ArtWorks Open 2018 selected by
Tai Shani and Emma Talbot
ArtWorks Open 2018 selected by
Tai Shani and Emma Talbot
ArtWorks Open 2018
Selected by Tai Shani and Emma Talbot David Agenjo Emily Platzer Silvia Lerin Alicia Reyes McNamara Yambe Tam Vanessa da Silva Henrietta MacPhee John McDonald Gabriel Sahhar Guillaume Klein Carl Anderson Neil Zakiewicz Samar Zia Ingrid Berthon-Moine Bianca Hlywa Rosie Reed Elena Gileva Samantha Donnelly Andrea Christodoulides Marianne Walker Sam Smyth Rachel Pearcey Molly Thomson Lara Smtihson Catriona Whiteford Sam Carvosso Wai Wong Agata Bara Alice Valentina Biga Kyungmin Sophia Son
ArtWorks Open 2018 selected by
Tai Shani and Emma Talbot
Tai Shaniâ&#x20AC;&#x2122;s multidisciplinary practice, comprising performance, film, photography and installation, revolves around experimental narrative texts. These alternate between familiar narrative tropes and structures and theoretical prose in order to explore the construction of subjectivity, excess and affect and the epic as the ground for a post-patriarchal realism. Tai Shani is a Tutor in Contemporary Art Practice at the Royal College of Art
Emma Talbotâ&#x20AC;&#x2122;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 Lecturer in Painting, Royal College of Art. External Examiner for Northumbria University and Cardiff Metropolitan University. Judge of the Jerwood Drawing Prize and Sunny Dupree Family Prize, Royal Academy Summer Exhibition.
ArtWorks Open 2018 received 499 submissions from 262 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 vest wishes in all their endeavours. The show this year is in itâ&#x20AC;&#x2122;s 10th incarnation. As previously it comes as a surpise in itâ&#x20AC;&#x2122;s range and variety. Many thanks to Tai Shani and Emma Talbot who generaously gave their time and consideration to all the submiting artists. Thank you, Lesley Dalton, Neil Irons, Andreea Teleaga, Valerie Large and Sharon van Heck for all their hard work on the show. Mark Wainwright Director
Last year Florence Peake invited me into the process of selecting the artists for the 2017 open. We had just collaborated together on a project that would prove to be formative and mark a definite shift in my practice, which we were both very happy with. Looking at works together with a critical eye is a wonderful and meaningful way to spend time together, the constructive conversations that emerge from looking at this incredibly diverse range of practices are inspiring and their afterglow circulates within your mind for a while after. This year it was my turn to choose someone to join me in this process, and I had the pleasure of inviting Emma Talbot. Her work is extraordinary to me and I admired it passionately before our paths crossed, so I was looking forward to sharing this process with her. Again, our conversations drifted into, then out of, and finally returned back to the works we were looking at. It is interesting to see how much in general there is agreement, the approach feels intuitive, making it hard to define or explain what the approach is, and yet there has been little disagreement, both times I was involved. This relay where one choses a friend perhaps, or someone whose work you admire becomes a little thread connecting these artists through a common or a series of common experiences. This trace is a community in many ways and in our selection is also a group brought together and a temporary community is formed. It is a genuine privilege to be involved in an endeavour that supports young artists struggling to maintain a practice in the evermore-demanding city. Between jobs, rent, financial precarity, it is increasingly difficult to find ways to continue making work, particularly at times when there might not be a platform to show it. The question I grapple with as an artist is how to reconcile or create a dialogue between â&#x20AC;&#x153;the insideâ&#x20AC;?, the studio, the private, a place of experimentation and exploration of processes, materials, and ideas, a place of rejection, negation and potential radical practice, and the outside a place of commerce, agenda and conservatism? These worlds are fundamentally incompatible, and it feels more important than ever to preserve and proliferate contexts that are created and led by artists, such as the Barbican Art Trustâ&#x20AC;&#x2122;s ArtWorks Open. We are both very happy with our selection and really look forward to seeing them altogether in the flesh! Tai Shani November 2018
I conceived this painting whilst attending an artist-in-residence program in Mumbai. Under the name ‘Made in India’, I developed a series of paintings inspired by the frenetic and visually charged Indian metropolis. I focused my practice on exploring some of the most marginalised areas, vast slums where domestic waste and piles of laundry had a significant presence throughout the streets, these subjects soon became the source from which I drew inspiration. On top of this painting I applied a thick layer of clear resin to convey the feeling of clothes being compressed against a window glass. I took inspiration from a local laundry shop and wanted to reproduce this visual experience into my work. To me, the pile of clothing patterns ‘fighting for space’ behind the window shop acted conceptually as a metaphor for situations of human congestion, especially experienced in busy city locations. Technical processes play an important role in my practice: painstakingly I build my compositions through the application of multiple layers of paint, a labour-intensive practice that creates a foundation for my visual narratives.
Laundry II Acrylic on Wood with 4mm finish Resin layer on top 61 x 45.5 . 6.3 cm Â£ 2,900
Group Shows 2018 - “Portray” - Art Nº23 Gallery, The Old Biscuit Factory, Bermondsey (London) - “250th Summer Exhibition” - Royal Academy of Arts, Piccadilly (London) - “Through Art, Resist & Recover” - Kyo Gallery, Old Town Alexandria, Virginia (USA) - “Mumbai Gallery Weekend 2018” - Studio 118 (Mumbai) 2017 - “Made of colours” - Hive Dalston (London) - “Fusion III” - The Cult House, Candid Arts Trust (London) Solo Shows 2017 - “Conscious Journey” - D Contemporary Gallery, Mayfair (London) Projects 2017 - Random Artist Collective’ - Artist led site-specific instalation exploring ideas under the term of ‘HOME’
I approach painting and making as a tool for the manifestation of stories and experience- the narrative of the work flexes and morphs along with my experience of the world. I draw reference from working with energy medicine, ritual, oral storytelling and recently exploring shamanic journeying as a way of accessing the parts of ourselves we have lost, making is an extension of this journey for soul retrieval. Using figures, I embody the notion of self yet in a wider sense I reflect on the tradition of men painting women. I am attracted to the aesthetic of male modernist painters and my use of colour and gesture reflects this. I attempt to revisit this type of image making with humour, sexuality and pensiveness that is of the now and reflective of a female gaze. Canvas paintings morph into sculpture and sometimes performative gestures, I attempt to build immersive worlds, testing the potential to walk around, pick up or be inside a painting. I work fluidly between making objects out of papier-mĂ˘chĂŠ and plaster, canvas paintings, drawing and performance, each element simultaneously informs the action of another. The making process is a vital ritual, beyond this I seek out new contexts for my work; it could belong on the dance floor, installed in a landscape- as if the artwork is striving to return to the environment it came from and meet people energetically.
