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My work uses cardboard, tin cans plastics and cardboard tubes usually destined for the waste bin. The fragile resemblances that I produce with their torn, folded and glued sections are crude, insubstantial, spray painted copies, three-dimensional jigsaws, connected and disconnected fragments of machines displayed as museum artefacts. They fit into...
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Concepts What you see depends on your visual intelligence and appetite. I search for new subjects and innovative ways of expressing these. How those subjects look within the frame interests me. I always compose at the time of photographing and print the whole frame. I am interested in how "what I photograph" is transformed by...
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Originally an actor, my sense of narrative, space and memory is colored by the intense experience of the performance process, while my creative drive is rooted in the actors drive for empathy. Mimesis (the mirroring of our world) is fundamental to all art forms and particularly visible within realist art or theatre...
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Concepts There is no common theme to my work although areas of interest include perception, surveillance, watching and being watched, and seeing the bigger picture in the small details of things. I like to relate the theme and the method of working. Recent paintings in response to environmental concerns have focused on surface and the use...
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I am interested in the crossover between painting and sculpture, more specifically with the relationship between the surface of a work and its objectness. Alongside this I am fascinated by light and landscape; by the vastness of sky, sea and land. My work aims not to represent these but to create quiet and contemplative works that evoke the...
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In my South London studio I bring together fabricated works (Formica-clad MDF forms, clear Perspex containers and Jacquard tapestries), made in collaboration with their respective trades, with other more casual or opportunistic methods (found objects). This clinical and premeditated process is then usurped through remodeled expression. Previous...
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My projects explore photography and ‘ways of seeing’ in two quite different ways; the first is working with ‘straight’ mainly un-manipulated photography. Here, my aim is to inform audiences of what was seen and recorded photographically (to convey a narrative within traditional documentary boundaries). I also apply...
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Concepts My interest is in expressing the beauty and mysterious qualities within landscape -colour, light and pattern. Expression is fairly loose and non literal, moving more towards abstraction. Influences Earliest-Samuel Palmer's sepia ink drawings; Nash, Lanyon, Hitchens - but for colour, Matisse and Bonnard and for colour and...
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Concepts Painter concerned with visual perception. Formal notions of light and movement within the second dimension. In addition, the concept of illusion and double meaning are particularly important. The notion that we may receive two contrasting visual experiences from a single visual stimulant. I am interested in playing with ideas of...
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With its origins in clothing and memory and a musical ballerina box kept since childhood, my work reveals a preoccupation with the hidden and the ephemeral in a personal dialogue between self and place. Rooted in the responses of visionary nature artists and also the writings of Bachelard and Karl Jung, my images are inspired by the...
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Current Practice I am essentially a fine art painter, but I do print and draw as part of my practise. I have recently re-dicovered Gesso which I am finding captivating in its coldness. Concepts If you look at my paintings closely you will see layers upon layers of paint. Each piece takes time to complete, although the marks are expressive and...
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Concepts Current content involves the selection and processing of fragmentary images from multiple sources, and most particularly addresses our engagement with the virtual world of the internet. Throughout previous work there has been a dominant theme of the layering of imaginary visions onto elements of perceived reality. However, the...
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'I’m interested in self perpetuity and relentlessness; the broken record with a repetitive sensibility. It’s a selfish indulgence to crack the ‘same old joke’ that was perhaps never really funny in the first place. I find it gratifying to blur the border between humour and sincerity, and to recycle a pun doggedly; devoid of...
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'I'm inspired by the origins of my materials and excited by the physical process of turning the lost and the forgotten into something exquisite, glamorous and even wearable. The sense of history and the knowledge that my materials have been handled and used by people many years ago is extremely important to me, and I like to imagine that ...
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Brenda Miller’s practice draws on aspects of everyday life for its focus. Day-to-day existence is precious and society ought to celebrate and value it. Memories and nostalgia form a kind of romanticism for place and space, which is integral to the work. Being able to look at the sea and horizon every day as a child has evolved into a...
