Tuesday 7th May, 5.30 – 8.00 pm.
Wimbledon College of Art, Lecture theatre.
Merton Hall Road, London
SW19 3QA

Open to all. Please RSVP to [email protected] to let us know if you are coming.

Crit Presenters:

Marg Duston
Graduate, Central Saint Martins.
www.margduston.com

Statement about your practice:

My work suggests the potential for a world beyond the prosaic. Through intricate drawings of isolated commonplace items I seek to elevate the ordinary and by modifying found objects investigate how our perceptions of a thing can be shifted. I explore the fine line between fact and fiction through the juxtaposition of objects and images in order to spark new relationships – the idea of seemingly disparate events melding together to create new narratives.

Through sculpture, photography and drawing I explore the associations that may be stirred through the materiality of things and how through some kind of simple intervention or re-framing, our experience of something can be subtly affected.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

General feedback gratefully received, but also I would like to discuss how the context in terms how and where the work is shown can alter your experience of it.

 

Robin Gardiner
Graduate, Central Saint Martins,  BA Fine Art & PG Photography
 www.robingardiner.com

 

Statement about your practice:

My practice is focused around series of works which evolve and develop in response to an initial stimulus, which might be a text , a sound or a physical space. I am interested in how, by activating a space, you make the invisible visible. Recently I have intervened in a building to amplify or make visible implicit patterns and structures.

 

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

I hope to develop this work further and would be interested in comments and reactions at this stage.

Kathy Taylor
Graduate, Central St Martins, BFA.
www.kathytaylor.co.uk

Statement about your practice :

My practice explores aspects of what it means to be English, the legacy of the British Empire and its traces and stains. Discarded objects and the evocative ephemera of everyday life are the fabric of my sculpture and installations. Whilst the work questions domestic habits and customs, an intrinsic sense of the absurd is a means to reveal contradictions and more serious underlying issues.

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

Some or all of the following:
How does the work come across? What is the audience’s response to the work (without any explanation)? What direction should the work go now? Are the more abstract heads more interesting? Does the teacup piece add or detract? How should the work be placed for display?

 

Rae Hicks
Graduate, Goldsmiths, BA Art Practice
cargocollective.com/raehicks

Statement about your practice:

I am interested in the intrusion of design standards into environmental sculpting. Using the format of painting, I want to bring pieces of urban and suburban furniture under the gaze of pictorial scrutiny using the very language that most belongs to the history of devotional representation. I take my source imagery from a range of locations such as walking explorations, advertising, television drama, public and national events, ornamental design and architecture.

Sometimes the landscapes in my works are a straightforward transference of a place actually witnessed, other times they are a gathering of objects dislocated from their contexts and arranged. Either way, there should be a central conflict between the accommodating setting and the presence of the objects.

Most of my paintings are situated in a kind of twilight building sand and ready turf. It should be suggested that the scenarios are a kind of proposal for a future environment, and that they are ultimately malleable compositions.

 

Feedback you are seeking from crit participants and what you’d most like to get out of the crit:

I would like to ascertain the extent to which the objects in my works are recogniseable as common contemporary occurrences. Otherwise, I am not expecting or wishing for a certain kind of response as such, but more interested to see what the nature of the response is.