My work is formulated around the idea of built space, fantasy and the imagination.
I have been making collages of imagined space using imagery based on architecture to tell a story with colour, line and space. My aim is to engage the viewer into deciphering the image, and the relationship between people and the places they inhabit.
Over the last year I have been continuously working on a collection of these collages, collating ideas and visualising imagery with both found image and that of my own, mixing with dissecting lines and washes of colour. I like to create playful scenes, evoking dream-like states. I usually work in a quick fashion, mostly on a relatively small scale, which I have found suits the nature of the images best. To work quickly takes away the opportunity to fuss over the image, and let it lie as my minds eye immediately sees it. I find I spend too much time arranging the playfulness is lost. I also often work in pairs or small series, casting negatives of one image or striking a conversation with colour or line from one to the other.
I am intrigued by the language used by architects, home-styling magazines, and developers of new homes. Words like- minimalist, culture, community living, new urban, clean, authentic- scatter the descriptions of any new plans for modern city living. It is fascinating that we are sold by these words, drawn in by the idea of something new, something potentially utopian. I use these thoughts as a backdrop to my work when creating fantastical spaces. I like the idea of this being something we dream of having, or somewhere we dream of being. The human instinct to yearn for a better life, or a better way of living, is forever ongoing.
The everyday, the process of looking, time, interactions and tensions, changing functions.
My practice is centred around using the everyday object as the subject, elevating the status of items and surfaces that would otherwise be overlooked. I have an obsession with looking very hard at something, and really engaging with a surface. In todays culture we are constantly bombarded with visual stimulus, to the point where we never have the chance to catch up and our vision is in a state of constant deferral. Through my work I aim to slow down the act of looking, giving the viewer a chance to engage both with the surface they are presented with, and also with the act of looking.
Title: ‘Presented to Kings A&E with bizarre behaviour. She was exhibiting a period of crying, irrational talk and shouting’ Measurements: 118 x 78 cm
Admission date: 31/07/2013 Presented to Kings A&E with bizarre behaviour. She was brought to the A&E by her friend. She was exhibiting a period of crying, irrational talk and shouting. Mum is on the way from Poland. Lives in a shared house with 8 to 10 other people. She was working as a sales assistant up until a week ago. She worked in this job for over a year. Quit it as she did not like it. Came over to the UK over 2 years ago. No financial problems. No physical health problems. Not registered with a GP. Not aware of any allergies. Born and brought up in Poland. Normal childhood. No bullying at school. No problems with law. She is single and denies being in a relationship.
The work is formal in its composition, for the arrangement of materials is concerned with colour, light, scale, balance and form. The making of the work considers objects in relation to one another, resolving their arrangement in-situ. The way a material falls, creases or balances is treated as a recording of the artists hand, which suggests a form of mark making. The materials used are often ready made objects left untransformed highlighting their temporal arrangement. Much of my arranging is informed by motifs found in painting such as the way composition is used to emphasise an object's own weight and form. This is may be achieved by arranging a collection of materials and utilising their interaction with each other. Painting also influences my thinking around perspective and how one is to view the work. Often painting considers pictorial composition, the balance of components and the literal framing. Taking this act of looking at a painting pictorially into the space can be used to frame both the work and the viewer. When viewing the work, there are points where it can be seen as one complete entity and others where it is appears as distinct artifacts. Through this exploration of being amongst the work the viewer becomes active within the work. As well as the gallery being a framing device I use photography both as documentation and as work in itself. While many of the sculptural pieces are prone to collapse when installed giving a temporal fragility, the photographs work differently and being static have a sense of permanence. The photographs can be both exhibited without the original set ups or can be re installed with them in the space. By using both framing devices a wider range of scale and positioning can be used in relationship to the viewer.
Breaking the Yoke: Welcome to Norman's Pad
I want to create miniature worlds through the minute and insignificant, the discarded details that often go unnoticed. For me they carry the real stories hidden from view. They are ‘indexical’ marks, the residues and traces left behind in every action. Every surface and material whether physical or digital is a record of what we do. It is a powerful idea that however small, objects hold clues to their origins, functions and those who have come into contact with them.
In this way it has become an important part of my practice that elements from previous projects are broken down and rebuilt. This could be cannibalistic but through deconstruction and rearrangement they become more than the sum of their parts. The new work carries the trails of its predecessors down a complex chain as well as displaying new ideas. Through reuse, contexts are constantly embedded as indelible marks. Humble objects and humble materials have a specific power of their own not easily replicated. There’s no song and dance; their power is found in their very objecthood or materiality. Through manipulation the artist acts only as a mouthpiece for this inherent power. They are honest — they have integrity and depth in their simplicity.
I don't want the objects to be curiosities, fetishised and elevated to artefact. They are simple, to be manipulated how one sees fit and to suit one’s ends. The work is mutable and this had to be mirrored in the display: simple, rearrangeable, manipulatable architecture to be reused. In the same way that words are building blocks for narrative, work and display in unison are to be stitched together blown apart interrogated torn to bits, and eventually reimagined.
My practice aims at exploring and exposing specific elements of news stories and articles taken from various media outlets which depict and debate global affairs concerning Islam, Islamophobia and to an extent particular acts of terrorism. As a result my work aims to decipher the relationships between these things as well as the reactions to such stories via the use of readymade images, information such as quotes and other materials as well as fragmentation processes to appropriately extract the parts of the stories that I have reacted to myself. In doing so I am trying to suggest the various viewpoints and effects caused by the appropriation of information as well as how this information can be misappropriated and then as a result become confused with the core principles of Islam and religion as a whole. This is best conveyed via the materiality of my work which includes various fabrics associated with Islam i.e. head scarves which subject ideas associated with modesty, humility, peace etc. Not only am I looking at religion but social culture too as my practice has more recently involved the effects of terrorism in the forms of reactions towards acts of terrorism; including accounts of multiple perspectives from the West. The context of my work therefore varies, not only from the multiple sources information is taken from but the way this information is used, accessed and distributed.
"Memory Overlap" Installation / Projection Video on loop Mikako Mitani was born and raised in Tokyo, Japan
In the age where anyone could own as many photographs they want through technology, Mikako explores the conception of photography. “Memory Overlap” is a clip where videos and still photographs overlap in one frame - one taken in Europe, and one taken in her home country Japan.