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Mike Chavez-Dawson is an artist curator based at Rogue Artists Studios, Manchester, UK. He curated and instigated the critically acclaimed shows ‘Unrealised Potential’ and more recently the David Shrigley solo show titled ‘HOW ARE YOU FEELING?’ for the Cornerhouse, (2012-2013). “My art practice is interdisciplinary...
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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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I was born Monday 1st August 1977 and I'm, essentially, a painter. Sometimes I use a knife instead of a brush; a controlled act of violence. A painting can be more than the image on, or what is cut out of, a canvas. It can be the object as a whole; frame, title (essential), or empty space in the canvas. The "happy accidents" in the...
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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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Susan Eyre’s practice draws on cultural references and contemporary situations to construct landscapes that appear familiar yet are inauthentic, mixing fantasy with the mundane.  Artifice and a dislocation from the natural world are key themes in her work. Through examining the experience of the natural world within an urban...
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I have always found the subject of mental health and the human mind interesting on an intellectual and personal level, it therefore was an obvious direction to take my artistic practice. Photographs taken of objects, places and people I have researched or know personally, inspire my practice.  My work includes paintings reflecting my...
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I try to make things. Neill Sheasby: April's Artist of the MonthEach month we select an artist from the directory to feature as our Artist of the Month. In April's Artist of the Month, Ruth talks to Neill Sheasby about his appreciation of the ordinary, his time as a studio user at North Tyneside Art Studio and getting...
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I'm making art for over 20 years by now. For the last 10 years I devoted mostly my work for a public realm. I work with different kind of materials, mostly steel but also I use balloons with gas, kinetic motion or projection. I don't perceive my work as a ritual; There is no absolute, or no another steady point in art. The art is partly an elusive...
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I use a unique technique that I have developed to lift off the top layer of surfaces from the built environment. I capture the layers of visual histories imbued in architectural surfaces and re-present slices of our surroundings. I often work with sites that are due to be demolished, documenting histories that would otherwise be lost. The beauty...
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My work is a mixture of works on paper and site specific installations. I use drawing, printmaking, collage, assemblage and textiles to create largely figurative works that depict everyday objects and places. I like that objects can describe a place, a time, a person or community through the way that they have been used or left. I draw attention...
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Concepts/themes/ideas My journey as an artist began when I gave up my business in 1990 and began to paint. In 1998 I graduated with a First Class BA with Related Arts with Honours. I have exhibited mainly in the South of England and have particular interest in the 'art and health' as well as 'art and faith arena'. I am represented by 'The art...
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Statement It's about the Shape of the Journey...a documentation of works on paper and canvas in book form and sound scapes exploring our footsteps in the environment using screenprinting and photography I explore the natural forms and geometric patterns and anything else which can be used to pin down a thought, a feeling, a memory I'm drawn...
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Andrew Burton's most recent work explores bricks. Working in Britain, India and the Netherlands, he formed thousands of tiny bricks from clay and constructed these into various sculptures. Each sculpture would be painted or glazed, but then broken up and its constituent parts used to form the next. In this way the sculptures are continually...
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The Quick and the Dead.....An Expression of the aliveness and intensity of living, loving, and dying..... Aliveness comes only in the present moment. Once any thing becomes manifest, it is part of History in which the living has died. It serves then, as documentation of a living moment in creation. It is this moment of creation which matters.....
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Concept  I studied Drawing and Painting at Edinburgh College of Art and completed my degree at Camberwell School of Art London where my work explored photography and film/video slide projected installations , computer art and sculptural relief making and stained glass. I then wanted to push and explore these mediums further through...
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My work sets out to explore the loss of utopia and failure of modernism to connect with the human condition.Through the use of space and displaced characters, and their juxtaposition with monumental architectural structures, these works aim to mirror the emotional turmoil and unbalance we experience in the midst of a constrained, yet...
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