Crit#30, @ Camberwell College of Arts, 21 November 2012.

Presenting artists:

Elena Colman
Goldsmiths, BA Art Practice Graduate
www.thecolmansingularity.com

My practice attempts to unify the very big and the very the very small, exploring the experience of wonder in a scientific age and how this interacts with quotidian banality. I am interested in areas where logic breaks down – quantum paradoxes and singularities, witnessing supernovae, surreal encounters and misremembered events. I use sculpture, photography and performance to create spaces of wonder and confusion; baroque yet slapstick. I want to seduce and amuse, create a static moment of intrigue that penetrates both time and space

Gin Dunscombe
Chelsea College of Art and Design, UAL, MA Part time year 2
djinngenie.wordpress.com
My practice is research based and I work in a wide range of media: photography, film, screenprinting, 3D and installation. I am currently investigating the archive as a site of provocation and promoting and making social change. I am curating the history of a fictitious individual, loosely connected to Patrick Keiller’s Robinson. I have just returned from a residency in Berlin where I researched aspects of this individual’s life. I have an enduring love affair with ‘the city’ and whilst in Berlin – the background to the fiction – I was struck by the preponderance of oranges and yellows in the urban landscape, and made a popup show from images of this and from my newly acquired archive.

Henk Gieskens
Central Saint Martins, Graduate
www.henkgieskens.com www.facebook.com/artisthenkgieskens
I explore the boundaries between painting and sculpture and through these mediums I investigate materiality, form, colour, and composition. My paintings are at first an investigation into materials and process. For two years, I experimented with resin and wax to developed my own type of oil paint. The paint is poured in several layers onto glass surfaces, left to dry and then allow to peel. This highly time controlled process of creating and managing paint, contradicts with the unmanageable process of allowing gravity to dictate its form. I am exploring the meaning of painting rather then expressing a meaning through paint. What is painting and where does it derive from? Not questioning, “what/who am I?” but rather “who/what can I become?”

Debra Singh

Wimbledon College of Art, MFA Year 1

debrapainting[email protected]
According to the Chinese principle of ‘Moving Focus’, we need our eyes, hands and heart when painting as the eyes are never still. Therefore creating work from direct observation is my way of partaking of the time and moment of my subject. My work preserves a nostalgic snapshot in time through means of mark making, whilst exploring society’s changes in social interaction. The act of hand making allows me to feel connected with the subject. Through prolonged and intense observation, I create the illusion of my knowing a measure of the person before me. The transition from traditional materials to digital painting has strengthened the connection made between traditional methods of socializing, to that of the digital equivalent. My investigations have prompted exploration in to chat-rooms, resulting in direct interaction with strangers whilst sketching their portraits. My methodology helps me to minimize the layers created between people when engaging in virtual communication. These portraits offer the viewer a psychological view, where the sitter has become democratized; showing an intimate view of society’s anonymity and social isolation in the physical world.

Emma Stewart
Camberwell College of Arts, 3rd year
www.emmastewart.info
In my work I investigate ideas surrounding the home. I am particularly interested in the relationship between home and the landscape, and more specifically the relationships between my family, and their home. In view of this interest, I have recently been photographing the trace of family members, in and around the family home in Kildowney Hill, Northern Ireland. The daily rituals of people around the home and the photographic collection belonging to my late Grandfather have inspired this work.
In this specific instance, I was investigating these ideas using a medium format camera and film. These photographs are part of an ongoing body of work, and a small story in the larger narrative of home.

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