She journeys for the parts of herself she lost Pigment and rabbit skin glue 85x 75 cm ÂŁ 1,500
MA Painting - Royal College of Art BA Fine Art Falmouth college of art Group Shows 2018 - From this time, Unchained - Ione and Mann, Belgravia, London - Something Else, Triumph Gallery - MoscowAwards / Residencies - Chancellors Reception Showcase - Senior Common Room, Royal college of art - Thumbnails - Hockney Gallery, Royal college of art - Work in Progress - Royal College of Art Awards and Residencies 2017 - The Ali H. Alkazzi Scholarship Award - Royal College of Art Projects 2018 - Suncut records- dancefloor installation - Project based in Sicily- collaborative. 2017 - Suncut records- dancefloor installation Publications 2017 - Floorr Magazine, Issue 8
My current artistic practice, assemblages of different materials with painted canvas, is based on discovering new ways on amalgamating these assemblages with its surrounded space, as it happens in my installations or in some site specific works. Lately I have been inspired by encounters with objects I have found randomly (e.g. a piece of wood, or protective cardboard, or a piece of a metal device) to create shapes and compositions that reflect situations or places from my current life. I am recently working as an engineer coordinator in a busy 5 star hotel, it provides an extremely stimulating environment enabling me to obtain many rejected objects of different materials (many of them in metal) that the hotel no longer needs. Also, the access to many different and contrasting spaces -chillers and boilers, pipes and electrical devicesis clearly having an impact on me and is inspiring me to new pieces, actually my current project is called â&#x20AC;&#x2DC;Engineeringâ&#x20AC;&#x2122; because of that. The submitted piece belongs to that project.
Burden Acrylic on Plywood, steel strap and nails 41 x 73 cm ÂŁ 1,400
B.F.A., San Carlos Fine Arts College of Valencia in the Polytechnic University of Valencia. Valencia. Spain Group Shows 2018 - The London Art Fair - Stand P18b Joanna Bryant and Julian Page. London - The Inner Construct - The Foundry Gallery. London 2017 - ‘Manchester Contemporary’ - Joanna Bryant and Julian Page. Manchester. UK - ‘Summer Exhibition’ - The Concept Space. London. UK - THE FLORENCE TRUST Summer Show’ - The Florence Trust. London. UK 2016 - ‘Imperfect Reverse’ - Camberwell Space Projects. London. UK - ‘SPAIN NOW!’ - 12 Star Gallery. European House. London. UK - Emerged - Clerkenwell Gallery. London. UK - Semillas - Coll Blanc Espai d’art. Culla. Spain - Playroom - Union Club Studios. London. U.K Solo Shows 2016 - Ivy - Idea Store. Curated by Rugina Mukid. London. UK - Inspired by an English Garden - Shiras Gallery. Valencia. Spain Awards and Residencies 2018 - Eastside International Los Angeles Residency -Los Angeles. USA (September-October 2018) 2017 - The Annex Collection Award - UK 2016 - The Florence Trust Residency - London. UK (one year) Publications 2017 - Catalog FLORENCE TRUST 2017 - edited by The Florence Trust - Catalog IMPERFECT REVERSE - edited by Camberwell Space Projects and Camberwell College of Arts.
Alicia Reyes McNamara
My work deals with issues of displacement, particularly within a double diaspora. It aims to challenge incomplete identities constructed by two-dimensional ideas of Latinx culture, while it acknowledges the absurdity, and at times vulgarity, in the projected images found within the media’s exaggerated caricatures and telenovela kitsch. I am currently using the decolonial texts by Chicana or Mexican American theorist, Gloria Anzaldua’s Borderlands/La Frontera: The New Mestiza (1987) and George Hartley’s The Curandera of Conquest to investigate the bruja and curandera, practitioners of spiritual, sexual, and healing knowledge within the Latinx Diaspora, as an archive of resistance.
Intentions ceramic, perspex, polystyrene, sequins, pins, rainbow carborundum 40 x 64 x 90 cm ÂŁ 950
Alicia Reyes McNamara
University of Oxford Ruskin School of Art, MFA California College of the Arts, BFA Group Shows 2018 - Berlin Optician Gallery, Dublin, Ireland - Navigating Proximities, B.Dewitt Gallery, London UK - If You Can’t Stand the Heat, Roaming Projects, London, UK 2017 - Her Stories, Protein Studio, London, UK - Language of Puncture, Gallery101, Ottawa, Canada 2016 - Bloomberg New Contemporaries 2016, Liverpool Biennial, Bluecoat, Liverpool, UK Solo Shows 2018 - Es y No Es, Kiosko Galeria, Santa Cruz, Bolivia 2017 - Nowhere Else, South London Gallery, London, UK Awards and Residencies 2018 - Bemis Center for Contemporary Arts, USA (forthcoming) - Gasworks and Traingle Network residency at Kiosko Galería, Santa Cruz, Bolivia - London Creative Network at SPACE Studio, London, UK 2017 - Artquest Peer Forum, Camden Art Centre, London, UK 2016 - South London Gallery Graduate Residency, London UK Publications 2016 - IMAGINING 2043, Skin Deep : Race and Culture Magazine, Edition 5 Projects 2018 - Tongue Ties, Communal Knowledge, The Showroom, London, UK
Yambe Tam studies the evolution of consciousness and its triggers, process, and effects on the human psyche. She views this as something both sacred and profane, bridging science and religion, spiritual and bodily experience. Consequently, her research spans the fields of cognitive science, psychology, theoretical physics, theology, and Buddhist philosophy. The paintings and sculptures she creates combine ancient materials with contemporary processes, for example lost wax bronze casting, oil painting, gilding, weaving, laser cutting, and CNC machining. Many of her pieces act as conduits that, when experienced altogether, recreate the experience of transcendence itself.
