Matter. Place. An Other.
Current Online Exhibition
Memories are associated with the environments in which they were formed. This series 'Remembered Landscapes' examines how intimate places can structure ones sense of self. The photographer revisits the locations of vivid childhood memories, resulting in images that are a combination of personal recollection and timeless places of escape.
The images are inspired by memories of intimate experiences and landscapes in which the artist felt secure. This procedure of re-visiting these places allows the photographer to feel a sense of belonging and refuge.
With its roots in the visionary nature responses of Turner, Blake and Palmer, and a musical mirrored ballerina box kept since childhood, my work explores a sense of melancholy within the ephemeral nature of light and movement.The theoretical background to my work includes Freud’s theory of the uncanny, the writings of Karl Jung, ‘On longing’ by Susan Stewart and the Poetics of Space by Bachelard.
Hovering between reality and unreality, my images attempt to spill into the dimension of our virtual world, revealing a discourse of endlessness which simultaneously longs for the mythical place of memory. The narrative explores the notion of a transient self which articulates time present and time past and attempts to evoke in the viewer an unstable perception which hangs between the familiar and unfamiliar, seen and unseen.
I use the camera, then as a creative tool which allows me to manipulate light to alter perspective, revealing something about a personal sense of history and everyday human experience in a quest to retrieve something internalised from a primal sense of home.
I am a painter with a long term interest in alchemy and the philosophical sciences and how they help us to understand our landscape and our place within it, particularly how the traditionally held metaphysical stages of alchemy: nigredo (blackness), albedo (whiteness), citrinitas (yellowing) and rubredo (redness) might appear visually in relation to phenomena within the natural environment.
Recent work has focused on a visual understanding of the dark, inky flux of nigredo, the immersive, incubatory first stage of alchemy, as experienced through the element of water. Current work investigates the second stage, albedo, and seeks to illustrate the transformational action of light and order upon the dark, swirling waters of the Nekyia, Jung’s “night journey on the sea”.
The 'Rain' series of photographs documents a moment prior to inundation, when drops of inky 'sea' started to fall out of a painting and onto the linoleum floor of the studio.
My work is underpinned by ideas relating to natural processes. I am interested in ideas concerning 1. Change: the idea that things are in a constant state of renewal, decay, destruction, accumulation, rebuilding and so on; 2. Movement: the idea that things are constantly in a state of flux; 3. Organisation: the way living organisms are formed into clusters, networks, societies, swarms, mesh-like shapes and so on 4. Repetition: this is seen throughout the natural world, in our physical processes such as eating, sleeping, breathing, walking, and in our mental processes through thoughts and memories. In my painting I am bearing these ideas in mind. I see human experiences represented by analogy in my work. For example, the fact that the paintings are built up through many layers which partially obscure each other relates to the way we build up memories. I see many of these ideas as being connected.
At present my practice is based in installation that encompasses the use of fluorescent light as its main medium of projection. The material/immaterial of artificial light I use to explore the relationships that can occur between objects, subjects and space. For me these encounters evoke a hypnotic and thought provoking experience that demands greater material and conceptual investigation. This research into how my audience engages with an aesthetical, sensorial, experience drives meditative dialogue through the occurring relationships.
The contemporary Sublime plays an important role with this installation, as it questions our knowledge of knowing our place within space. There is an infinite space beyond our current place inside the spatial light experience and we are given a push towards questioning our reality within that infinity. Are we as humans in a confident place of knowing who are we are in nature, do we truly believe we can conqueror the unknown?
My latest series " Fear " has been a year in the making, the objective was to capture pure emotion along with a fleeting glimpse of modern life. I wanted a series of artworks so powerful that they would take over a room, rather than sit quietly in the corner. A virtual panic attack in one second frames for a whole minute. The art echoes Francis Bacon's heads but instead of the thick paint and dark canvas, the images are created with photos and iPad apps, as I wanted the art to represent our future and not our past.
'Life hasn't been easy.
The world requires me to know what I want next.
But I travelled and felt with every bone in my body.
Days. Days. Days.
That is all it takes to rediscover myself again.
My love. Myself. Again. '
I work with contemporary representational painting. The individual paintings are produced as part of a larger series of work that has been put together over a number of years. Working in this way allows me to fully scrutinise and process my responses to a range of personal subject contents. The most recent ongoing group of paintings make specific reference to an idealised, post-modernist architecture that can be found in simple domestic settings or in a much wider urban context. These places offered a promising, beautiful and perfect future; a place for shelter, escape and happiness. I am interested in the intimate relationship we have with this architectural environment and how it has evolved to serve the demands of the society that we live in. The paintings attempt to re-define what remains of this optimistic new world. Importantly, the painting process itself can reveal something essentially dynamic and deeply beautiful about these places.
