Crit 52 @ The Florence Trust, 7 July 2014
Crit 52 @ The Florence Arts Trust, 7 July 2014
Monday, 7th July 6-8.30pm
Studio and Gallery space in a Grade 1 listed church
St Saviour’s Aberdeen Park
London N5 2AR
Presenters Details:
Painter
adamdix.com
Statement about your practice:
Dix’s paintings explore associations between communication technology and our desire to communicate. His exploration into Society’s response and subsequent personification of these devices of modern communication describe how we relate to and comprehend technology on a humanistic level, whilst referring to other constructed ‘belief systems’ that foster a similar dual sense of connectivity and community.
By focusing on the abundance of communication devices in contemporary society, his work encapsulates the allure for the user to stay in a constant state of connectivity whilst discussing how these instruments interrupt and influence our command of the world around us. This is exaggerated by appropriating the ritualistic and ceremonial traits and imagery often found within science fiction, religion and national identity. Through combining these genres, Dix acknowledges the focused response of the subject’s relationship to the ‘Icon of infotainment’, conveying a sense of compliance or worship.
Feedback you are seeking from crit:
Having graduated from Wimbledon five years ago, and coming to the end of my current residency at Florence Arts Trust, my work has gone beyond just painting. There is an ambiguous narrative of ‘place’ and ‘time’, which runs through my painting where I use the environment of a festival or ceremonial theme, in combination with a contemporary central motif. This allows for a sense of familiarity that provides an anchor to my ideas of a society that reveres communication. I have already approached this through the palette and depiction of the characters that inhabit my paintings and have know extended the mythology by incorporating object based items to work in conjunction with the paintings, which elude to the communities’ rituals and worship.
What I would like to get from the crit is a discussion that questions ‘how’ and ‘do’ these other object pieces work with the paintings. Do they detract? Do they anchor the narrative within the work too much? Do they confuse the ‘viewer’ (as I am known as a painter to people who know my work), and does that detract from the interaction between the ‘viewer’s personal pleasure of engaging with the painting. Also is it necessary to have these relationships between ‘object’ and ‘painting’ to give the viewer a bigger understanding of the work or is it choreographing or ‘leading’ the viewer’s view by over emphasizing the narrative?
BA (Hons) Fine Art
Sir John Cass Faculty Art & Design
London Metropolitan University
http://wallace.mezoka.com
Statement about your practice:
I work as a figurative artist. At its core, this means I study, and create representations of the human body. I’m not creating still life portraiture, so in actuality I spend a lot of time studying what I call the associations of the body – those things we do to, with, for & by our bodies. For example, my latest project looked at the correspondence between the body, consumption and identity.
I work across a variety of media, most notable painting, digital animation, and installation. Collage has become a core component of my work. I distort the human figure, and replace body parts with images of consumer goods or industrial plant.
The abject –the boundary between Self and Other, is an important emotional quality in my work. Some commentators have asked me before if my works are in fact self-portraits, and there is an element of truth in this. In order to produce these pieces, I have had to look inside at issues, [for example obesity and addiction], which affect me, and query their effect not just on the corporeal mass which is the body, but also on the spiritual and emotional experience of life, asking to what extent the two are symbiotic.
Feedback you are seeking from crit:
I’m looking to hear people’s reaction to my work, how they interpret it. What emotional quality does it produce in you? Do you find it accessible, or is it remote & unintelligible? Do you find it disturbing/revolting/shocking? Can you suggest any ways, or additional directions, which you think might improve the work
Artist’s Assistant and Assistant Producer
http://maddieyuille.tumblr.com
Statement about your practice:
I work as a figurative artist. At its core, this means I study, and create representations of the human body. I’m not creating still life portraiture, so in actuality I spend a lot of time studying what I call the associations of the body – those things we do to, with, for & by our bodies. For example, my latest project looked at the correspondence between the body, consumption and identity.
I work across a variety of media, most notable painting, digital animation, and installation. Collage has become a core component of my work. I distort the human figure, and replace body parts with images of consumer goods or industrial plant.
The abject –the boundary between Self and Other, is an important emotional quality in my work. Some commentators have asked me before if my works are in fact self-portraits, and there is an element of truth in this. In order to produce these pieces, I have had to look inside at issues, [for example obesity and addiction], which affect me, and query their effect not just on the corporeal mass which is the body, but also on the spiritual and emotional experience of life, asking to what extent the two are symbiotic.
Feedback you are seeking from crit:
I’m looking to hear people’s reaction to my work, how they interpret it. What emotional quality does it produce in you? Do you find it accessible, or is it remote & unintelligible? Do you find it disturbing/revolting/shocking? Can you suggest any ways, or additional directions, which you think might improve the work
Goldsmiths Graduate 2011
daemonitron.blogspot.co.uk
Statement about your practice:
Psychogeographical/magic/elves
Feedback you are seeking from crit
Don’t mind.