Jones


Sarah Grainger-Jones works across performance, collage, drawing and installation to explore psychological and emotional states, memory and our relationship with the natural world. She is interested in psychoanalysis, witchcraft, ritual and mental health. She often works with objects that have a sense of history and dislocated function, such as old photographs and books - they have a past life, a sense of otherness and misplacement. Sarah Grainger-Jones lives in London and graduated with a BA and MA in Fine Art from Chelsea College of Art. She has shown work at Whitechapel Art Gallery, the Bluecoat, Freud Museum, De La Warr Pavilion, Studio 1.1 and Milton Keynes Gallery.


Sarah Grainger-Jones

‘Siren (shipwrecked in 2014)’ 2018 80 x 50 x 10 cm found photograph, pencil, tree branch, pom pom fronds £300


Sarah Grainger-Jones sarahgraingerjones.com

BA - Fine Art University of the Arts London (Chelsea) 1999-2002 MA - Fine Art University of the Arts London (Chelsea) 2006

Solo Shows 2019 Melting, performance and residual exhibition, Phlox Books 6-14 July Group Shows 2019 Between the Earth and the Sky, Mile End Art Pavilion, 13-20 August 2018 The Minotaur, the Painted Lady and the Egg Surrealist Ball, Freud Museum, London. 30 November The Witching Hour, Studio 1.1, London. 25 October - 18 November Publications 2019 The Witching Hour, Arty magazine, Feb 2019


Songnyeo Lyoo


Songnyeo Lyoo

Pond #01 30 x 30 cm Ink, colour and gold powder on rice paper ÂŁ2,000


Songnyeo Lyoo http://songnyeolyoo.com/

Dong-guk University College of Arts ( Seoul, Korea ) Major of Buddhist Art (Bachelor of Art Academy of Art & Design Offenbach, Department of Visual Communications ( Offenbach am Main, Germany ), Major of Painting (Diplom of Art )

Group Shows 2019 RSA Annual Exhibition - OPEN ART 2019, The Royal Scottish Academy of Art and Architecture, Edinburgh Gedankenwelt, Atelierhaus Hansa 9, Neuss, Germany “und die Wände schauen zurück...”, plan.d., Düsseldorf, Germany 2018 Kunstförderpreis der Stadt Neuss, Neuss, Germany Cindy Rucker Gallery Exhibition (Curated by Markus Linnenbrink), Cindy Rucker Gallery, New York, U.S.A MUMO.7, Gallery Hanok, Seoul, Korea Publications 2017 ArtMaze Mag, LATE SUMMER ISSUE 4 Create Magazine Issue III


Steph Huang


Steph Huang is currently an MA student on the sculpture course at the Royal College of Art. Exploring mundane everyday objects inher work, she also enjoys observing, documenting and interacting with her surroundings through using analogue technologies. The film shots she takes and prints are reflections on her “outsider� perspective, which allows her a different way of seeing. Her photographs demonstrate sensitivity towards all kinds of abandoned objects that she unexpectedly encounters on the streets. Beyond creating images, engaging with materials is an important aspect of her work; specifically through practices and traditions of found objects, casting, ceramics, woodwork, sound and video mixed together. These techniques tend to facilitate her exploration in relationship to contemporary fine art practice and cultural theories. Central to her practice is the question of social relations within artistic practice in an age after mass digital production. She investigates into the narrative of simulation and its variation between object and subject. Materiality takes an important role in her works and examines relationship between people and objects that surround us.


Steph Huang

Everything about Prawns 50 x 53 x35 cm sculpture


Steph Huang stephhuang.com (www.cargocollective.com/stephhuang)

BA - (Hons) in Painting in National Taiwan Normal University MA - Sculpture, Royal College of Art

Solo Shows 2019 Jun 19, Pigs & Prawns, 4Cose, London Group Shows 2019 Sep 19 B, Belmacz, London Sep 19 neo:artprize 2019, recipient of neo:art prize, Bolton Museum, UK Jun 19 Cherry Pickers, curated by Vincent Crapon and Stilbé Schroeder under PODIUM, Luxembourg 2018 Oct 18 The Ashtray Show West, curated by Steph Huang, Belmacz, London May 18 The Pool, Alte Handelsschule, Leipzig, Germany Feb 18 Studioless, Incheon Art Platform, Seoul, South Korea 2017 Dec 17 Sarah Staton SupaStore Human- We are the Product, organised by The Dikeou Collection, Denver, USA Nov 17 The Ashtray Show, curated by Cullinan Richards and assisted by Steph Huang, 4Cose, London Jun 17 Creekside Open, selected by Alison Wilding, A.P.T Gallery, London Projects 2019 Four Legs Good, Two Legs Bad, 2019 Everything about Prawns, 2019 2018 Feed Me Cigarette Butts, 2018 Here Today, Gone Tomorrow, 2018 2017 Shattered Memories, 2017 After Christmas, 2017 Publications 2019 The Ashtray Show West, 2019 Pigs and Prawns, 2019 2018 The Ashtray Show, 2018 After Christmas, 2018 2017 They Are Leftovers, 2017