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“Lack of comfort means we are on the threshold of new insights.” ― Lawrence M. Krauss
‘The Rocket Worked Perfectly Except For Landing On The Wrong Planet’ Self Adhesive Digital Print on Paper. 119 x 168 cm (2AO)
‘Comet 67P/Churyumov – Gerasimenko’ Anaglyph Screenprint on Paper. 30 x 30 cm
‘Comet 67P/Churyumov – Gerasimenko’ Sublimation Print on Stretcher. 130 x 130 cm
'Degree Show Compilation'
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Eroded surfaces, marks created by accident or on purpose, but which end up being part of an unwanted composition within the environment in which they find them self being into. Things, objects thought of as rubbish or something ugly that is not noticed by the general definition of beauty, desire or useful are at the hart and main subject of my practice.
The juxtaposition between the controlled mechanized and calculated actions of the machine that I use as a medium, and the organity and rawness of the object that I have chosen to reproduce with it is the main reason for which I use this technique to produce those objects. I m interested in this union, process, connection that builds up along the production realization of one object, which I interpret as a Hybrid which is half machine and half organic.
Moreover I see in the imperfections of the machine its own character, which is what I think makes every object unique and with an Identity of its own.
I’m fascinated by technology and the why it function in the process of production of an object. I m interested in the identity of the machine and how this is transferred to the object that it produces, but most of all I’m interested in the imperfections, mistakes of the machine which is what I think makes it unique and give it a character, an identity.
I see the objects I produce, as functional and I like to think of them as furniture for homes or for outdoors. I see in them an unfinished look that can only be fulfilled by the interaction of a third party that through its own imagination finds a way to make them functional on its own preferences.
My work is a continuing exploration of the function of colour and its realtionship to the solid forms, to examine their capacity to be tangible yet in-tangible. Through 3D installations I want to bring recycled material togeteher with new consructions and bond them by the technique inspired by my collages. Constraints have played an important part in the process of making work, art evolving in lack of something. I aim to break up from old mind-frames of thinking in order to find new entrys to methods of working. Dealing with subejcts such as originality, repetition and of consiouss vs. un-consciouss creation has given me space to reflect and play.
This year I got the opportunity to investigate further into the concept of structures applied within the context of art. The starting point for my research has been to question any applied system within art, systems used in valueing art and within the process of making art. Learning of the anthesis of structure (intuition) has given me a better understanding of how my own work is reliant to this method and has helped to strenghten my thesis of it being a vital force in the process of creating. My studio practice is derived from the idea of breaking up, I work in the belief that through the breaking up of any consistant form or order will only lead the work forward. A method used to get closer to the material (subject) treated, to understand its capacity in forms and of the complemeting effect they can muster through an applied order of colour and composition.
My practice is about the observance of domesticity and sentiment. The mediums I use in my practice are domestic crafts, such as baking and sewing. The use of these mediums allows my work to walk the line between art and craft, which is important to the overall effect of the work. Displaying the work in an art atmosphere is intrinsic to my practice and it is of equal consequence with my use of medium. The juxtaposition of an artistic environment with the products of domestic labors encourages the viewer to see significance in the domestic art objects. A quilt on a bed at home is just a quilt, but when that quilt is displayed in an art show it is forced to become an art object. As an art object that quilt is then regarded in a considerably different light than it ever would have been.
"Pour Maman" keeps you warm and gives comfort when comfort is needed. It is an acknowledgment of my mother. The work is about the connection between significance and domesticity. The fabric that makes up the quilt along with the quotes and sayings written on the quilt come from my mother and my partners’ mother. This work is about appreciating all they have done for us and all they have sacrificed for us. It is about recognizing the value of things in our lives that often go unnoticed.
My work is concerned with the notion of beauty and draws on the beautiful that exists within the everyday. My aim is to capture the sublime in the mundane, to transcend it, play with it, interpret it, give new life to something that was once dead, and to insist in beauty, in spite of everything. ‘Decorum’ stems from an aesthetic origin and combines the languages of fine art and interior design. Playing with the distinction between form and function, ‘Decorum’ is about creating abstracted shpaces of seduction. This selection of work draws on the ambiance, mood and experience that a space can offer and consists mostly of domestic objects and discarded furniture that are re-purposed under a very particular and considered aesthetic.
conversation forms a key part of my practice, which holds multi-disciplinary roots; but further, extends itself to curating, publishing and social engagement.
with this then, my practice is firmly concerned with an idea of the city, its systems, and systemising. how through the language of the street, its systemisation can create a sense of the other, whether through political identities of class, colour, culture and gender. through a processes of critique and narrative, my practice engages heavily with with aspects of architecture, art history and philosophy as means to investigate these discussions. finding and projecting post - post - modernist and post- capitalist perspectives on alternative economies and ways of 'being' are important notions that appear throughout my work.
* work no. 24: what we talk about, when we talk about going to art school [installation / performative sculpture]
* work no 25: untitled [pvc bags, lenticular print (8' x 10'), framed]
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‘Sub Rosa’ began with the observation of an overlooked decorative device that often occupies the focal point of a room in a period property when the interior of the middle class house was predominately women’s domain in contrast to the exterior world of men. The ceiling rose was originally hand crafted and is now mass produced and can often be kitsch in appearance. The maternal and domestic aspects of the ceiling rose have been foregrounded in order to raise issues about women’s relationship to the home.
Ceiling roses have been sourced and cast in plaster to retain their distinctive and familiar appearance, now forming an alignment of feminine objects that have been grounded or brought down to earth. The steel rod holds them in place and could represent an aggressive or sexual intrusion made evident in the act of constructing or assembling the piece together.
‘Her Place’ is a series of collages that also explores gender associations using photographic portraits found in flea markets and charity shops and old books from previous decades. Traditional gender roles can be most pronounced in the kitchen but here the utensils and crockery can be seen to be either silencing or enhancing the women portrayed.
"Transitional State" (video, music & sculpture installation 2015) by Björn Borgström.
Landscape of perception
'If, while resting on a summer afternoon, you follow with your eyes a mountain range on the horizon or a branch which casts its shadow over you, you experience the aura of those mountains, of that branch.' Walter Benjamin
Untitled (Landscape of perception) 2015 241x166x41cm Found objects, steel, glass, and felt.
Untitled (From sky to earth) 2015 241x166x41cm Found objects, steel, glass, and felt.
Untitled (at 23.4º) 2015 241x166x41cm Found objects, steel, glass, and felt.
I am interested in constructing reality and its subjectivity according to the separate individual. My work looks at the impossibility of creating something without basing it on previous experience but also explores the infinite possibilities for combining information in order to create something that has never existed before.
