Crit#5, @ Slade School of Fine Art, 25 March 2009

March 25th at Slade School of Fine Art


Anangi Sumalde

BA Fine Art, Year One, Chelsea College of Art

In my practice, I am concerned with rendering the functional into the aesthetic through isolating an overlooked part of an object in order to allow it to become something admired or even desired. I work in a variety of media, particularly those of film, sculpture, drawing and installation to additionally explore how the visible can be made invisible so that the viewer ends up perceiving an absence. My work, particularly the time-based pieces, is often pivoted around the idea of anticipation; in waiting for something ‘to happen’, and in leading up to a moment of revelation in which something finally does ‘happen’.


Tom Nash/ Simon Foxall


Roman Liška

BA Art Practice, Year 1, Goldsmiths

Are colours for flowers? How to paint without paint? Why are painters so conservative? Is art making the world a better place? Who is still interested in painting, who isn’t? Are these distinctions important, and if so, why? Where is the border between figuration and abstraction? When does a painting become a sculpture, or vice versa? What makes a painting a painting, or a sculpture a sculpture? Why does painting not die, or if it did, how come it is still around?


William Joys

BA Year one Art Practice, Goldsmiths

My work is an investigation into the surrounding landscape. What areas does one person come across and why are they drawn closer? What boundaries need to be traversed in order to fulfil desires of intrigue? My practice involves an uncovering, an excavating of what has already passed through this landscape and what works behind those walls of construction, what low rumbles drive me closer yet what separates me from finding out? I feel my responsibility is to present my findings through situational experiences allowing the viewer full power to construct meaning within the work. Heightening our abilities to make connections with others and within ourselves. There should be a collision between viewer and the artists work that causes new space to be opened up a no mans land to be inhabited.


Daniela White

MA Painting, Wimbledon College of Art belonging.

When we think about the past, we are re-enacting its ‘reality’ at a different point in time and space, creating a new reality which is not the same as the original. Looking through an archive of family photographs, I am fascinated by the way that successive generations are represented at different ages of their lives. Images of childhood are an instantly recognisable genre. I feel dislocated from the pictures of me as a child, unable to effectively remember and connect with that person. I try to find clues to how I might have been feeling, but am defeated by the inscrutability of the ‘pose’. So I start recreating new contexts and scenarios to place the characters in, creating a stage set where the past and present interact, and make new meanings.


Jennifer Medwid

Graduate, MFA Fine Art, Goldsmiths

Beauty is use. I am working from my position as a contemporary feminine subject in consumer culture. The language of cosmetics offers viable communication of female subjectivity and artistic materiality. It is from these conceptual relationships through the sign systems of make-up and post- minimalism which occupy the focus of my work. I am presenting documentation of two works, Powder Boxes and Almost Nude from a site- specific installation. The work is constructed from industrial material processes involving aluminium and mirrors which operate as surfaces to transform nail lacquer and make-up. [email protected]


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