Mokugyo polyurethane on Chemiwood, marine rope, cast bronze 30 x 60 x 70 cm ÂŁ 2,000
MA Painting (2018), Royal College of Art, London BFA Painting and Art History, Theory & Criticism (2012), Maryland Institute College of Art, Baltimore Group Shows 2018 - Gallery 46 (Ashley Middleton Projects), London, “The Salamander Devours Its Tail Twice” - St. Katherine Docks, London, “Sailing on a Plastic Sea” - The Hospital Club (Subject Matter), London, “We See You, We Hear You” - The Muse Gallery, London, “Summer Show” - Royal College of Art, London, “Degree Show” 2017 - Ugly Duck (Lumen Studios), London, “Cosmic Perspectives” - Royal College of Art, London, “Work in Progress” 2016 - Holtzman Center for the Arts Gallery, Towson University, Towson, Maryland, “Mission Universe” - Maryland Art Place, Baltimore, Maryland - Hiestand Galleries, Miami University, Oxford, Ohio, “William & Dorothy Yeck Award” Solo Shows 2016 - Institut für Alles Mogliche, Berlin, “In the Shadow of the Sun” Awards and Residencies 2018 - The Coastline Project, Sail Britain, Isle of Skye, Scotland (July 2018) 2016 - Finalist, William & Dorothy Yeck Award, Miami University, Oxford, Ohio - Institut für Alles Mögliche, Berlin (June - July 2016) -Residency & Grant, Can Serrat, Barcelona (May 2016) Publications 2018 - Ahearn, Mary, “Gender is not a Genre: ‘We See You, We Hear You Exhibition Review”, Medium, 12 Oct 2018 - Wixforth, Janine, “Introducing Yambe Tam”, Artpiq, 26 Oct 2018 Projects 2018 - The Playground, Rambert, London
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 #3 Polystyrene, fibre glass, jesmonite, pigment 27 x 58 x 20 cm ÂŁ3,000
Vanessa da Silva
Unrooted Fruit #3 Steel, ceramic, acrylic paint 100 x 80 x 57 cm ÂŁ 2,500
Vanessa da Silva www.vanessadasilva.com
2015 – 2017 MA Painting, Merit, Royal College of Art (London) 1995 – 1999 BA Industrial Design, First Class Honours, FAAP (São Paulo) 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) - Legs, curated by Pinch Project, Fitzrovia Gallery (London) - Form, Cob Gallery (London) 2017 - Herland, Bosse and Baum Gallery (London) - Seamless Territories, Blyth Gallery (London) 2016 - Carry On, Dyson Gallery (London) - With Institutions Like This…, curated by Victor Wang, Averard Hotel (London) Solo Shows 2017 - Stranger than Paradise, Studio RCA Riverlight (London) Awards and 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/
Henrietta MacPhee is a British artist (b.1985, London). She graduated with a Diploma in Ceramics from CityLit in 2017 and works from her studio based in South East London. Through a fresh child-like perspective of the world, she portrays social scenes of poetic tenderness and humour. In her work she interweaves metaphors for embracing lifeâ&#x20AC;&#x2122;s diversity of peoples and their cultures and playfully tells a story, representing an innocent yet thought provoking relationship with the material form.
In the Sauna Glazed ceramic 24 x 23 x 10 cm ÂŁ780
2015-2017 Diploma in Ceramics, City Lit, London 2008-2009 Art Foundation, Camberwell College of Art, London Group Shows 2018 - Tactile Minds, House Mill Gallery, London - Artsdepot Open 2018, Apthorp Gallery, London - Life in the Deep Blue: Creation out of Rawness, Studio 73, London - The Open Contemporary Young Artist Award, The Biscuit Factory, Newcastle - RBA Rising Stars, The Framers Gallery, London 2017 - The Artist within Branching Out, Giardino della Marinaressa, Venice - City Lit Ceramics Diploma Show, Candid Arts, London - New Designers, Business Design Centre, London Awards and Residencies 2018 - Untitled Space, Artist in Residence, Shanghai - The Eaton Fund - Oppenheim-John Downes Memorial Trust Visual Arts Award
Cabochon Inspired by the seen and unseen forces of nature, a handmade work. Created from my imagination involving uncertainty and risk. Recycled sandstone from Derbyshire defies gravity with the help of steel bars keeping it together. One hundred and thirty-eight hand cut joints each constructed then individually formed, tumble to the ground stopping starting from a ripple to a torrent changing shape and speed whilst taking the weight of the stone. They follow the contours of the carving deliberately undulating at times breaking the pattern then establishing the flow. The rhythm is then reset and the beat continues.
Cabochon recycled sandstone recycled metal 49 x48 x 50 cm Â£ 2,500
B A (hons) Fine Art Group Shows 2018 - Burghley Sculpture Garden 2017 - Brink London 2016 - Burghley Sculpture Garden
Fem Life ink on paper 38 x 50 cm ÂŁ 1,000
Ba Goldsmiths Fine Art Group Shows 2018 - The Night Holds Its Breath - Queerdirect - Aracdia missa - tottaly different animals - Late at Tate - Platium Paradise - Late at Tate Stance - AQNB - Rio cinema screening 2017 - Aracdia missa NY - Everyone is rich now 2016 - Stockholm - Tate collective Solo Shows 2018 - I AM -ed fornieles studios 2017 - Secretes of Palestine - Berlin - Scretes of Palestine - London Unit 21 2016 - Tesco - Streatham Awards and Residencies 2016 - Crossway Foundation - Japan Led by GCC member monria al qudri Publications 2018 - Strange Perfume book fair at the SLG - Launched my new zine - Turner Prize - Power Zine 2016 - Tesco Zine Projects 2018 - Queerdirect - Somersethouse - Queerdirect - Queer Life drawing Tate Britain - Vencie Binnale with Tate and British Council. Produced a radio show
My sculptural work celebrates the process of making by fusing an understanding of the material through craftsmanship and the freedom to explore and play. I attempt to alter the viewers preconceived notions of what specific materials are used for. In doing so, the work examines the way we experience sculpture within a visual context. Coming from a blacksmithing background often allows me to view metal work from an architectural stand point. With this approach in mind, I will use derelict and industrial buildings as inspiration for form. Often the components used are structural and stagnant. I alter this by exploiting the strengths and weaknesses of materials such as; steel, concrete and wood. In doing so, the work expresses movement and the tactile experience of the making process.
Untitled in steel and wood mild steel, wood 66 x 72 x 12 cm ÂŁ 3,750
2017 - present, University of Gothenburg, Applied Arts and Design, Metal Art MFA 2012 - 2015, Hereford College of Arts, Artist Blacksmithing BA (Hons) Group Shows 2018 - Simon & Guillaume Klein: Imagined Bodies, Imagined Spaces, One Paved Court, Richmond, London - Simon & Guillaume Klein: Imagined Bodies, Imagined Spaces, St Kildas College, Jaqueline du Pré Music Building - “Nord Studien” Kolbermoor, Germany 2017 - Aracdia missa NY - Everyone is rich now 2016 - Stockholm - Tate collective Publications 2018 - September 2018, Hephaistos, issue 4, page 26 - 27 - May 2018, A5 Portfolio #14
Carl Anderson was born in Brighton, England in 1990. He studied Architecture at Central Saint Martins before transferring to the Architectural Association. He later completed a Fine Art Foundation at City College Brighton. He currently lives in Peckham, London. I aim to create forms that stem from playful and curious introspections from my own personal experiences and contemporary culture, and combine them with visual language reminiscent of artefact and relic. They are intended to function as totemic signals for the deities of ancient civilisations with ideologies that are both foreign and familiar to the viewer. By considering folklore, paganism and early mythology, I am trying to investigate how specific belief systems are connected to contemporary views through ideas of authority and worship. I aim to avoid anything atypical in the realms of sculpture, such as formal pottery or bronze work. Art, for me, should carry an abstract expression of humour. Iâ&#x20AC;&#x2122;m interested in the headspace of being playful, yet serious.