A VAJ The affirmation of speech Everyday 3 and 5pm K001
It was during my final year that I exclusively explored the relationship between hearing, sight and touch. My interest is not limited by the sound itself, nor composition of it, but on how I we react to it. I mainly experiment on different ways of playing instruments, drawing attention to the movement of the physical act involved.
Is it possible to map and visualize sound? These are the main concerns that I explore in my work. For example, I cover a cellist in a bin bag and made a video recording of him playing a cello, and tried to capture the way the bin bag moved according to the movements of the cellist's arm. In another example, I wear three layers of stockings on my hands and play the keyboard. As the stockings makes movement difficult, I want the stockings to emphasize the changing shapes created by my moving fingers as I played the song. I wish to capture the hidden beauty of sound that is not visually evident.
I tend to display two pieces, one after another. Thus, within my work, there is a strong sense of binary contrasts: Controlled and free, artificial and natural, real and staged, presence and absence. The juxtaposition of the two elements is visually evident. As previously mentioned in the pieces with stockings and bin bag, I normally situate my self on established familiar structure of conventional musical performance and playfully disrupt the expectation made by the audience by introducing abnormal constraint.
For my final piece, I plan to display two separate pieces. One will be a self-composed song with lyrics created through stream of consciousness, and the latter half of my performance involves playing the keyboard. Singing and composing became a very crucial practice in my final year. The stream of consciousness reveals the amazing capability of our subconscious, pulling out experience of ourself more than we are aware of. Once, I recorded myself in public such as singing in the train or in college building. In the latter work, I will be playing chopsticks on the keyboard along with the video recording of myself on screen. As chopsticks is played by two people on the same keyboard, the video on screen will play the left hand part wearing stockings, and I will play the right hand part on live, creating a duo.
Aura by Joanna Knott Room: B301
I might be dumb silence I'm the dumbest.
But as I wait until six I feel the lanyard caress my neck like the lover you hate while some broadsheet hats stand and wait for an hour of minimum wage cakes and gluten free chai teas and i think I might have the lanyard blues but sweet resignation sing sometimes I'm doing something
Art has an authenticity for me when it is forged from the crucible of life’s experiences. My own artistic practice seeks to reflect this, with my childhood having been shaped by war, loss, and migration. This elevates questions around identity as well as how to heal the space where time and events leave their traces and scars; a fragile and unfolding process of exploration and discovery. I express this by making sculptures and installations as well as 2D works and bricolage.
I am attracted to discarded objects, which I often combine with more traditional materials ranging from metal and wood to textiles and paper. While the finished works can appear diverse, they are linked through cultural and personal references drawn from life, history, and a chance methodology. The foundation of them all is a yearning to convey the inexpressible, which I seek to achieve by developing a subtle relationship between implied and actual symbolism. I am like a scavenger, picking up ideas, materials and objects wherever I am in the world, then penetrating, unravelling and breaking them down to free them from the stranglehold of their conventional meaning. The resulting works are not necessarily beautiful in a traditional sense, but convey vulnerability and the melancholic transient beauty of the fragility and non-solidity of our existence. By transcending familiar elements from our everyday lives and creating challenging juxtapositions between them, their useful significance disappears, and a new thought is created. I relate to my studio as an experimental playground, responding intuitively to my immediate environment and putting an emphasis on the process. In that sense, my works are more of a question mark than a statement and invite the viewer to be part of my questing.
My practice concerns the decline and regeneration of the Heygate estate in Elephant and Castle, London, following the huge change this is having on the local community, and how peoples identity linked to their homes and the city, is in transition. Focusing on industrial materials, the theme of regeneration has been key to my practice, where regeneration is symbolic for the continual change of personal identity, especially within the city and how difficult it is to grow roots and that what may be identified as home is constantly transient.
Making with materials and thinking through material is essential to locate my ideas, develop and refine which material and what particular technique employs and evokes the specific idea most successfully. Metal has been predominant in my practice, associated with industry, heavy, dirty and an aggressive material, used in construction for internal structure and reinforcement, I use metal to try and understand in what other ways it can express the complexities of this urban structure. I drew with the material to create forms with no particular structural purpose but rather to play with the properties of metal to create a fragile, lightweight form in mutation. Inspired by frequently revisiting The Heygate, I built a memory log of emotions and how the ambience changed throughout the evacuation, demolition and rebuilding process. There was a sense of people still holding onto the past, feeling anxious for the effect of change on their lives, yet with acceptance and acclimatising to the new identity of The Heygate estate and surrounding area.
My research has also led to an interest in a dystopian version of the future, the relationship the present has with the past and what that may become. My practice is also concerned with what a virtual reality of the future may hold with the change in city infrastructure and marginalisation of ordinary people. A clone like reality where there is a distorted or radically altered sense of identity, history and home.
Please contact your consultant or general practitioner if you experience any of the following:
Lethargy; Hyperactivity; Resentment of those who exhibit concern about your lethargy; Resentment of those who exhibit concern about your hyperactivity; Preoccupation with the least life threatening but most cosmetically unflattering aspects of potential treatment; Unnecessary and uncharacteristic fixation on doing the washing up; Goggling your symptoms; Over eating:; Under eating; Irrational hatred of the fund raising efforts of organisations which support those with your potential affliction; Sudden and extreme mood swings (in particular when triggered by the washing up or food shopping); Increased libido; Decreased libido; Pain or numbness in your limbs; Thirst; Tension headaches; Sleeplessness; Finding yourself distracted and unable to focus; Redness or swelling (regardless of how much you have inflamed the area by constant investigation); Persistent coughing; Nausea after over eating; Nausea after having not eaten for hours; Low mood; Nausea following alcohol consumption; Nausea following a Google search your symptoms.
I want my work to transform existing materials. I am not trying to invent new objects or experiences – I work to highlight the infinite number of ways we can experience what already exists. I walk through the environment looking for routine moments that fall into the white noise of everyday life – I want to make use of this useless – the detritus, the throw away. Taking these idle moments as my material, they become counterparts in a mechanism that will expose how the world is continually working. The materials perform and the simplicity of motion in the physical world presents itself.