Fixed framework (surface), collage on paper, 2015
My practice explores ways in which nature is framed by man-made geometries, in particular by modern and contemporary glass architecture. I am interested in the layering of nature and technology in the built environment – the lines and grids imposed upon the natural world in attempts to contain, order or define it. The work explores the perceptual moment and acts of viewfinding – through the camera lens and through architectural apertures. I am fascinated by the potential of glass, in optics and in architecture, to magnify and to telescope, to distort, reflect and transmit.
This collage series looks at the forms and materials of the Foster + Partners-designed roof garden at the new Canary Wharf Crossrail station in East London. It describes the garden as a place of otherness, exploring relations of interior/exterior, natural/synthetic and individual/corporate space.
I am interested in using everyday materials including discarded packaging and items often sourced from discount stores to make intriguing objects. My working method has more in common with model making rather than traditional sculpture. I am fascination with how the model is used to copy things that already exist; plane, car, home but is also used as to produce prototypes for future designs. Within my own practice I utilise model making processes to explore concepts of value and authenticity often reflecting on historical perspectives within the development of modern art. My aim is produce works that are playful, mysterious and a little bit daft, a kind of pound shop modernism. From the viewers perspective what makes these objects intriguing is their lack of back story. They pose more questions than answers; are they children's playthings?, props from an unrealised tv series?, or models for a future dystopia?
Mandy's on-going interests surround loss, fragmentation, fantasy and freedom. Her new ideas focus on her interest in the relationship and transition between states of anxiety, tranquility and security. Her recent works disrupt and distort our assumptions of comfort, luxury and reassurance.
This video compilation of her 'Comfort' series of artworks is part of an on-going project about our emotional responses to ideas of luxury and externally constructed reassurances. She has created three minutes during which an emotional response to these themes can be experienced and where we might question the assumptions imposed on us about eating, cooking, food and comfort.
A serious man in a submarine toilet holding a large wasp
The WVS helping the war effort by sewing kangaroo legs to gingham tablecloths
I am an English absurdist artist in the tradition of the Dadaists, Surrealists, post Russian Revolutionary writers and the Theatre of the Absurd. In the absurdist art world everything is meaningless and to attach meaning is presumptuous and inane. Humour is the only colourful answer to the grey art of the twenty first century. My work is pointless and banal and I produce absurd questions to ordinary questions. I am a writer, performer, photographer and sculptor and at present I am working on a large life-sized map of the world.
Removed from most violent conflicts and suffering, the experience of the average Canadian (including myself) to tragic international events is, for the majority, witnessed solely through the rigorously filtered news sources on television and the internet. My prints reference images of indoctrination, media bias, and propaganda as a comparison of blatant nationalist brainwashing and what we see every day on television (the truth, and the other). Still, the inherent issues presented do not reside in a specific place, no matter how removed from them I feel, and there is no question that despite this separation, accurate information about the world does matter. A balance between drawn, exaggerated figures and true photographic documentation allows me to explore a broad range of issues from social justice and revolution, to class disparity and media sensationalism.
Powell spends her time between demolition site, scrap yard and studio working on a project that explores urban change and the often overlooked materials, processes and people behind the scenes of regeneration.These images are part of an ongoing series of portraits of demolition workers and sites etched into reclaimed roofing zinc and printed onto reclaimed architectural plans. The project questions ideas of value and adapts materials and traditional techniques to put the discarded materials of our urban environment to creative use. A book called 'Urban Alchemy' containing of photographs and text exploring this process accompanies the photo/print works.
Erik Kessels 'Album Beauty'is a short documentary on show at QUAD until the end of May. The documentary, shot on location at QUAD on the opening day of FORMAT13, tells the story behind some of the pictures on display and was filmed, directed, produced and edited by Paul Green of Green Peak.
Album Beauty, an exhibition of found photographs curated by Erik Kessels, is an ode to the vanishing era of the photo album. Once commonplace in every home, the photo-album has been replaced by the digital age where images are now jpegs and live online and in hard drives. These visual narratives are testament to the once universal appeal to document and display the mundane. Often a repository for family history, they usually represent a manufactured family as edited for display. The albums speak of birth, death, beauty, sexuality, pride, happiness, youth, competition, exploration, complicity and friendship.
Erik Kessels: Album Beauty is curated by Erik Kessels in collaboration with Foam Amsterdam.
Adriane meets Penelope
Object, colour prints on cotton banner, thread and yellow silk bordure, small bags containing the burdens of each lifetime, 2013 Berlin, 75x48 cm
This artwork from the series PastPresentFuture is referring to the Minoic civilisation and its interaction with contemporary and previous cultures of the Mediterranean, from the bronze age to the Hellenistic period, in particular to the relation between the Minoic heroine Ariadne and the Mycenaean Penelope. As Ariadne we have a woman from Thera and as Penelope a priestess from Ithaca. The intercultural link between those women is also expressing their transcendent connection on the soul level. Through the thread of life they are also interconnected with their surrounding figures and cultures. The flow of life is passing through Egypt and Nubia, reaching the central figures and continuous to Olympia, Delos, Eleusis, Athens and Dion, before it continuous loose from there on.