If You Didn’t Laugh, You’d Cry, 2018 stoneware clay 34 x 26 x 30 cm £300
Carl Anderson http://www.carlandersonart.com/
Fine Art City College Brighton 2011-2012 Architectural Association 2009-2010 ental Saint Martins UAL 2008-2009 Group Shows 2017 - ‘Honey, I’m Home’ A217 Gallery, London, 27th April - 10th May 2017 - WhyNot Launch, The Clock, Marlyebone, London. March 2017 2016 - CHROMA: Green Issue, Art Hub Gallery. Deptford, London. November 2016. http://www.chromacollections.org/ - FLUX Exhibition. Brick Lane, London. November 2016 - Chrom-Art #Tribe16. Bermondsey, London. September 2016
My spray paintings make very simple optical illusions of shadow, depth and geometry. They also emphasise the material process of laying down an substance onto a support surface. With Shotgun In The Sky (2018), polyurethane paint is sprayed at an angle onto a prepared wooden panel with parallel raised ribs. The airborne paint particles hit the ribs (and subsequently miss the flat sections) of the panel in a regular way. I’m inspired by Frank Stella who was quoted to say his approach was to “keep the paint as good as it was in the can”, meaning that he wanted to retain the fresh integrity of the material. I sympathise with his admiration for commercially-produced paints and desire to expand and elevate their use. His statement also hints at the perpetual dilemma for the artist who at the starting point must decide how far to pollute or destroy in order to make new. I too am interested in this critical moment, so with wet paint and clay I attempt to capture the action; to freeze time. Furthermore, I share Stella’s intention to contain mess – the idea of unruley, primal materials that must somehow be controlled and respected.
Shotgun In The Sky paint on wood panel 54 x 79 x 1.8 cm Â£ 3,500
MA Fine Art – Goldsmiths Collage of Art – 2003 BA Fine Art – Cardiff Institute of Higher Education – 1994 Group Shows 2018 - Not Dream Of Islands, Palfrey, London UK Sept - The Momentum, Angus Hughes Gallery, London (curated by Saturation Point) July - Studio Salon, Saturation Point, London May - Do Re Me Fa So La Te, Griffin Gallery, London (Curated by Karen David) March 2017 - Window Sill, Griffin Gallery, London (Curated by Karen David) July - Shut Up, Campbell Works, London April - The Order of Things, The Wilson Gallery, Cheltenham (Curated by Andrew Bick and Jonathan Parsons) January - Show Us Your Process, House of St Barnabas, London (Curated by Paul Carey-Kent) January 2016 - Show and Tell, Britannia Works, London (Curated by DJ Simpson) December - Mechanical Abstract, Turps Gallery, London June Solo Shows 2018 - Working, Domo Baal, 3 John Street, London, UK Novembe Publications 2018 - Various authors, The Order of Things catalogue, published by The Everyday Press 18 (illus.) - Andy Parkinson, The Order of Things review, Saturation Point March 17 - Laurence Noga, Mechanical Abstract review, Saturation Point June 16
My practice is informed by myth, religion and science, particularly biotechnology, punctuated with elements of fantasy and anthropomorphism. It is a culmination of the last eight years of work and derives from personal experience, memory and the imagination of my eight-year-old self. As a child I imagined hybrid animals such as winged goats and cows in response to religious rationale and myths elucidated by my elders. Such creatures, along with other chimeraâ&#x20AC;&#x2122;s now appear as recurring motifs in my visuals to express my concerns regarding creation/production, both natural and unnatural. Overwhelming research on biotechnology i.e. itâ&#x20AC;&#x2122;s use and abuse of nature and animals to satiate human curiosity, consumption, and insecurity, propelled me to elevate the realm of biotechnology to the level of religion, creating deities out of hybrid animals. To achieve the above, I have experimented with contemporary miniature paintings, collage and a cross between the two media. As an investigation into collage, I have used silver metal to make flat wearable ornaments that are a re-appropriation of amulets, a common religious totem in some Islamic cultures.
Bahishti Murgh II (Divine Rooster II) gouache on Vasli Paper 52 x 21 cm (unframed) Â£700
Samar Zia www.samarfzia.com MA FA Central Saint Martins, UAL 2013 BFA Indus Valley School of Art and Architecture, Pakistan 2007 Group Shows 2018 - Mapping the Human Brain, Art Number 23, London UK - Radical Social Change, Fringe Arts Bath (FaB), Bath, UK Solo Shows 2018 - Solo exhibit at a Book launch, Camel Project, Fitzrovia Centre, London 2017 - Bahishti Cultures, Fitzrovia Chapel, London Awards and Residencies 2018 - Micro Artist-Residency, Threads Gallery, Kent, UK 2016 - Artist-in-Residence, Fitzrovia Centre, London, UK Projects 2018 - Camels Project, An after-school club Childrenâ&#x20AC;&#x2122;s book launch - Poster Design for Fashion film Uff Girl. - Free-Lance writer, Art reviews 2015-2018 2017 - Associate Artist, Fitzrovia Centre, London - Co-Director, MUA and Stylist for the fashion film Uff Girl 2016 - Art program for Teeny Turners art class 0-5 years old, Fitzrovia Centre, London
I did not see my daughter when she was born. I touched her. Then I saw her. And then I held her. The gradient of sensual awareness unfolded within a few seconds but it is still poignant to this day.Maybe this is why I like to position the body as the primary site of our libidinal energy. This corporeal sensuality allows us to reconnect with visceral sensations. In a world dominated by social technology at the service of the international market, we are being moulded into beings of wanting and needing. Our mind is being co-opted in order for us to become unconscious and insatiable consumers. In the meantime, we are losing connection with our body. To escape this intrusive and asphyxiating environment, I recreate a sensual ecosystem. For the sculptures, I use veiny, wrinkly and bumpy materials to render a skin-like surface. Tights and support belts are used to tie the shapes together in order to maintain the physical bond. Meanwhile the paintings offer elements like drops, drips and bodily forms that propose a fluid (lost?) paradise which palpitates, breathes, squirts and flows.
Untitled - 2018 sculpture4 90 x 70 cm ÂŁ 400
MFA, Distinction, Sussex. BA, Cultural Studies, Portsmouth Group Shows 2018 - In Whose Eyes, Beaconsfield Gallery, London - Solitudes Molles Sous La Lumiere Bleue, Espace Temoin, Geneva 2017 - MAFA Degree Show, Goldsmiths University, London - The Day of The Triffids (Ep 2), News of The World, London - Playground, Ethnographic Museum, Stockholm, Sweden 2016 - We All Have a Problem With Representation, The Showroom, London - No Lifeguard on Duty, Westwerk, Hamburg, Germany - Fragments â&#x20AC;&#x201C; On the Fourth Wave, Archive Gallery, London Solo Shows 2018 - You Tear Us, Kelder Projects, London 2016 - Any Man to Any Woman - West Dean Open House Installation 2105 - Agave - West Dean Open House Installation
I am obsessed with this particular kind of bacteria that is fleshy, veiny, wet, beige and thick. It grows as a skin on a fermenting fluid, and it never really seems to stop growing. At one point I grew one which was 110 kilos in the corner of my studio. I am interested in it because of the bacteriaâ&#x20AC;&#x2122;s ability to challenge what life really means. Innately, when you look at this alienated piece of flesh, you donâ&#x20AC;&#x2122;t really know if it is alive or not. If it is alive, it is hard to place at first encounter what kind of life form it is. This fundamental shake of the ability to distinguish life from non-life is destabilising because it puts our own life-status into question. There is terror in this instability, but also a great curiosity to whatever causes it. Iâ&#x20AC;&#x2122;m interested in captivating these moments and questioning what makes something alive. What differentiates the robotic bird from the bird? The bacteria from the human? They are maybe impossible questions but I engage in wrestling with them through various gestures including installation, video, performance and drawing.
