Crit#6, @Chelsea College of Art, 21 April 2009
April 21st 2009, at Chelsea College of Art
MFA, Slade School of Art, Year 1
My practice currently involves investigating the structures of paintings. I attempt to create paintings that examine both the mechanical means of producing a painting and the materiality of the substance itself. These attempts are informed by my research into weaving, print and the digital manipulation of images.
I am using elements such as lines, dots and meshes to make a space that both recedes and protrudes. This has led to an interest in how optical illusions occur. My interest in paint as a substance has also led to an interest in its micro qualities and the forces on individual atoms that keep their oscillations about fixed positions and patterns.
I wish to further investigate the relief or textured aspect of the work, the way light moves on it and to further the relationship between the mechanical and the gestural means of production.
MA Fine Art, Central Saint Martins College of Art and Design [email protected]
Is it luck or technique that makes a good photograph/piece of art? What’s inspiration and where does it come from? My main interest lies in the creation of a body of work (images and/or writing), which does not illustrate something but is free and open to interpretations. Although my work has a conceptual aspect – involving my own agency and manipulation of the material – I am equally interested in something I cannot plan or construct. Chance plays an important part in my method of image making.
The work I will present is my ongoing work on gambling, gambling halls, betting, races, addiction, excitement, thrill, loosing, winning and starting a new. This work is about my interest in all these themes, the limits in doing the work and in searching and finding ways to overcome these limits.
Photography Postgraduate Diploma at LCC, University of the Arts London
‘Fissions’ is an ongoing collaborative project exploring the politics and psychology of being photographed in public. The works capture the momentary negotiation between their subjects’ private selves and a public encounter that takes place at the instant that passers-by realize that they have fallen prey to the photographer’s lens. At this moment primal instincts are mediated by learnt skills of operating in a media-dominated society.
Whilst the ‘decisive moment’ of the singular photographic frame seems to immortalize a momentary truth by repressing all other possible truths, these works’ complimentary but contradictory dual perspectives set out to foreground the undecidability of the moment and raise questions about the dominant logocentric reading of photographs.
Graduate BA Painting, Camberwell
I am interested in the dichotomy between the finite and the infinite, the physical and the metaphysical; where on one hand, we are limited and certain, and on the other, we are dislocated and ‘lost’. It is the borderline between these two places, the edge, or the boundary that informs my work.
My work stems from an interest into the process of mapping, where the map itself offers a frame to a space (and time). More recent works seek to highlight an uncertainty in measurement.
BA Art Practice Year 2, Goldsmiths
With this work, I am investigating the joy of the moment when a fantasy/idea turns into reality whilst trying to question the representational ideas and skills of an artist. The presented object is “two tower cranes sawn on canvas with thread” and is inspired from a documentary of “mating praying mantises”. During the process of creation, my conflict regarding the reasons behind realizing the work became an essential part of the end product. Never assuming to finalize it, the meaning and connotations around the ideas of fragile modernity, mating differences in nature, sexy tower cranes and cool praying mantises were some of the things on my mind
BA Art Practice, Goldsmiths, Year 2
Chelsea BA Fine Art, Year 1
My work explores the everyday and all the fascinating, grotesque and beautiful things found in it. My paintings are about creating an alternate space that is both based in reality and completely divorced from it. They are spaces for narrative and imagination, inhabited by creatures human and non-human, taking the detritus gathered from the collecting of images and stitching them together in the medium of paint. I use the process of recycling imagery from a wide variety of sources, alongside my own photographs and observations, to create a new way of looking at the images that surround us and as a way of making sense of a continual bombardment with strange, disjointed and disorientating images in our popular visual culture.