I am interested in the limits of identity and the effects of global cultural interaction through which social experiences are presented, transformed and consumed. This involves making work that challenges the binaries we continually reconstruct between Self and Other. Similar to the documentary or journalist filmmaker’s approach, I gathered information through various conversations, direct observations and photography.Never really free is a complex sculpture that presents the transformation of these actions in an interesting way. The everyday social interaction with cultural difference is configured and recreated into something curious and vibrant. I represent the self in the world of travel as a person who is somehow in two places and maintains a double perspective on reality. It is a result of research into images of the self as the self interacts with others whose cultural identities are different: the self is constructed through a negotiation of differences. The core of my practice is often directly to engage with the places that I find of interest and I look to work with the people and materials that I find there. I have included the investigation into the significance of ‘being’ in the materialistic world: socially, physically and emotionally. The materials used in the piece reference space and time. The subject of my sculpture is rooted in my life in the UK: perceiving change and transformation revealed through colour and the very sensuousness of materials.
This new environment can give me new beginnings: beginnings of curiosity, of excitement, of new people that I share time with. However, I realize that the same constraints of my past restrict me in my new environment, and I express this in my sculpture. Never Really Free is a sculpture made from cardboard boxes (which I found in the college), plaited jute ropes, and Ecuadorian indigenous fabric. The sculpture shapes an interest in the inherent transformative qualities of this idea.
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For this particular piece I have researched into history and project it back in to modern days issues. How China invaded Vietnam and how Vietnam ‘expanded’ its land throughout centuries are the core factor of my presentation. I was generally intrigued by the ambiguity when I look at countries’ conflicts such as America (Ferguson riots,#alllivesmatter, ignorance of native American in media), the West bank _ Gaza war or Hong Kong’ strikes. For example, after the Vietnamese invasion of Champa, they became one of the ethic minority groups in Vietnam and only 0.9% of American population is American Indian and Alaska native. Those incidents indeed similar but very different but some home all connected by the complexity of ownership of land.
Whether that land was politically or physically reclaimed or is it the people who live there are more important? Has it been used? For what purpose? And for which group of people. Although it happens on another part of the world but it is the process that we all experience because we are all sharing this land. History is something you always have to accept, in order to realize your own materialization. For this particular project I have took it on another level, shifted it and represent it back to the audience. And when you shift history, you are creating, layering a new identity through yourself.
Instead of claiming or projecting a statement, the work was more about activating a discussion, conversation, curiosity and question. It would challenge people’s effort when they try to tie everything together. It should not tell stories but letting people inserting their own private experience.
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My work attempts to express an inner state, whilst questioning what it means to become and to be a woman after having experienced incest. I explore the ideas of transgression, lineage, symbolic death/re-birth and transformation.
My creative process is an attempt to sublimate « raw » psychological material. I collect automatic writings and drawings, recording of improvised songs and monologues. All these mediums are easy to use in meditative states or naturally induced altered states of consciousness, and allow me to access unconscious material that I can then look at and work with in a more conscious way.
Once I am presented with the accumulation of this « raw » material, I use them as if I was making a collage. I I craft my own symbols and narratives by creating meaningful dialogues and associations between them. I then extend the dialogue, or collage, to other elements such as mythology, architecture, Jungian psychoanalytical concepts, traditional rites of passage etc.
Video work allows me to unravel inner monologues and their multiple layers of meanings. The audience can be taken through a journey, plunged into different atmospheres. The narrative of a video has a rhythm that unravels through time, allowing a sense of process and transformation.
On the other hand, working with materials like metal on a large production scale pushes me to focus and engage repeatedly with a specific emotional state on a physical level.
The presence of a sculpture is different than the one of a video. It can incarnate, bring to physical life, an inner state or a symbolic act. Therefore it can « directly » interact with the audience. I am interested in the audience engaging with the physical presence of the work, and what its presence does to the audience.
My light installations come from an interest in the process of capturing light through film. My ongoing documentation of accidental, found reflections of sunlight on walls developed into formal investigations using projected light. In creating and projecting moving image, I began to both simulate these occurrences and create new ones - by manipulating the light source and in some cases adding prisms.
The work attempts to reflect on what the audience encounters before they encounter it. Viewers have potentially experienced these ‘studies’ daily throughout their lives; on their bedroom walls, through bus windows, or on floors - they may not, however, have consciously acknowledged them. I have observed, recorded and re-created effects of certain light occurrences, approaching the 'accidental' (or formally invisible/forgotten) by digitally capturing and recreating them. Then using a projector to re-stage them in the space for the viewers to notice or to not notice.
Another concern within my work is reconfiguring the rectangular projected ‘frame’. Light is projected within the frame, but the edges are obscured or eliminated - To remove the idea of the projector. I use a projector to display the work in a way that initially makes the actual technological device go unnoticed, without physically hiding it from view. I do this so as to require of the viewer a closer or second inspection to realise the projector is in fact the source of light - the creator of the image.
Through prioritising (slow, fractured) peripheral encounters with light, my intention is to evoke a heightened awareness of these subtle moments: a strip of light moving across a wall, the suns reflection off a passing bus, or a rainbow reflecting off some glass. In treating my works as individual ‘studies’ under an all-encompassing theme - ‘Light’, I have been able to focus on reflection and refraction, light and shadow.
Between the visible and invisible lies a glistening rectangular pane – a transparent veil.
This thin glossy sheet of glass, so innocent looking, is the frontier between the physicality of toil and the ignorance of immateriality.
Liquid crystals oscillating seamlessly, between a fluid and solid state, produce a viscous reality that is almost palpable, almost attainable, but succeeds only in abstracting.
The heightened artifice perpetuates anonymity. Outsourced and far away, dead labour turns to capital and power relations dissolve. 'All that is solid melts into air'
Moea Creugnet Maureen Monod
A Second Self, is the conceptual thread behind our collaboration which started more than a year ago. Indeed, drawing from our own experiences of duality – Moea having a twin sister and Maureen being a look-alike of a French politician – we decided to come together and examine the ‘double’ as a theme, but also as a process.
We have thus embraced the other’s vision of duality into a common video in which we become both its subject and object, and confront the relation between fiction and reality. Indeed, the selected work is the re-enactment of a previous project, A Second Self – Documentary (2014), which combined an improvised interview of us on the struggles of collaborating, and scenes of the same interview performed by other characters, who acted as our doubles. In The Re-Enactment(2015) we intended to add another layer by adopting cinematic and theatrical features. The video takes the form of a scenic essay where the content is as important as the visual output, following the example of the French New Wave, and Beckett’s absurd theatre. Once again we are blurring the line between the authentic and the performed, between the genuine self and the performer, between Maureen and Moea. We have therefore transfigured into a third person, a third entity (MO-MAU) composed of two look-a likes but yet still singular.
This will allow us to investigate deeper the complexity of collaborating, an endless and ongoing source of inspiration for the both of us.
Joseph Garwood performing 'Snapped Leg' live sound performances throughout each day.
