Crit#9, @ Wimbeldon College of Art, 10 February 2010
Wednesday February 10th, , Lecture Theatre, Wimbledon College of Art
Year 2, BA Fine Art: Print and Time-Based Media, Wimbledon College of Art
‘Transcend’ – Video (no sound) – 3 min 45 sec loop – 2009
My work is concerned with the Christian Church’s historical role in the development of Western Art and it’s subsequent disengagement from cultural production. I’m interested in the continued presence of Christian iconography and biblical patterns of storytelling both in contemporary art and mainstream culture, in spite of the predominantly secular environment in which these artefacts are p roduced. The apparent challenges to Christianity and the emancipatory potential for it, which co-exist in Postmodern thought, are what energise my practice.
Year 3, BA Art Practice, Goldsmiths
Whilst practicing art, I have focused on the conundrums and enigmas encountered by the art viewer. Can an art audience be considered as performance artists?
Tackling these subjects I have created situations inviting activity between audiences and art objects; usually via crudely constructed/modified familiar components in order to assess this subject. The outcomes of my investigations manifest themselves as performances that rely upon the participation of the viewer for their existence.
Documentation of these events is often produced simultaneously via the act of the performance through my constructed ‘viewing devices’. The work that I shall be presenting will be a document of previous events and the presentation of a new interactive viewer-art object experiment.
Graduate BA Fine Art, Goldsmiths
My paintings are bright, luminous, exuberant masses of energy, yet are hard to pin down. They are abstract paintings with a hint of organic forms such as trees and flowers, as well as references to Rorschach ink blots.
With the saturation of digital images, all painting now has a relationship with photography, in that painting is today just one more image in a daily onslaught of images. We expect painting to be reproduced, and much of what we know about painting comes from reproductions. This is so much the case that an actual experience of a painting can be something of a shock, disrupting the way we normally view images. Although my work is abstract, it nevertheless bears a relationship to photography in the way that scale is played with (they can look like a view through a microscope or an aerial view), and elements such as opaque glossy patches bring the eye’s attention from the illusional space of the painting to the surface.
Graduates BA Painting, Camberwell College of Arts
This project is our first collaboration. We have been selected to participate in the Market Estate Project. Market Estate is a 1960s housing estate which is being demolished and rebuilt for the community. But before the bulldozers move in they are inviting 50 artists to take over the flats and make a ‘creative playground’ of the empty flats, facades and public spaces.
Graduate MA Fine Art, Central Saint Martins
Noilin graduated from the Crawford College of Art and Design in Ireland with a first class honours degree, majoring in Printmaking and Textiles and later completed her MA Fine Art at Central Saint Martin’s college of Art and design.
Year 3, BA Fine Art, Painting, Wimbledon College of Art
In my practice, I investigate what the archaeology of the future might tell us about our civilisation today. I imagine what might be made of and from the things we leave behind. A pictorial language loop is formed between object, image and material. There is a sense of teleology in the investigation of the objects. The viewer may wonder in which order the displayed items occurred and whether the paintings are exploring the objects or the objects are assembled by examining found paintings. If this collection is from the future then why is it here now, why does it look old and why are contemporary objects incorporated? With these anachronisms on display, I aim to confront the viewer in a way that encourages analysis of the way we live our lives now along with our use and understanding of everyday objects. In the making of my work, I take on the performative role of a post apocalyptic amnesiac hermit trying to make sense of his world! When there is time to concentrate on more than purely survival, I focus on what our remaining energies would be invested in.