Stephanie Douet


My current work is painted 2D plywood cut-outs inspired by the human face and form. The paintings evolve from pencil drawings of imaginary and observed faces and limbs, drawn onto ply. As I paint the cutouts, the form plays with the edges of the wood, conforming or challenging it. Mark-making is an obsession, and I contrive and explore accidents, pushing the marks until the forms tell me where they need to go. Colour has a sculptural role, and what particular shade it is matters less than its place in the atmosphere of the painting. I like to start with colours I find a little disagreable or irksome. Improvising the placing of the paintings is a matter of fun - sometimes on the wall, sometimes in immersive ‘scenes’ combined with other works. New combinations generate ideas for new works. This way of working allows me to make fantastical figures, combining experimental painting with a sense of sculptural form. Mughal painting, visits to museums, collections and displays, archival photographs of the Raj and reading about Britain’s involvement in India – history, anthropology, culture and fiction – continue to inspire me, as do cartoon drawings, diagrams, fashion and folk art from all parts of the world. I paint to discover what is going on in my imagination; reading feeds my mind and how I look at the world, aiming to create a uniquely enchanting and bewildering visual experience.


Stephanie Douet

Curiosity 71 x 64 x 0.6 cm acrylic and pearl paint on plywood, air-dried clay £800


Stephanie Douet stephaniedouet.co.uk

History of Art BA Hons MA Fine Art Norwich Institute of Art & Design

Solo Shows 2019 Emerald Mutton, Norwich Group Shows 2019 Contemporary British Painting prize shortlisted , Huddersfield Creekside Open, London At the End of Lines, Great Yarmouth 2018 Arts Factory Islington The Art Practitioner, Norwich 2017 OPEM4, Lincoln Heart by Mistake, The India Club, London 2018 2017

Sep 19 neo:artprize 2019, recipient of neo:art prize, Bolton Museum, UK Jun 19 Cherry Pickers, curated by Vincent Crapon and Stilbé Schroeder under PODIUM, Luxembourg Oct 18 The Ashtray Show West, curated by Steph Huang, Belmacz, London May 18 The Pool, Alte Handelsschule, Leipzig, Germany Feb 18 Studioless, Incheon Art Platform, Seoul, South Korea Dec 17 Sarah Staton SupaStore Human- We are the Product, organised by The Dikeou Collection, Denver, USA Nov 17 The Ashtray Show, curated by Cullinan Richards and assisted by Steph Huang, 4Cose, London Jun 17 Creekside Open, selected by Alison Wilding, A.P.T Gallery, London

Projects 2019 Four Legs Good, Two Legs Bad, 2019 Everything about Prawns, 2019 2018 Feed Me Cigarette Butts, 2018 Here Today, Gone Tomorrow, 2018 2017 Shattered Memories, 2017 After Christmas, 2017 Publications 2019 The Ashtray Show West, 2019 Pigs and Prawns, 2019 2018 The Ashtray Show, 2018


Tarek Sebastian Al-Shammaa


I am Tarek Sebastian Al-shammaa a self taught Artist born in London to Iraqi and French parents. My work is a personal reflection on history, migration, culture, east, west, war, death and sex. I have had several solo shows in Britain and am part of collections in Singapore, Los Angeles, New york, Portland, Spain, Paris and London. The work doesn’t always follow the same path with each painting and can come from different sources. I went to art school for a short while but though the teachers were useless and they also keep telling me painting was dead and to make some conceptual work. So I concepted the fuck out of there and made music and painted at home for years with no one seeing my work really till only recently when I started to show it on social media and had to make more as the ones up in my house got sold.