Moving Thing video Â£600
All Together Now documentation of performance ÂŁ 400
www.biancahlywa.com Goldsmiths, Masters of Studio Arts, London, England Concordia University, Painting and Drawing Undergraduate Degree, Montreal, Canada Bezalel Academy of Art and Design, Jerusalem, Israel Group Shows 2018 - Gold X, Deptford X Fringe Festival, London, England - Souja/ Shelter Festival, Helsinki, Finland 2017 - Gallery of Alberta Media Arts, Arts Commons, Calgary, Canada - Nuit Rose, Toronto, Canada - Overflow, Studio XX, Montreal, Canada 2016 - Graduation Exhibition, FOFA gallery, Montreal, Canada Solo Shows 2018 - Computers Don’t Eat Sugar to Make More Computers, Shoreline, London, England 2016 - First is Food For Food, The Young Artists Association, Budapest, Hungary - The Independent Republic of the Bulge in the Hallway, Drawward Project, Montreal, Canada Awards / Residencies 2017/19 - Goldsmiths MFA Scholarship - Taleamor Park Residency, La Porte, United States 2016 - Vermont Studio Center, Burlington, United States - L Open Studios, Budapest, Hungary - NES Residency, Skagaströnd, Iceland - Taleamor Park Residency, La Porte, United States Publications 2018 - “Review” Launch Issue. Print. October 2018 - Candace Tayler, “A Yankee Chef ’s Southern Habitat” Wall Street Journal. Print. 25 April. 2018 2016 - “As.iZ Magazine” Launch Issue. Print. August 2016 Projects 2018 - curation - We Surrounded Them and Routed Their Fighters in Short Order…, Deptford X, London, England - conference - Global Control, RIXC Festival, Riga, Latvia - curation - Art Party, Poisson Noir, Montreal, Canada -curation - Power Plant, Skol artist centre, Montreal, Canada
Organic formations and archaeological processes such as excavation and fossilisation, combined with an interest in speculative fiction and imagined worlds, inform and influence my making. I am interested in the notion of surfaces disclosing histories, traces of movement and passing time. I grind down and recycle parts of past work to make aggregate that makes up future work; rubbled remnants move through my practice as it evolves. Exploring the exercise of discovery and the unlearning of behaviour conditioned by patriarchy, leads me to consider fantastical, futuristic artefacts, abandoned spaces, buried pasts and new beginnings; environments and objects that allow different histories and alternative narratives. I hope to create environments and objects that provide moments of escape or respite from the aesthetics and workings of the everyday. In an exploration of scale, materiality and the provocative potential of colour and surface, I want to elicit a sensory, inquisitive and bodily response from the viewer.
Whatâ&#x20AC;&#x2122;s This Then? Marble dust, aggregate, PVA, pigment, spray paint, paper, resin, glitter 57 x41 x 21 cm
MA Sculpture, The Royal College of Art, 2015-17 BFA Fine Art, The Ruskin School of Art, Oxford University, 2010-2013 Group Shows 2018 - Flipside, a group show curated by Rosie Reed, Fold Gallery, London - Woman Shall Inherit The Earth, Panacea Museum, Bedford - Housekeeping, a collaboration with Finbar Ward, Garden Project Space, Los Angeles - Adventures and Curiosities, Hauser and Wirth, London 2017 - You See Me Like a UFO, Marcelle Joseph Projects, London - Show RCA, Royal College of Art, London Awards and Residencies 2017 - Caffe Internazionale Residency, Palermo, Sicily
Fascination with history and culture contained in objects is expressed throughout my work. Observing and studying formal aspects of artefacts as well as learning their meanings and histories drives me to create their contemporary renderings. I am interested in the material culture, in its expression and interpretation. Decoration and surface are my main basis for the transmission of a concept. Abandoning current trends of minimal, modern/postmodern and purely conceptual, I take ORNAMENTAL as a subject and symbol of the old and new - the spiral movement of history. The object as a power tool is crucial to communicate ideas. In that respect archaeological or museum (historical) objects are of great importance. They tell us a story and contain layers of information and significance that form our understanding of cultures and history. Cultural luggage and heritage is what makes us who we are. The narratives created through the agency of relics are a base of our collective consciousness, however in the contemporary world the axis of histories has been shifted through the displacement historical objects. High saturation of history in select few centres creates hyper culture whilst stripping its owners of the rights to it. One singular object is never enough for a full picture, it is rather through a group or sequence, a composition of them that those speculations and theories can be made. Acting as a â&#x20AC;&#x2DC;collectorâ&#x20AC;&#x2122; of surfaces, ideas and shapes I seek to assemble an eternal universe of my own.
Jomon N1 acrylic on MDF 45 x 45 cm Â£900
elena-gileva.com Royal College of Art - MA Photography Coventry University - BA Photography Group Shows 2018 2017 2016
- Ceramics at Doddington Hall Doddington Hall, Lincolnshire, UK - GYEONGGI International Ceramic Biennale. Icheon.South Korea -Summer Show. Florence Trust. London - LIMBIC. ArtHub. London. - TRANS / ITIONS. ArtisTank launch exhibition.The Crypt Gallery.London -The Ingram Collection’s Inaugural Purchase Prize Exhibition for Young Contemporary Talent. London - Ibero-American Arts Award Sala Brazil. London - Young Masters 4th edition Launch Exhibition.- Royal Opera Arcade gallery. London - Matter of Objects. Queen Victoria University. London - The Established and The Emerging. Christie’s South Kensington. London
Solo Shows 2017 - FOUNT. British Ceramic Biennial Airspace Gallery, Stoke-on-Trent, UK - Cultural Landscape. Part 2.Gallery de l’ancienne poste. Toucy, France Awards / Residencies 2018 - La Borne. Contemporary Ceramics Center La Borne, France. 2020 - Developing Your Creative Practice Arts Council England. - Shangyu-Celadon. Shagyu, China. Artist in residence. May- June - Beirut Art Residency. Beirut, Lebanon. Artist in residence. Jan.- Feb. 2017 - The Eaton Fund Artist Project Grant.UK - ArtePrize 2017.Shortlisted - International Ceramic Workshop.GICB17Icheon, South Korea 2016 - The Florence Trust London,UK. Studio artist-in-residence. 2016/2017 - West Dean Tapestry Commission Open Call.Commendation by selection committee - Charlie Smith Anthology 2016. Long listed. Publications 2017 2016
- Connaissance des arts. Nouveau Talent. p 110 - 111 September - Arts Magazine International. n 10 Nouvelle serie. p.20 September - L’Oeil. N 706. Galleries. P.120. November - Calvert Journal. Elena Gileva’s striking sculptures wrestle with Russia’s past. 8 July - Syrup magazine. Issue 1.