“I awake in my bed to see my physical surroundings as I normally would, my room is exactly the way it was before I slept. My hand is on the pillow in front of me. I can see it although not fully, it is too close and out of focus. It blocks some of my view, I cannot feel it nor can I move it. I cannot feel the rest of my body and I do not know how it lays. The only part of me that I am aware of is that which I can see without moving my head and I only know it is mine from memory. I am detached from my body, I have lost my physical place yet am with a visual perspective. I am disconnected from most of my sensational reality. I obviously have memory intact; I know this environment, although I do not remember how to move. I try to call for help, I try to move but I cannot. I see that which I am certain is real. They are real. I can see them; I can feel them. Presenting themselves in the space that occupies my room are abstract figures, silhouettes made of glimmering water; made of bright flickering light. I anticipate these figures want to cause me harm, and sometimes they do – or so I imagine.”
My upbringing has had a major influence on my practice; I was brought up in a catholic family and went to a catholic primary school, high school and college. From the age of five years old I became aware of my sexuality and would often hump the corners of chairs, tables and teddy bears, much to the horror of my family and primary school teachers who witnessed this. Throughout my practice I have used my body in order to address issues of transgression, gender, sexuality and the relationship between the performer and audience. The encounters that I have had with the audience through live performance has been a driving force in my investigative practice, raising issues about the subversive and threatening quality of the live act. I often use my mouth as a vocal and penetrative orifice using everyday objects that reference the private and the public, the erotic and grotesque.
My current project, which I’m showcasing for the Degree Show revolves around shame and embarrassment within the context of my father’s paintings, in which I am using models to re-stage a filmic version of the paintings. The paintings are by my father and were completed in the early to mid-2000s. The paintings are of nude or topless women in varying poses and attire, wearing gloss black crash helmets. For the installation, I have written a poetic narrative in which I talk about my relationship with my estranged father, in which I have had moments when walking on the streets of London if a man wearing crash helmet passing by on a motorbike might or might not be my father. I discuss these moments where I am seriously contemplating the identity of these men wearing crash helmets and compare this moment to paintings by my father in which he painted the nudes also wearing crash helmets, in which I also question the identity of the women in his paintings. The work explores my own psychological headspace in which I am exploring the anticipation involved when crossing paths with a parent within a large city and the uncanny feelings and emotions it conjures. The work also explores my father’s own sexual identity, my father who uses a motorcycle as his main mode of transportation, as the motorcycle is part of his career as a motorcycle courier. I am exploring my father’s work as an outsider artist as well as his sexual fantasies in which he imposes part of his identity – the crash helmet onto the nude women.
My installation involves a corner space in which I have hung the original paintings. With the installation I have installed a plinth, which has a crash helmet suspending from the ceiling. With this installation I am experimenting with Ocular Rift style technology for the first time, in which I have fitted an Android phone and Google cardboard device within the helmet. The idea is that the viewer literally steps into my headspace as soon as they put the crash helmet on. In which they can embody this surreal reality and connection of ideas that exist inside my head.
The furste artycul of thys gemetry The mayster mason moste be ful securly Bothe stedefast trusty and trwe
- William Schaw, "Maistir of Wark: The Articles and Points of Masonry from the REGIUS Poem", Quatour Coronati Lodge Facsimile Reproduction of Constituciones Artis Gemetriae Secundum Euclydem, London, 1891
The main elements in my installation were the result of a two year exploration into stone sculpture: from the images of stonemasons working with their tools and materials, such as in Bruegel’s Tower of Babel, to engraving and sculpting from and into stone, to the material itself.
"It is all about listening"
"It is all about listening" is a sound/video installation, a meditative experience where senses lose their boundaries. This work travels across two realms: the realm of sound and the realm of moving images, exploring the dimension of noise and the relationship between the viewer/listener and the artist/composer. The aim of the piece is to dissolve the space that divides the composer from the listener, the inside from the outside, the subject from the object, and ultimately transforming the visual/sonic experience into a musical being.
By disrupting the clear and flawless properties of reflexivity, these mirror works borrows from cubism its dissolving and tessellating aspects in order to reinstate a new set visual and experiential rules around the viewer and his spatial surrounding.the observer is blended, or one might say ‘camouflaged’, into his setting;By disabling one’s ability from seeing one’s own holistic reflection, an important artistic manifestation, here, becomes the role of the assembled repetitive symmetries in inducing a sense of loss of the self. Instead of depicting refracted objects from a single viewpoint, the work seeks to depict the subject from a multitude of perspectives that represent the latter in a greater context, henceforth engendering a shift in mind state, under the established assumption that the mirror work is a gateway to one’s own mind – to a deeper state of contemplation.
The penguins are heading to the open water but one of them would neither go towards the feeding grounds at the edge of the ice nor return to the colony. Shortly afterwards he heads straight towards the mountains 70 km away, straight to his final meltdown. But why?
My practice revolves around the conceptual and philosophical questions related to truth and fiction and the blurred line that lies between. This theme is continually examined throughout the whole process of producing my work; from filming, to editing and finally within the mode of presentation.
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Anna Pickles Harvey works mainly with digital video, text and the publication as a way of exploring the limitations of signification, the production of meaning through language, and the relationship between word and image.
Celestial Sundial Moving Image Sculpture Installation
A projection of a straight white line curves when coming into contact with the concave surface of the sculpture. The severity of the curve depends on the angle from which you view the work.
The line is temporally linked to the day cycle of Jupiter: Every 24 minutes 48 seconds, the line completes its gesture across the sculpture marking 1/24th of a Jovian day.
When watched closely, it is possible to witness the line's movement.
Extract from the video Jellyfish:
The kids would get jellyfish stings right up their legs. Then their parents would give them sorry looks and get spades and buckets and pick up the shimmering bodies from where they lay mashed into the sand. Then they would throw them straight into the bins.’
"Prolapse Song" utilises viewer interaction in order to sign one of a 100 randomly chosen petitions with a 'fake' name, email address, and postal code. Through the exacerbation of the 'slacktivist' act it takes at its driving mechanism, "Prolapse Song" aims to create a subjectively driven examination of digital sites of protest in order to re-examine potentialities for digital disobedience.
'Times of Nothingness' 2015
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Aesthetically, most of Transference shows threads of circular colourful content swamped in blackness, which forces the reading of the work to be focused and immediately voyeuristic, as if you were looking through a peephole. This visual preference comes from a want to direct the gaze of the viewer and a love of the theatrical. Particular references being Twin Peaks’ use of the spotlight, Derek Jarman’s use of primary colours against black and Kenneth Anger’s use of theatrical devices: costume, makeup, mime and music. I wanted to harness these fictionalised methods of communication to tell true stories. All of it centres around revealing something truthful while forcing intimacy on the watcher and hopefully connection.