Tarek Sebastian Al-Shammaa

The Warmongers 76 x 91 x 8 oil, acrylic and graphite 1,575


Tarek Sebastian Al-Shammaa

Solo Shows 2019 Tarek Sebastian Al-Shammaa :P.O.V, C.K, T.V - Public Gallery Fall of Europe II - Gallery Different


Vanessa da Silva


My interdisciplinary process based practice combines sculpture, textiles and performance focusing on issues of formation of identity, migration and displacement. Through the weaving of the personal and the political I wish to investigate the overlaying and fusion of histories and cultures that builds oneself. The reality of growing up in São Paulo and moving to London in the early 2000s informs my practice, I reflect upon my own lived experiences as a Latin American immigrant in Europe to reconstruct my own consciousness of Brazilian identity and otherness – I am interested in the space between nationalities and the complicated borders where identities/ cultures mix and meet, where divergent and conflicting ideas cohabit.


Vanessa da Silva

Muamba Grove #3 85 x 60 x 49 cm polystyrene, fibreglass, pigment, jesmonite ÂŁ4,800


Vanessa da Silva www.vanessadasilva.com

BA - 1995 – 1999 Industrial Design, First Class Honours, FAAP (São Paulo) MA - 2015 – 2017 Painting, Merit, Royal College of Art (London)

Solo Shows 2017 Stranger than Paradise, Studio RCA Riverlight (London) Group Shows 2018 ARCO Lisbon, Opening Section, curated by João Laia, House of Egorn (Lisbon) I Am He As You Are She As You Are Me, curated by Kiki Mazzucchelli, House of Egorn (Berlin) That Same Far Place, curated by Noelia Portela, Chezkit (Pantin) 2017 Herland, Bosse and Baum Gallery Seamless Territories, Blyth Gallery (London) Projects 2019 Four Legs Good, Two Legs Bad, 2019 Everything about Prawns, 2019 2018 Feed Me Cigarette Butts, 2018 Here Today, Gone Tomorrow, 2018 2017 Shattered Memories, 2017 After Christmas, 2017 Awards/Residencies 2017 Ox-Bow Residency, Fall Residency Programme (Saugatuck, USA) Publications 2018 https://www.aqnb.com/2018/01/31/vanessa-da-silva-stranger-than-paradise/


Victoria Phillips-Walmsley


Owen & Victoria Phillips-Walmsley have spent much of their working careers creating the visual language of other people’s messaging, in the world of advertising and marketing. As a result, they have become increasingly aware of the importance of what is being said using these graphic techniques, and the truthfulness of a given medium. In 2012, Owen and Victoria founded Bread Collective with a group of like-minded creatives, initially winning funding for a series of large-scale typographic murals by the London Olympic Park. This first project gained nationwide press, and led to various projects across the UK and USA. In the past seven years, they have been commissioned to design and install large-scale public artworks by the Southbank Centre, Arts Council England and the Heritage Lottery Fund. As the couple have begun to develop their personal practise, they build on their experiences and technical knowledge of traditional signwriting and gilding techniques, applying them to more abstract conceptual works. The body of work created over the past three years centres on the theme of ‘things not being as they seem’. Gold leaf is used throughout (water-gilded, oil-gilded and also gold foil), alongside traditional craftsmanship, to create juxtapositions between the ideas of luxury and value associated with this ‘elevated’ material, and everyday signs and messages. The ‘everyday’ messaging ranges from the often-ignored, functional health & safety warnings, to cryptic idioms, and mystical, potentially harmful ingredients.


Victoria Phillips-Walmsley

Superlative 80 x 80 x 0.5 cm glass, 23 carat gold, enamel paint, gelatine, oil size ÂŁ3,500


Victoria Phillips-Walmsley www.phillips-walmsley.com

2003–2006 University of Brighton, BA (Hons) Graphic Communication

Projects 2018 Stoke Newington Heritage Mural, Funded by Arts Council & Heritage Lottery Fund 2017 Southbank Centre commission - a mural applied directly to the Hayward Gallery walkway, 8 storeys high, for the Festival of Neighbourhoods

The Walls Have Ears’ Mural project in Hackney Wick, featured on the BBC & The Guardian. Funded by London Legacy Development Corp.


Yang Xu


I am exploring my personal interests, childhood fantasies, fetish and identity through painting, photography and mix medias. I am looking into history, finding the things that are a part of our nature, like sugar - addictive but we might like to shy away from so to avoid the feeling of shame and guilt - sexuality and nudity. I consider that our actions are based on the actions that we have seen, under a constructed identity we put masks on and act with free will. This allows me within my work to bring fantasies into reality.  Look though my practice, the idea of ‘the self’ the most major and probably the only one common element that is always appears in my work. Through the built up provisional installations constructed from the fictional and the recognisable. Through different materials and everyday objects, I set fantastic narrative into realistic seatings, I am exploring the idea of the constructive of identity and what woman is and can be in my fantasy world. This photographic portrait series collaborated with my partner and also artist Victoria Cantons, photos taken before we were forced to move our flat due to a failed investment. The photo shows my struggle of facing the reality and the future at that heart breaking moment, and also as a capture of the life changing moment, this series of work is a statement of we are facing the disaster with a beautiful gesture and we will move forward. The bath symbolised renew, and new born.


