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Between Narratives and Altered states. There are central themes that i have become interested in and deal with in different ways encompassing print , interactive instillation, film, silhouettes and drawing. These themes deal with broad and open ended interpretations of narrative events both personal and public ( for example the Protest prints...
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I work between the mediums of drawing and painting. I work in ongoing series often alongside each other, the still life paintings examine everyday objects and ornaments that sit side by side on shelves and ledges or in cabinets. The notes and drawings are the starting point for the paintings it then becomes the constant shifts that happen on the...
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My current work involves physically altering (or appearing to alter) existing architecture in public and exhibition spaces. These architectural interventions are developed specifically for their location through research and site visits; responding to the architecture, history and current happenings in the area. Through this I create a...
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taken from an interview with Ag Magazine Winter edition 2011 BILL JACKSON went off into cyberspace in 1986, leaving his photographic career behind him. Having had one man shows in The Photographers’ Gallery, where his work was represented by the Print Room, he had also exhibited alongside Richard Avedon, Helmut Newton, Irving Penn and Josef...
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Jessie Brennan’s practice lies between drawing and participation, informed by the social history of places, and by a direct engagement with the individuals who occupy them. Central to her work is the exchange of local knowledge and personal experiences, memories, folklore and myths, between herself and the people within a particular place,...
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We are an Art Brand initiated in 2009 by John Rogers (b.1990) acting as director. We enquire into the perceptions of value in the material world. Objects are purged but venerated as the boundary between object and abstract is blurred. Objects become all the more loaded in their emptiness. With the creative process as a conveyor belt, the artwork...
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My practise incorporates collage,drawing and assemblage.I use a variety of materials and media often within the same work. Recent works on paper appropriate historical forms and reference including church interiors and Western Landscape painting tradition.Siphoned through materials such as brightly coloured vinyl and an aesthetic that suggests...
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Interventions in the institutionalised everyday. By investigating educational, corporate and public settings, I critically engage withissues rooted in the institutional context. I keep looking beyond the veneer of how we manouver to expose and reference behaviour, routines and decision making. My practice reflects on mechanisms that underlie the...
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Rosie Leventon makes Sculptural installations Interventions Public Art Commissions Environmental Artwork and drawings some of which are permanent and some ephemeral. Green issues run through the work, she always prefers to use recycled materials.  Many of the pieces are architectural and relate to or use their surroundings in some way, they...
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Graduating from Liverpool School of Art in 2005, I was a member of the Royal Standard 2006-8 and an in-house artist at the Bluecoat from 2008-10. I am currently studying an MA in Fine Art at Chelsea School of Art & Design 2010-11.
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I explore the transformative possibilities of paint. The layers of paint are plasticised and cast, preserving their liquid qualities, while allowing new applications, new possibilities to be imagined.The hanging works are investigations of the sculptural possibilities of paint as a medium. The threads or ribbons of paint evoke a fluid painterly...
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Most of my art touches on childhood, on growing up and its anxieties. It is as much an exploration of memory as of physical experience. Not necessarily concrete memories, more moods and atmospheres, interwoven with elements from myths and fairy tales. Using some of the techniques traditionally linked to a girl's world I work with papers, wools...
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The awareness of inevitable loss is central to Lisa Selby's material and sculptural approach. Her practice seeks to grasp and eternalize what cannot be held firm: the work rearticulates items from the domestic environment, relaying the familiarity and alienation experienced as one moves physically and psychologically from one home to another. The...
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My practice is concerned with time, process and the meaning acquired by objects and materials.Influenced by minimalist movements of the 60s and 70s, the works disrupt the narrative connotations acquired by symbols, objects and spaces. Motifs are informed by architecture, design, comic books and film title sequences by artists such as Saul Bass....
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The use of various methods, like travel, video, sound, choreography, performance and writing, sits in the expanded notion of my work – where new and obsolete technologies reflect one another as the analogue and digital swap places; modes of representation are questioned as they blend in each other or dissolve and reveal, or obscure,...
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David Webb - New Paintings Somewhere in 'Cahiers d’Art' Braque comments that the only thing that matters about a painting is what can’t be put into words. What Braque is saying is that a painting by-passes verbalisation and operates entirely through the eyes, between painter and observer. A painting may be recognised or identified...