My work explores female identity within the banality of the domestic space in a post-feminist social context; reflecting the gaze from a strictly female perspective within the context of photography. I facilitate my identity to investigate and challenge the historical representation of the female identity. The domestic sphere was first deconstructed and commented on within the feminist context in mid- 20th century; I seek to address this subject matter within a 21st century context. I play on the tensions surrounding the politics of looking and how we negotiate simultaneous admiration and dissatisfaction with contemporary visual culture. Photography is a democratic medium that can be reconvened and deconstructed continuously. A medium where ideas can be explored within the digital and film sphere without compromising the context of ideas.
Most recently I have been interested in objects and their counterparts with relation to an exploration of the ‘sacred’ by taking seemingly empty space, juxtaposed with physical matter, in an attempt to make the intangible tangible. Through the use of cast space, poetry and found objects I attempt to describe a sense of ‘otherness’, and explore the distinction between the known and unknown that is directly linked to my research of the ‘sacred’. These mere encounters with material and language sit in the hinterland between that which is considered earthly and the ethereal.
Fafaliou is a London based conceptual and visual artist. Exploring the relationship between the body, space and object she creates imaginary environments questioning the way people see & feel objects and forms. Inspired by the notion of memory, identity &visual perception she creates minimalist installations working in gallery, theatre, fashion and public space contexts.
Having obtained an MA in Theatre Studies, she arrived in London in 2011 where she continued her studies in Visual Media. Along with her work as a performer and creative for various artists across Europe, she further continues her research in Body in Performance studying at Trinity Laban Conservatoire of Music & Dance.
Congested, 2015, Documentation of a collaborative performance
Disturbed, 2015, Documentation of a collaborative performance
Open to View, 2015, Installed at the University of Northampton
When dealing with specific issues relating to the interiorised and exteriorised self, there are times when unambiguous facts arise that are cause for deep contemplation.The concept of our own imperfections, dysfunctions and even our mortality enter a paradigm of questioning and scrutiny; sending us innermost to a landscape with unknown terrain. Are there answers to be found introspectively? Is the interrogation understandable whilst delving in such a liminal space of betwixt and between? What if we find nothing more than a self-indulged fantasy? Sharon is based in Northamptonshire, UK, her practice evolves around the physiological and psychological manifestations of the complexities of the human condition. Her work often seeks out the degrading of materials and how these are used to convey meaning in a very particular way.
The ghost house series was shot at several abandoned houses in Ireland, whose last occupants probably left 10 to 30 years ago. Traces of their lives and aspirations, and of the disillusions and hardships that made them leave their homeland, remained in the form of scattered personal belongings.
This is a walk in the woods and a moonlit writing session, recorded for research notes. This is considering the naming of things, the sound of the things and the sound of the naming of things. My actions, the speaking and the writing, were they a form of performance although no one else was present?
Mixing up the recorded sounds became a means of reflecting on the actions but the sounds became my material. In sharing the material, am I taking anyone listening a step further from the fragility of the environment I had entered? Can mediation bring a wider awareness to that fragility, or is it only possible through direct personal experience? Is this is a side step into language and communication? Sounds becoming names to form language and into stories, didn’t we all do this? Should we learn about our world again from those basics?
Scapeland XVII, Scapeland XXIII, Scapeland XXV
I work with the materials in my local environment. Spending time cycling around East Anglia, I think about landscape quite a lot, but the photographic juxtapositions within each piece in the Scapeland series generally show small things, overlooked details: a bit of the forest floor, stained concrete at the seafront, fragments of medieval carving, or the roadkill that’s ubiquitous on the region’s country lanes. Jean-François Lyotard used the term dépaysement to characterize the inescapable otherness that he saw as “a precondition for landscape.” The aim of the Scapeland series is not to create recognizable narratives or vistas (there are no horizon lines), but to present something characteristic of the area by registering the material continuity of feathers, flint, earth, guts, leaves and stone.
These walls seem to depict abstracted but recognisable features of the landscape - completely different matter, from another place, and on another scale.The subject is concrete. Over time and in conjunction with nature, it produces new matter. I reminisce on the forms, which should be found in the nature… waterfalls, tributaries, hillsides - while I photograph them in urban settings.The transformation reminds us of the slow, cyclical nature of matter and its journey.
“Ultimately, one’s unbound curiosity about these empty zones, about objectiveless vistas, is what art seems to be all about” – Joseph Brodsky, New Life
This abstract work from The Contemplation of Nothingness, Emptiness and the Origin’s of Zero, is part of a series of work that has developed from the artistic and scientific concepts surrounding Nothingness. The work is part of a large-scale drawing collection that seeks to engage in viewer participation through an ambiguous space. For the artist, the larger the space that is allotted for the exploration of Emptiness, the more important the viewers role becomes.Holloway’s practice seeks to offer a visual experience that warps, questions and expands ones normal perception of the world around us. Creating a meditative experience of emptiness that alters perception.
The artist is currently developing a body of work and publication entitled The Contemplation of Nothingness, Emptiness and the Origin’s of Zero.