Index of form photographs & collage 31 x 37 ÂŁ450
Royal College of Art - MA Photography Coventry University - BA Photography Group Shows 2017 2016
- Merz, Hannover Project Space, UCLan - Commission & Commune, Artlicks, ACME Firestation - Factually Real Illusions, Chelsea College of Arts, London - Semi Gloss Semi Permeable, The Albus, Glasgow International
Solo Shows 2017 - Excessive Inventory, Century Private Members Club, London - Lexigram, Transition Gallery, London
I create creatures to explore my thoughts, ideas and desires. They act as my puppets and actors in my own narratives and tales. Sometimes these narratives may seem absurd, unfamiliar and incoherent. Yet, they are grounded to reality, from job searching, dating, to silly dilemmas like cooking or ordering dinner. My creatures like us humans, thrive and adapt in their everyday confrontations whether these are familiar or alien circumstances that befall them. An eight-limbed woman-octopus can multitask and achieve everything she wants quickly and efficiently, allowing her to satisfy the wants and musts of her society whilst leaving her enough time to finish her job early, go out for shopping and do her nails (do octopuses have nails!?). A grumpy caterpillar that poops gold coins whenever someone or it rubs its tummy, analogous to the current state of economy where tasks require you to do things you may or may not enjoy for the pure activity of creating income. Do you want to rub its tummy? Both the octopus woman and the caterpillar reflect the pressure, stress and identity crisis we experience in our 21st century societies. Our current generation grows up striving for success in a highly competitive society that focuses mostly on the past rather than the future. Through these characters I am trying to tackle ideas like living in a dysfunctional capitalist society of simultaneous overwork and unemployment and the heavy pressure of one finding their own role in society but also self-worth. I view life like the theatre of the absurd, an incomprehensible state of existence. My characters and vivid imagination are a result of my attempts to reflect, explore and understand. This dysfunctional society exerts influence and manipulates my creaturesâ&#x20AC;&#x2122; spirits, appearance and mannerisms. The characters live out their play and we experience their shine on an arbitrary life.
I always wanted a grumpy caterpillar that would make me money ink, colour pencils and marker pens on paper 29.5 x 42 cm ÂŁ250
Royal College of Art, 2017-2019 Edinburgh College of Art, 2013-2017, First Class Honours Group Shows 2018 - Thumbnails, Hockney Gallery, Royal College of Art, London - WIP Show, Royal College of Art, London 2017 - Rotary Lefkothea Charity Exhibition for Young Cypriot Artists, Nicosia, Cyprus - Degree Show 2017, Edinburgh College of Art, Scotland, UK - Chrysalis, DOK Artist Space, Edinburgh, UK - 10th Annual Exhibition of New Cypriot Artists, Akamantis Business Centre, Nicosia, Cyprus 2016 - 9th Annual Exhibition of New Cypriot Artists, Akamantis Business Centre, Nicosia, Cyprus - Third Trymester, St Margaret’s House, Edinburgh, UK - Drawing Exhibition, Edinburgh College of Art Solo Shows 2018 - August Contemporary and Post War Auction Public View, Lyon & Turnbull’s Edinburgh saleroom 2016 - Rooms, MERES Multifunctional Space, Nicosia, Cyprus Awards and Residencies 2017 - Lyon & Turnbull Graduate Prize for an emerging artist, Scotland - Andrew Grant Bequest Award for Academic Excellence, Edinburgh College of Art - Shortlisted for the Astaire Prize, Edinburgh College of Art 2016 - Edinburgh Award for volunteering, part-time work, and involvement in University community, University of Edinburgh Publications 2018 - Les choses pourraient etre autrement, Royal College of Art, Critical Historical Studies, Dissertation 2017 - “Curtain Call” Book of Works 2016 - Designed and formatted a book featuring my degree show works Projects 2018 - Photoshoot Collaboration with Andriana Lagoudes, Be the art you want to be, London 2016 - “Rooms” Theatre Act and Installation, MERES Multifunctional Space, Nicosia, Cyprus
I am continually fascinated by the medium of drawing. I’m always trying to draw across three dimensions, learning how the pencil marks behave as both a material and a visual signal. The human eye reads and has greater faith in the drawn line than it does in the actual physical host that supports that line. This paradox is what I’m chasing after understanding. Rather than it being about Trompe-l’oeil, my work is definitely about learning how a mark can intervene between the sculptural reality of a haptic object and the eye. The sculpted ‘host’ objects that I make solely to draw on take their inspiration from ancient history. I’ve found my way back into sculpting by taking inspiration from the forthrightness in intention of ancient art. The symbiotic relationship between the host’s form and its graphite drawing is something I’m just beginning to examine.
Regen graphite pencil on sculpted paperclay 22 x 10 x 3 cm ÂŁ500
MA Sculpture, 2002 Wimbledon School of Art BA Hons Fine Art Sunderland UniversityÂ 1993 Group Shows 2018 - Royal West of England Academy 166th Open Exhibition, Bristol - Twice as Nice, P.S Mirabel, Manchester - Geometry of Memory, Ta Da, Copenhagen - Zine Library, Singapore Art Book Â Fair, Singapore 2017 - Summer Salon, Angus Hughes Gallery London
My work is a formal investigation into the relationship between the interaction of colour paired with the structure of geometric form. Through an incremental compositional process I aim to establish a presence of balance, harmony, rhythm and colour. I am attracted to abstraction as a vehicle to explore light, pure form and the act of looking; and for its ability to take the mind to interesting places via free association, or mindful perception, rather than by guiding you down a path to a specific understanding. I am interested in the mechanics of light and how our neurological systems interpret it; the difference between physical reality and what we actually perceive; and the complicated way this perception influences our thoughts and feelings. I think aesthetic experiences can help to induce a state of mental clarity and calmness; The feeling of being more conscious of your direct sensory experience and immediate surroundings without all the other distractions that we usually have going on in our heads. This kind of mindful encounter is something I want to encourage in my work.
Square Composition No. 10jesmonite 44 x 44 cm Â£380
Sam Smyth www.sam-smyth.com Ba Illustration – Arts University Bournemouth Group Shows 2018 - Studio Holders Exhibition – Outpost Studios - Group Exhibition – Playhouse, Norwich Publications 2018 - A5 Magazine Projects 2018 - Private Commission – Del Mar, CA 2017 - Commission for AC Hotels, NY
My work is about drawing and repetition, and stitching. I make marks – small, often tiny, rarely big, marks. I start with a very simple theme and explore the ways it can be changed, moved on, adapted but without straying from the ‘first principles’ of short straight marks. For some years now I have been working with stitch, hand or machine, often reworking earlier pen and ink drawings. Stitched ‘marks’ take on a stuttering quality which becomes more apparent the closer one looks; I love this very obvious sense of the haptic in the unevenness of each mark and the intimacy which close inspection invites. And with thread my works take on a delicate 3D quality. In spite of how slow the hand stitching process is and how considered the placing of every stitch, each work moves and develops in its own way, takes on a life of its own. I work in black and white. The correct thickness of the thread/mark is of prime importance. The spaces created by the marks are just as important as the marks which delineate them; very much in the Japanese sense of “ma” a celebration not of things, but the space between them.
