Crit 50 @ Goldsmiths, 24 April 2014.

Thursday 24th April, 6-8.30pm.

Room 141, RHB.Goldsmiths

Lewisham Way, New Cross,

SE14 6NW

To join us at this event, please rsvp to [email protected]

This is our 50th crit. It will see what will be the 226th artist given an opportunity through Q-Art to present work for feedback from peers. The crit will take place at Goldsmiths – the host of our first ever cross-college crit.

Isabelle Gressel

www.isabellegressel.com
My practice is centralised around human behavior with each other and our city environments. Through playful sculptures, video and performative installations, I explore the dialogue between the rhythms of everyday life and the personal narratives that unfold through them.

Daily life is structured by circular rituals such as waking, meals, work, socialising and sleeping. These patterns often dissolve into unmemorable repetitive actions, allowing only the singular out of ordinary events to be remembered. I strive to collect and scrutinise the seemingly mundane patterns of our lives. And then to distil them to create works that investigate our understanding of repetitive actions and the unique poetic differences within our routines that demonstrate our conscious and unconscious need for individualisation.

 

Peng Zuqiang
Year 3, BA History of Art, Goldsmiths.
Pengzuqiang.com

Statement about your practice :

Peng Zuqiang is a artist and filmmaker based in London. He also works as a freelance writer and translator. His research is informed by different coordinates of Chinese contemporary experience. Recent projects looked at the complexities around television broadcasting and its distributions; mythologies and symbolisms behind new architectures built in China; Renovation in Chinese cities and the peculiarities of urbanisms. His works sit at the cross section of personal stories with the greater political/urban conditions.

 

Jenni Hodgson
Graduate, The Cass, London Metropolitan
www.jennihodgson.com

Statement:  South African born Jennifer Hodgson’s provides visions of the painterly spaces she allows her thinking to inhabit.  These understandings become transferrable as “knowing”” linking environmental concerns with personal experiences of space, place and time.

The works are mainly rooted in the rural landscape near to her childhood home in East London, South Africa in counter-balance to her now urban east London, UK life. This dichotomy is evident in the challenges to her use of colour in formalising the ambiguous spaces of her canvasses.

The paintings evolve though processes of informed improvisation, engaging with spontaneity and reaction, regularly drawing on the canvas, pulling together inchoate shapes and ambiguous forms to offer a suggestive presence to the seemingly unknown.

Sadie Memphis Hennessy
Graduate, Central St. Martins.
www.sadiehennessy.co.uk

Statement about your practice:

My work is both absurd and poignant.  I operate within a cultural framework of ‘Englishness’ and explore ideas of nostalgia, and faux-nostalgia, i.e. remembering things as they never were.  My practice is about creating objects that reflect the crises and existential bogeymen that pervade our 21st Century consciences, both on a domestic scale and at a global level too.  My work is intended to unsettle its audience and to elicit of jolt of recognition in them too.  I am not afraid to use humour in my work to create a reaction, but it definitely comes from the darker end of the comic spectrum.  I make collages, assemblages, screen prints, etchings and occasionally, installations.