The content tells stories of touch, the tactile aspect of our relationships; how this translates from parent and child as very innocent and intimate into something more adult but equally as nourishing and the in between stages of uncomfortable absence.
The use of personal memory and appropriated memory from differing generations is a harsh juxtaposition against the viewing of the film, which can at times seem sexualised. I am happy with the film’s ambiguity, I want it to be malleable and for the reader of the film to be able to mould it into their own shape.
The video is punctuated with pregnant pauses in the hope that the space and content will facilitate reflection, that the visual and sound will lap over the viewer and become intermingled with their inner dialogue. Much like the universally peaceful environments used in the video. Space or environment is integral to the reading of the work and the continuing push of intimacy: the front seats of the car, the bathroom. It’s important to me that these are seen as ‘authentic’.
My approach to art is that one should be able to enjoy it with a light heart. But the longing for lightheartedness in art comes from the struggle I face. I am a Korean-American raised in Japan living in England, and being an international citizen is a double edged sword. It is what distinguishes me as a one-of-a-kind character, whilst questioning the sense of belonging. I have always been a foreigner, in search for settlement of physical presence. Due to this fact, I tend to hoard items that have my trace, and they often serve as the key materials in my work.
Transit is made from airplane tickets that I have collected over four years. The tangibility of a boarding pass is what caught my attention, along with the information; the tickets serve as evidence of identity, time, and space. Showtime consists of empty cosmetic packagings that have been accumulated for four years as well; they show the amount of products that were consumed in the process of presenting, making, and masking of the self.
Choosing materials is a significant step in my practice. The tickets and makeup boxes are both made out of paper, which is a delicate material that is temporary. I see value in the preservation of trace in its original form, despite the paper-material being movable and portable, in parallel to maintaining presence in my nomadic lifestyle.
The issue of belonging is a heavy concept to deal with and I try to avoid direct projection of my struggle. Transit and Showtime are both quick snapshots of paper. My work is disposable, in material as well as technical; it is my interpretation of alleviating the heaviness of my content. I enjoy and practice art for pleasure, and I aim to deliver the same effect to the audience.
“Nude” Collage using found imagery (beauty and fashion magazines) on card Each frame 210 x 297mm
My work is formulated around the idea of built space, fantasy and the imagination.
“Nude” is a response to the inescapable sexualisation of women in today’s society, with particular focus on advertisement, film, music and popular and celebrity culture, and the artist’s fascination in the mainstreaming of nudity and striptease culture. In recent decades we have seen an increase in celebrity icons posing fully nude for publications and incorporating pole dancing and stripping into their performances. These powerful female role models run the risk of influencing other women to consciously objectify themselves for financial gain – particularly in the case of exotic dancers, questioning whether the audience, the salary or the environment should determine the exposure of a women’s nudity to be celebrated and glorified in one industry yet scrutinised in another. Floyd recreates the women seen working in private table dancing establishments with the found imagery of women’s skin in the pages of high end beauty magazines - another industry where women are objectified and consciously use their aesthetics for financial gain.
“Nude” opens the dialogue of whether or not this mainstreaming of nudity and sexualisation is an oppression or progression for feminism? The intriguing correlation that as we fight for gender equality, we see a rise in the popularity of strip clubs from Western culture and women choosing to take up the profession of an exotic dancer. Is this an oppression of feminism and hindering the fight towards gender equality in a still patriarchal society, or is the rising popularity of women earning a living in the nude a symbol of women’s empowerment and freedom to do what they so wish with their body? Especially in the case of women who work in a society where they are not paid equally to their opposite sex. Are strippers the misconceived feminists who are beating patriarchy at its own game?
Hannah Goodwin uses personal experiences as a conduit for looking at broader issues around social arts practice, mental health and isolation. Her work often appears to be decorative, using a wide range of methods and materials such as blankets, models, drawings and light. These objects, performances and installations become familiar for the viewer due to the use everyday visual references, inviting the viewer to come closer, but they reveal something more confusing or disquieting upon encounter. It is through this conversation with the audience that Hannah’s work aims to speak frankly and truthfully about the complexities and realities of mental health, to make visible the hidden aspects of her concerns and own personal experiences.
Floatation Tank (2015) 240 x 300 x 250 cm polyvinyl chloride, copper, wood, metalon, clear laminate vinyl washers
Lido (2015) 70 x 70 x 165 cm steel, glass, semi-reflective mirrored film, projection, polyvinyl chloride, wood
‘Floatation Tank’ (2015) and ‘Lido’ (2015) investigate the broad discussion around the construction of ‘gender’ within cinematic space. Through the fusion of sculptural installation and digital projection the work negotiates itself around the notion of viewing and the spectator. My practice aims to materialize the anticipated redundancy of cinematic identification during the ‘Digital Age’, in favor of the Internet. ‘Floatation Tank’ and ‘Lido’s ’ transposable elements question ‘gender's’ maneuverability within ‘identity’.
The Metta-Scope A tribute to Adolf Bioy Casares’ novel ‘The Invention of Morel’ (1940)
A quiet, yet playful, adaptation of Adolf Bioy Casares’ novel, the audience are invited into this machine/apparatus of dialog and exchange. Whilst inside the ‘machine’ the audience may question, as a result of seeing multiple reflections of themselves and reflections of external objects that the machine produce’s, there placement and reality within the narrative of the work.
The roll of paper acts as a prop, it functions as my very own reflection that describes how I feel. Like a background it sets a mood from which the audience can look to and draw from. This, I offer to the audience in the hope that they may respond, if they desire, in their own way.
My practice explores the experience of grief, following the loss of my father. I use a range of media including photography, video and the artist’s book.
I am intrigued by the interface between our public lives and our private selves. These fascinations have led me to investigate the patterns of our cognitive behaviour and contemporary ways of self- expression. Through scrutiny of the archive, legacy, cultural rituals and love and loss, I am eager to share experience and take the deeply personal to make it universal, assessable and public.
Condolences (2014) is a video piece documenting the first time that I read the condolence cards received after my father’s passing. This experience was extremely enlightening, as I was able to reflect on the words written inside the cards that reminded me of my father’s identity, something I was eager to encapsulate through my practice.