Untitled(net) stitch on canvas 34 x 34 cm Â£320
MA Drawing as Process, University of Kingston BA Fine Art University of Plymouth Group Shows 2018 - ING Discerning, London CGP Gallery, London - One Pave d Court, Richmond 2017 - The Crypt Gallery, London - Visually Literate II, London 2016 - ING Discerning Eye, London - Visually Literate, London
My current work involves a concern with the painting as object - an object that engages with the fundamentals (and history) of painting through its basic structure, but does not offer itself up as a vehicle for something else (ie an image). Instead, the object is self-sufficient; it insists on its material presence and the process that shaped it.
Breach (left) acrylic on panel 25 x 20 x 4.5 cm Â£800
MA (Painting), Royal College of Art MA (Hons) Fine Art (Sculpture), Edinburgh University Diploma in Post-graduate Studies (Sculpture), Edinburgh College of Art Group Shows 2018 -Beep Painting Biennial, Swansea (highly commended) 2017 - Contemporary British Painting Prize, Orleans House, Richmond, London - This Year’s Model ’17, Studio 1.1, London 2016 - Plenty of time to lose your balance, Nunn’s Yard Gallery, Norwich - PING, Paint Club East members’ show, The Minories, Colchester Publications 2017 - Exhibition review:”Mary Heilmann:Looking at Pictures”, Journal of Contemporary Painting - Joint guest editor, Journal of Contemporary Painting, Issue 3.1 & 2, Painting as Commitment (2017)
Lara Smithson’s work is formed through extensive research into places, psychology, miracles and rituals from a variety of cultures. This exploration manifests itself across many mediums: costume, drawing and painting, which feed into video/installation. Her practice examines the gulf between historical symbols’ origins and their observance today. She investigates how myths are simultaneously eroded, created and embellished throughout time. Smithson’s work often plays with cyclic structures, ‘strange loops’ where one always returns to the same point, no matter what direction is taken. In her work she examines psychological landscapes through means of activating physical and bodily ones, through costume, spoken word or choreography. She is interested in how each medium/element impacts on each other to create and unmake themselves in her films. Lara Smithson lives and works in London. She graduated from the Slade School of Fine Art in 2015. She was awarded with The Dolbey Research Grant and The Claire Winsten Award on completing her degree, which allowed her to travel to China for research and work. She was also awarded the Grocers Company Queen’s Golden Jubilee Scholarship while studying. She was commissioned to make a short film by the ICA and Channel 4 as part of Stop Play Record, which toured the UK in 2017/18. She had a solo exhibition at The Why Not Gallery, Tblisi in 2018 as well as showing in London, Russia and New York. She was selected for the Biennale edition of the WomenCinemakers 2018.
An arrow has no direction, I can point it anyway I want Mixed: silk, foam, thread (framed) with photographic print next to it (unframed) 80 x 80 cm ÂŁ2,000
Lara Smtihson www.larasmithson.com
Group Shows 2018 - Visions in the Nunnery | Nunnery Gallery, Bow Arts, London - The Grand Tour Inauguration | fivehundredthousandgallery for Artlicks Weekend - Four Limbs | London - Perform & Pixel | fivehundredthousandgallery, London - One Need Not Be A Chamber, curated by Sasha Burkhanova-Khabadze | Exposed Arts Projects, London - Wunderkammer | Central Saint Martins, London 2017 - Vignettes | 5519, New York - SCREENFACE | London 2016 - We Were There | Crypt Gallery, London - PAST PRESENT FUTURE KULT | Vauxhall Tavern, London - Doleful Shades | Crypt Gallery, London Solo Shows 2018 - She Spoke Rain | The Why Not Gallery, Tbilisi, Georgia Awards and Residencies 2018 - Official Selection WomenCineMakers Biennial Edition 2016 - The Claire Winsten Award - Dolbey Research Grant - Grocers Company Queens Golden Jubilee Scholarship, 2011 - 2015 Publications 2018 - Special edition of WomenCinemakers 2018 https://issuu.com/cinemakers/docs/special.edition/4 Projects 2017 - STOP PLAY RECORD, in collaboration with ICA and Channel 4, 2016/17 2016 - Dolbey Research Grant China
Catriona Whiteford (b.1985) lives and works in London and received her B.A. Honours Fine Art and Masters of Fine Art from Duncan of Jordanstone College of Art and Design, Scotland. She works primarily in print and photography where forms of memory-work are central, exploring the relationship between absence and presence, the intimate and the public. â&#x20AC;&#x2039; Catriona has been a co-director and committee member of various artist collectives curating and project managing exhibitions, workshops and artist commissions.
Cutis polyacrylic photographic print on steel 40 x 35 x 5 cm ÂŁ420
Catriona Whiteford email@example.com
Masters of Fine Art, Duncan of Jordansone College of Art and Design, 2008-2009 BA Hons, Duncan of Jordanstone College of Art and Design 2003-2007 Group Shows 2016 - Night Shift, Edinburgh Sculpture Workshop Projects 2018 - 30works30days, 12O Collective 2016 - Totes Colo Collective, Committee Member
When Wile E Coyote painted a tunnel on to a wall, he hoped the Roadrunner would crash and die. However to the Coyoteâ&#x20AC;&#x2122;s surprise, the Roadrunner continues flawlessly in to the painting, unharmed. The notion of creating a space, or pseudo-reality, is a current interest within my practice, particularly focusing on landscapes. These spaces however, are simultaneously created and destroyed from a constant reality check taking place through the reveal of material, placement of found objects, and the juxtaposition between a well-made and raw approach to making. My current research is enveloped in landscape and all the elusive experiences this comes with â&#x20AC;&#x201C; fact or fiction. From this, work often references the collaboration between memory, nostalgia, and the media (Google images, films, tourist information websites) and their combined role in creating versions of reality. Can these fragments build an authentic model for place to exist? Like the blurred state of consciousness after dreaming, I aim to create an ambiguous stance between reality and imagination, coming and going, display and studio.