Yang Xu

If you can choose only one thing 10072019 62 x 41 x 0.2 cm digital print on fabric ÂŁ120


Yang Xu https://www.xuyang-studio.com/

Wimbledon College of Arts, UAL, London, BA (Hons) Fine Art: Painting(1st Class Honours) Royal College of Art, London, MA Painting

Group Shows 2019 The Signature Art Prize, Bankside Hotel, London Where We Once Were Someone, A Yngspc Online Exhibition, Online, Instagram 2018 Clyde & Co Art Award, St Botolph Building, London Chain, China University of Mining and Technology, Beijing, China Beijing Summer Show, NL Gallery, Beijing, China 2017 To be continued‌ , North China University of Science and Technology, Hebei Province, China Whitechapel Gallery First Thursday University Competition, The Black&White Building, Rivington Street, London Awards/Residencies 2019 Residency: On the Mountain We Stay, Shandong, China. Supported by No Space. Projects 2017 Collaboration: Imaging Technologies, Artist-collaboration with Painting Research at Wimbledon College of Arts, Tate Exchange, Tate Morden, London.


Zara Ramsay


Zara Ramsay is a mixed media artist working largely in sculpture. Feeling equally intrigued and estranged from contemporary life, specifically with regard to the objects around us, she uses her practice like a quasi ethnography on her own society and culture. Ideas of belief, symbolism, value and labour are explored. Drawing on an object or encounter Ramsay feels ambivalent towards, usually those tied to a trend- be it the latest Balenciaga Triple S trainers or proliferation of “posh toast� images - she subjects them to changes in scale and material in an attempt to make them her own. With both sincerity and satire she endeavours to give meaning to the seemingly superficial. Endangered crafts or an element of the handmade are continually employed which come about through making conceptual leaps for historical parallels- however tangential. She is interested in the way our changing relation to making affects our (dis)connection with objects now, and how this differed in the past. The resulting works, betwixt and between, challenge the way we understand and make sense of the world inviting the possibility for alternatives.


Zara Ramsay

Still Life with Pineapple #Brunch#Sourdough#VanGogh 40 x 75 x 40 cm Clay, Acrylic, Resin, Filler, Wood £1,500


Zara Ramsay zarapeggy.com

2012-6 Central Saint Martins, University of the Arts London. First Class Honours, BA Fine Art

Solo Shows 2018 ‘Pandora’s (Higher) Orders’ (Solo Installation) -Deptford Lounge (Part of Deptford X Festival) Group Shows 2019 WIMMIN II - (Part of Art Licks Weekend)- 1C Enterprise House, 2 Tudor Grove, London E9 7QL BEYOND - SET Dalston 2018 Open Site - Seager Gallery - Part of Deptford X Festival 2017 Open Studios - SET BERMONDSEY Awards/Residencies 2017 Selected AA2A (Artists Access to Art Colleges) Artist, Coventry University Selected participant, Cultures of Machine Participation, Department of Informatics, University of Oslo - Part of the Norwegian Sub-Project ‘Young Urban Expressions’, of the Creative EU Project, The People’s Smart Sculpture


ArtWorks Open 2019 selected by

Emma Talbot & Alex Schady


ArtWorks Open 2019

Selected by Emma Talbot & Alex Schady Anna Brass Boris Born Chen Winner Emmely Elgersma Gal Schindler Gavin Maughfling Gwenllian Spink Hadas Auerbach Haiyu Yuan James Jessiman Jim Cheatle Jinyong Park Jorge Brito Kenneth Winterschladen Khilna Shah Kiki Xuebing Wang Latifah A. Stranack Lucy Ralph Morwenna Lake Russell Alderton Safira Taylor Sarah Grainger-Jones Songnyeo Lyoo Steph Huang Stephanie Douet Tarek Sebastian Al-Shammaa Vanessa da Silva Victoria Phillips-Walmsley Yang Xu Zara Ramsay

Profile for Barbican Arts Group Trust

ArtWorks Open 2019 Catalogue  

ArtWorks Open 2019 Prize Show selected by Emma Talbot and Alex Schady

ArtWorks Open 2019 Catalogue  

ArtWorks Open 2019 Prize Show selected by Emma Talbot and Alex Schady

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