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Sally Waterman's interdisciplinary arts practice is concerned with the interpretation of literature into self-portraits. She creates poetic still and moving image works that explore issues of female subjectivity, memory and autobiography, drawing upon writers such as Henry James, Sylvia Plath and Virginia Woolf. Waterman re-invents the source...
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Born in Calcutta, India, Robin Cracknell moved to London from Washington DC via Milan, Italy where he had been working as a fashion photographer. Once in London, he abandoned traditional photography and moved toward photo-illustration which led to various commissions; primarily from publishers for what would become over 300 book jackets....
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Matt Gee's work involves covering, melting, placing, arranging, of spaces and objects as some of the processes involved in the fabrication of my work.There is a concern with the authenticity of materiality, the source of materials, jostling with the modern materialistic demands of human sensory decadent desire, a society that expects, an...
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What breathes? (Reflections on the art of Clara S Rueprich by Jan Kuhlbrodt, 2004) In his late work written in the mid-seventies, Experimentum Mundi, Ernst Bloch describes nature simply as the outside, where there is an enigmatic breathing, with the question „what breathes?“ occupying an impersonal gap. The outside definitely...
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My new work on paper. As in my former work the grid remains a fundamental part of each piece. However the change from oil, as a medium, to watercolour, has resulted in a significant shift in my concerns. This new work explores pattern and repetition, but celebrates difference. We recognise symmetry and repetition as reassuring. The...
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My current practice explores human and nature relationship. In my artwork I examine different possibilities in interpretation of human alienation from nature by hinting at consumer lifestyle as a probable reason. My work implies landscape elements, regarding landscape as a portrait of nature. Landscape can be looked at as a focus for the...
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My practice is a pictorialist one, involving mainly photography, painting and drawing, underpinned by the legacies and practices of conceptualism. In this way, I aim to work in and around issues of picturing, photography and realism as a set of problematics. Commentators have remarked upon my works' Romanticism but also its schizophrenic...
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Concepts My practice is not tied to a specific medium. It often involves the use of manufactured objects or their re-making in a foreign material or scale. It is the mutability of objects that interests me. I enjoy the creation of paradoxes and disruption of known meanings. Influences Politics, Humour, Life,...
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My work sits in the space between abstraction and realism, the subject matter a starting point for my essentially process-driven practice. Banal scenes, often linear architectural spaces, sometimes people in dialogue, become simple geometric forms devoid of all detail. I'm continually interested in how graphic marks relate to more textural areas...
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My paintings are based on landscapes and the impact of light and colour on what we see. In my work I use the familiar motifs landscape painting and recognisable settings in which to explore the language of painting. I work from memory - exaggerating and romanticising, as with memories, the moment into a dreamlike and filmic reinterpretation of the...
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My work focuses on our built and social environment - planned societies and governed life, and the processes of urban planning driven by political and economic demands, whilst paying little regard to our needs and aspirations. Sculptural assemblages piece together fragments of everyday construction materials, handmade ceramic objects and...
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I am a London-based artist whose practice centres on the performative, employing live action, video and drawing. My recent work consists of investigations into the possibility of the divine. Creating collisions between deities and mythological characters from different cultural traditions, I explore the places where these overlap, and point to the...
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BIO: Robin Tarbet graduated from the Royal College of Art in 2006 and is an artist based in East London. He was awarded the Stanley Picker Tutorship in Fine Art at Kingston University in 2006/07, where he now works as a lecturer. Tarbet’s work combines two–dimensional media, photography, printmaking and live film, with...
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My work explores the concepts of power, politics, history, identity and death through irony and humour. I am interested in how they influence beliefs and perceptions by altering and subverting them. From here derives the desire to further explore the need for uncertainty and the metaphysical loneliness of the human being, addressing such...
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My work references the language of architectural features and environments, questioning the implications of its usage and place within the continuity of our Western identity and outlook. I am interested in the psychology of spaces, seeking the rift and intervention that occurs as space becomes place.
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Taking visual cues from both actual and virtual environments, my paintings explore relationships of space and the problematisation of the figure/ground relationship in painting. The work begins with an interest in questioning the formal aspects of painting, a concern with “painting as painting” focusing on material and...
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