Untitled (Eagle Standing) blackened steel, paracord, model putty 100 x 80 x 90 cm ÂŁ500
MA Sculpture, Royal College of Art 2017 BA Fine Art Sculpture, University of Brighton 2014 Group Shows 2018 - Gilchrist Fisher 2018, Rebecca Hossack Gallery, London 2017 - LANDSLIDE, DegreeArt, London (collaborative solo with Jack Carvosso) - The Worst Seats In The House, SET Space,London - Moon, When the Calves Grow Hair, Bunkhouse, London - Show 2017, RCA - On The Line, Aram Gallery, London 2016 - You Have Not Been Honest, Gramounce, London - What’s The Point Of It All?, 5th Base Gallery, London - House, London - Cuticle, RCA Garden, London Awards and Residencies 2017 - Gilchrist Fisher Award 2016 - Shortlist Clifford Chance Award - Canary Wharf, London Publications 2018 - Musemscheck - TV Interview for ‘Carved to Flow’ on 3Sat Germany 2017 - Firstsite Collector’s Group Bursary Award - Villiers David Travel Award 2016 - British Coucil South East Asia Research Residency - Gilbert Bayes Sculpture Award Projects 2018 - Research project: Yellowstone National Park, May-June
Different from most of my peers, I will say that I want to be a printmaker instead of an artist. More precisely, I want to be a craftsman or an artisan focusing on making prints. Ozu Yasujiro is my favourite movie director, and probably my favourite artist. In an interview, he once said, “I only know how to make tofu. I can make fried tofu, boiled tofu, stuffed tofu. Cutlets and other fancy stuff, that’s for other directors.” Because he spent his entire career to make nothing else but “tofu”, he made the best “tofu”. Ozu probably did not consider himself as an artist, but a craftsman who repeatedly practiced the same craft until he reached perfection. This is what I want to be - a Tofu maker; a craftsman in printmaking. Except practicing the same craft repetitively and constantly, I do not know of any other way to achieve perfection.
Mushrooms woodcut 36 x 26.5 2/20 Â£500
MA, Printmaking, MIDDLESEX UNIVERSITY (London, UK) Bachelor of Arts (Honor), Major in Film and Media Art, TEMPLE UNIVERSITY (Philadelphia, USA) Group Shows 2018 - “Public Assembly” at Ply Gallery, London - Bainbridge Open - National Original Print Exhibition - Woolwich Print Fair - Clifford Chance’s Postgraduate Printmaking in London Awards and Residencies 2018 - East London Printmakers Award @ National Original Print Exhibition - Gwen May RE Student Prize 2018
The body is a strange thing, a thing I seem to be and can look at simultaneously. A thing that is closest to me and yet lives a secret life I donâ&#x20AC;&#x2122;t understand, when billions of cells and bacteria inside are involved in processes I am not conscious of at any time. Extending the body to the realm of the mind (which I see as coming from the brain) complicates the matter even more: what happens to I-Consciousness during deep sleep? Where does it vanish to during the night, and why does the I resurface every morning? So many mysteries even science hasnâ&#x20AC;&#x2122;t been able to solve yet. The mind-body-apparatus is full of contradictions, limitations and possibilities. In addition to the complexity it faces within itself, through the advancement of culture it is faced with more and more sophisticated technologies and the different resolutions of knowledge that open up through science. They slowly replace or overlay other explanations of what this body is, and what kind of world it inhabits.
Effectively Putrefied (Alchemy of a dysfunctional Body-Series) acrylic on canvas 50 x40 cm Â£550
MA PAINTING Royal College of Art, London, UK (2018). Dissertation “The Disobedient Body” with distinctio MA VISUAL COMMUNICATION Folkwang University of the Arts, Essen, Germany (2012), with distinction. Group Shows 2018 - With Maren Schneider at Raum Z13, Essen, Germany - Royal College of Art, London, UK, Degree Show - SURGE, east wing biennial 13, The Courtauld Institute of Art, London - Hockney Gallery, Royal College of Art, London, UK, Thumbnails 2017 - RCA WIP Show, Royal College of Art, London Awards and Residencies 2018 - DAAD-SCHOLARSHIP from the German Academic Exchange Service 2017/2018 2017 - Shortlist for the Bluewolf-Installation-Scholarship
Alice Valentina Biga
Alice Valentina Biga completed her BA in Printmaking at Albertina Academy of Fine Arts in Turin, 2010 and consequently her MA in Printmaking at Camberwell College of Arts in London, 2012. Her work has been exhibited in various group shows in London and Italy among which the Royal Academy Summer Exhibition 2017.She lives and works in London as a printmaking technician and tutor, practicing intaglio and planographic techniques as screenprinting and monotype, mainly. Her work emerges as a zombie jigsaw of past and present experiences. Contemplation is a rare luxury, although, as human, scary, beings, we also own the talent of transforming information into different shapes some of whom are images that represent our thoughts and feelings. They, somehow, behave as therapy to nurture the hysteric need to know what lies beneath.
Alice Valentina Biga
Fragmented companions etching on zinc 29 x25 cm 1/10 ÂŁ150
Alice Valentina Biga
Camberwell College of Arts, London - MA Academy Of Fine Arts, Turin, Italy - BA Group Shows 2018 - Woolwich contemporary print fair, London - What lies beneath?, London - London print studio members exhibition, London 2017 - Woolwich contemporary print fair, London - Royal Academy Summer Show, London - Passare il segno, Turin, Italy
Kyungmin Sophia Son
Sensation is where two different materials meet, it emanates from the moment of touching. Sensations emerge from the mo- mentary lapses between objectsâ&#x20AC;&#x201D;lapses where they touch one anotherâ&#x20AC;&#x201D;they are triggered by actions that happen in-between. The world consists of complex meeting points among complex beings.Things are intermingled in a relationship of touchable or untouchable matters such as: the materiality of objects, social structures, systems, movements, organic compositions, or what we call nature (includ- ing the weather, raindrops, radio waves, dust, etc). Kyungmin Sophia Son investigates the complex relationship in objects that surrounded in everyday life. Sophia questions con- tempo- rary everyday practice under the consuming culture and social relationship through the process of natural and synthetic status of the object.Through out the materiality used, she creates a dialogue between objects within their historical meaning as well as functional- ity and formal allure.Thus, Sophia reveals the physical and emotional ambivalent status of fictional and realistic boundaries through the composition of objects and relation to the others. In the work the objects often presented mimicking, exaggerate, imitate, comic as it is a contemporary cultural language. Sophia rigorously explores conversations between the digital generated image with reality with their illuminated and high resolution compeiting with reality.
Kyungmin Sophia Son
Crocs mixed media 75 x30 x 35 cm
Kyungmin Sophia Son
www.kyungminsophiason.com Camberwell College of Arts, London - MA Academy Of Fine Arts, Turin, Italy - BA Group Shows 2018 - Touch me, remind me who I am, SNEHTA Residency, curator Evita Tsokanta, Athens - Parlour Geometrique, Chiswick House and Garden, London 2017 - Show RCA, Royal College of Art, London - Open Studio, Camden Arts Centre, London 2016 - Dialogues on the Threshold,The Crypt Gallery, Londonâ&#x20AC;¨ - The Royal Edinburgh Sculpture Court, Edinburgh Awards and Residencies 2018 - SNEHTA Residency, Feb-Mar,Athens Publications 2018 - Floorr Magazine interview with Stephen Feather - SNEHTA Residency, Feb-Mar,Athens
ArtWorks Open 2018 selected by
Tai Shani and Emma Talbot