Thus, in order to create a true representation of my father, the next step was to organise and archive the things that I had left of his. I was faced with photographs, keepsakes, possessions, documents, but the most fascinating of all was his virtual archive.
Before my father died he gave me his Facebook password. Within the inbox, I found hundreds of revealing messages between friends and family. I read stories that I had never heard before, opinions and thoughts that I never knew about and learnt advice that he gave to others (and that I am sure he would have given me, if only we had more time). I took his Facebook and carefully selected the most edifying parts. These are all in the artist’s book “How the Feck Am I Supposed to Know” (2015).
Whilst my artwork is both insightful for myself as an artist and also as a daughter, I am particularly concerned by the audiences’ encounter with it. I hope to continue my investigations into the complex nature of grief, in order to open up the conversation of such an unspoken topic.
Amalgamated bodies become larger through connection, creating an interdependability within the network. Systems are constructed and then left to self-regulate, their overall function being their continued existence. As circulation occurs the tanks infect and merge, each one intensifying the overall purpose.
I want to offer myself up. It feels like the only choice. Cool white wall against my flesh. Dark wiry hair stark against the surface. Stand there. Wait for some sort of violence. Never run from the fear, lest it consume me. Sounds safe. I think to myself, will they call it art. I think to myself, am I an object. I close my eyes. I think to myself, will they paint tribal marks on my skin, put me on a wooden plinth. Bite my tongue till it bleeds, my mouth an open sore that does not speak. *
The piece ‘I Want to Offer Myself up’ asks questions about the boundaries between subject, artist, and self and where these may lie. The work presents itself as a generous gesture, but there is also something sinister and contradictory, is it a want or a sacrifice and who is the 'I' that is being offered up, and what is it possible of containing? There is no singular visual in the sense of a portrait here; instead there is a suggestion of plurality of self, of a construction of identity, one removed from representation. This installation is an attempt at appearing, or being seen - as these hand glittered objects float in a strange space between the wall and viewer. The hair of the artist has been removed from its own stylised, fetishised and often politicised cultural context, only to be placed into another that yields another set of dilemmas: the gallery space.
Video Installation, accompanied by 3 scripts. 41:52 duration.
This work is examining the idea of fictionalising reality through contextual writing and the inter-relationship between image and text. My critical writing lead me to investigate the ‘third space’ that exists between the original and its referent. I think it is vital that people become as engaged with reading photographic materials as they do with reading text. Recognising that images present a framed segment of a much wider reality is something we all need to become more accustomed to doing and was the departure point for this piece. I am exploiting the fact that we implicitly trust photographs and video more than the written word. The script, which as a direct transcription is the truest representation of what really happened, appears fictitious due to the addition of stage directions and annotations. Conversely, whilst purporting to be authentic, the film is entirely manufactured to portray the version of events I would like the viewer to encounter. This work exists on two levels; on the surface it tells the narrative of my mum accompanying me as I try to reconnect with my heritage whilst both the loving and more fractious aspects of our relationship are amplified by the enclosed environment of the car, but underlying this is a larger comment about authenticity and where they boundary lies between truth and fiction. The screen as window serves a dual purpose, allowing the viewer to look out on the world when the camera is facing forwards, and peer in on the driver when facing backwards. I hope that through an engagement with the journey I took, the viewer will look beyond that framed by the screen and try to decide whether it is that that they’re seeing or what they are reading which is real.
“The only superstar is a dead superstar”- Michael Alig, Party Monster
The works presented are three, large scale graphite drawings on paper. The current subject matter of my work explores monstrosity in relation to queer culture. It is a culmination of my interest towards monstrosity, in conjunction with my exterior influences and surroundings outside of my artistic practise. The narrative hones in on the idea of the “queer” individual remaining a threat and still embodying the persona of a “monster” within some territories.
Making Love with Megan: Video Installation
(About Megan) A conversation with a Singaporean girl sat on a dark-coloured couch opposite you; you are the voice of a man who auditions her for an unspecified position. You learn that she wishes to become Annabel Chong to protest the status quo, but instead she becomes a cyborg, more than a sex object/subject. Utopia is invoked in her city as a synonym for efficiency and through her words you can choose to fall in love, or just ask her about the state of her pussy. In her spare time she maintains Megantube, a depository of recollections and intimate memories.
(About Hanqing) Hanqing is an artist who works with mapping distances and cyber-psychogeography. Her work is concerned with the Internet, the ethics of virtual intimacy and the possibilities of technology in activating discussions around social change. When not making socially-engaged art about the Internet, she can be found curating exhibitions, writing short blog posts on sexting and long Facebook statuses about bears. Hanqing was born in Shanghai and grew up in sunny Singapore (which is not part of China).
Scale is the key aspect of my work. I have had a habit of writing really small since a young age, especially when I am noting down things or writing private things for my own reference. Nearly everyone is amazed and shocked by my tiny writings. The first reaction from people that see my writings is to ask how I can write so small or say that they can barely read my writing. So to show that everyone can actually write small if they try, I made my first work How Small We Can Write on this topic in 2010 asking everyone I met to try to write as small as possible on a piece of paper I provided. Small Text and This is How Small We Can Write With This Pen are works proceeding form it, they are about observation of the surrounding in our daily life and human capacity, to do things we don’t think we can necessarily do.
Small Text Collage - 1mm square A4 graph paper, binder clips, cut out characters from collected objects 21cm x 30cm x 9 copies
This Is How Small We Can Write With This Pen Installation - Writings on A4 paper, photocopies, clip frame, binder clips, pens Size variable - 6 set
The scar on her right wrist embeds the mark beneath her personal experience… 'We were about to get married but….. ….......................................................... ................................................I tried to take my own life…’ She smiles softly while recalling the traces of her memories I watch her… brown skin, long, black curly hair A cheerful look I continue listening to her while embracing the fragility of a human being A story that could be mine A story of fragility, the clearest mirror of human nature A story that has been repeated throughout the ages and whispers the same resonance, a brief gasp, the emotional language of a temporal being.
The fascinating mysteries in how we experience our emotional life, the different perspectives of touching experiences deciphered by interpreting feelings, are compelling to me. Our experiences are time’s acquisition, encapsulated in the ‘museum’ of human experiences a collection of voices that displays the meaning of being a human.
When expressing our personal experiences, feelings can be articulated, translated and transformed into words and forms, where judgements don’t prevail and the fragilities of our human nature are embraced, resembling the beauty of our individualities and also the universalities of our nature. A voice that composes a self account, an extraordinary ‘museum’ of human feelings and experiences.
C303, Teaching Room To Let is a performance exploring the peculiar relationship between the use of the headless human figure and the method of promoting. The work, in particular, is a whimsical exploration and questioning on the use of Two Pancras Square's headless mannequins and their means of promoting the ground floor retail unit, currently unoccupied and to let by property developer Argent.
Performing a posing routine to a music video, featuring the audio of The Monks' 1979 hit 'Nice Legs Shame About Her Face', and still images, tailored to Two Pancras Square's mannequins, the watching eye is drawn to scrutinize the almost naked performing artist, within the context of promoting room C303, where the work situates.
C303 is promoted through a pre-performance of handing out business cards, displaying my near-naked orange body, promoting room C303 as one which is, fictionally, to let by the university, mimicking the behaviour of the headless mannequins in Two Pancras Square.
META TV - Gogglebox Installation and video 364cmx373cm 20:45 minutes
For META TV - Gogglebox I asked a group of four actors to watch different reality television shows in characters based on those in Gogglebox.
I approach art practice as a laboratory in which to explore the human relationship to production, more specifically, the dynamic between mass production and home production and what the affect DIY culture and it’s motivations can have on the way people live. I am in interested in the investigation of these ideas, not in finding a definitive better system, but in highlighting the importance of questioning things we take as given and in finding out what the catalysts for instigating choice and change are. Science fiction plays an important background part in the way I wish to investigate in that it provides a unique space in which to open up what is possible as well as having a unique relationship to the exploration of Utopian ideals. I am currently involved in a collaborative project with Alice Woods, 'Experiments in Aquaponics'. Aquaponics is a system of raising fish and plants in a symbiotic cycle. Fish waste acts as a natural fertiliser, the plants absorb these nutrients, and the water remains clean for the fish. Experiments in Aquaponics aims to explore the intersection between socially potent artistic practices and alternative future production by facilitating events, occurrences and performances. Please visit the project website for full details.
My practice explores cultural identity through photography, writing and performance. It is driven by my own personal experiences having been raised between two cultures. Having both an emic and etic relationship with these environments made me hyperaware of cultural differences between Mexico and the UK.
I question the importance of the traditional in a postmodern, neoliberal society. I am aware of the fact that preserving “traditions” can end up in cultures embracing a sense of false traditionalism as a result of fear of homogenisation. I am interested in how traditions develop in a world in the process of globalisation.
I reference traditional images that surrounded my upbringing. These representative images have been regarded differently depending on the context they are presented in. I was originally driven to manipulate these images and turn them into something new. I discovered that manipulating them and presenting them outside their own context a part of the work would get lost in translatable. I realized that referencing these historical images and linking them to my own personal histories might have been enough, especially when presenting them in a foreign environment.
I would like to carry on exploring these themes but perhaps in a larger slightly broader scale.
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The health industry today is at an all time high. But is this healthy? Through Parkers meandering practice he explores the effects that ‘health mania’ is having on contemporary life. Within Parkers practice particular emphasis is laid upon themes of commodification, simulation and the cyclical nature of consumerism within the health, beauty and fitness industry.
The final work that I’m presenting for degree show consists of three parts.
The first (Botanical Film) is a black and white 16mm film that explores and abstracts the work of the 20th century German sculptor and photographer, Karl Blossfeldt.
The second (Boat Film) is another 16mm projection that re-creates the boats from the 1962 film Go Go Go (1962) by experimental filmmaker Marie Menken.
The final piece is a series of images made in response to John Baldessari 1972 photographs Waving Goodbye to Boats (Sailing In & Out).
I have never encountered any of these works in their original form. I’ve never seen a ‘real’ printed image of Blossfeldt work or a 16mm film by Marie Menken. Instead, I have experienced these works on a computer screen, smaller and more degraded, uprooted from the context the artist may have originally intended or imagined.
By using similar working methodologies, processes and materials I have been able to re-materialise these works. Although the starting point of each work came from studying other artists, I have made them my own by choosing locations and subjects that are not only of interest to me, but that are worlds apart from those used by Menken, Blossfeldt and Baldessari.
I want to create a space separating the audience from their natural environment into an immersive, disturbance of reality. In the “Collapse,” I want the audience members to encounter a continuous, transformative space that recreates the instance right before death occurs. The audience is put into a position of intrusion, becoming the intruder triggering a disruption in the still environment, altering space, the massive structure/object and prompting death of space and the object. The object represents a dying sun, an eclipse instigating a big change, a disturbance in nature and time. Disturbance in nature such that what is seen as a robust, dense rock changes into a mechanical, collapsing machine. Disturbance in time such that the act of collapsing is halted, paused and rewinds back to its initial state to only repeat its beginning stage of deconstruction again and again. The audience triggers a generator of power within the structure that predicts its own eventual collapse. The audience is placed in a space that harvests an encounter of his/her own fear of death, of the inevitable. The timer is set for his/her end of time.
The practice focuses on contemporary popular culture and the race to stay relevant in a climate of image saturation and short attention spans. The dawn of the smartphone era has fostered an environment where celebrities both have the ability and the desire to form connections with their fans in the competition for relevancy. Celebrities have become their own paparazzi and are able to curate and depict their lives through social media; this forms a dialogue between the individual and the masses.
In watermelon sugar the deeds were done and done again as my life is done in watermelon sugar. I'll tell you about it because I am here and you are distant.
Wherever you are, we must do the best we can. It is so far to travel, and we have nothing here to travel, except watermelon sugar. I hope this works out.
'Chapter One and the Ramblings of Another' Film 69mins
With the feelings of being stuck between two cultures, this book written by Rachel's Great Grandfather has been a port hole in helping her navigate through her dualed culture of being British and Irish. By accessing and learning of the memories from her Great Grandfather's culture, Rachel is now able to project these aspects of her Irish culture through her own voice.
'My eyes are filmed My beard is grey I am bowed with the weight of years I would I was laid in my bed of clay With my last long youth compeer For back to past bring thoughts of woe My memory ever glides To the old old times long long ago To the time I'll say of the donkey and the scythe And the story lives on...'
Excerpt From the Book 'Rambling Memories' By Tom Holleran.
Oscillating between dissections of the real economy and projections of alternate future models, my practice aims to act as a non-hierarchical gateway for exploration of contentious economic realties.
Working with a diverse range of mediums, from installation to writing, I am particularly interested in the implications of financial & economic power structures on the general public. Through in-depth research, often resulting in visual and participatory happenings, my work aims to address our economic knowledge deficit and elucidate the relationships between economic decision making, cultural preferences and political transitions.