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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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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 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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My work is poised between the visible and invisible, resonating with the marginal spaces of the feminine, connecting with the viewer beyond symbolic language. It is about the recollection of elusive and ethereal memories drawing from my own experience of loss and self-negation; the desire to be hidden and yet to be seen.Making works in various...
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visual artist / collage / digital collage
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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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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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Sandra Crisp's work uses found visuals stored in a digital archive which are reworked and recycled over time. Through a process of continual cutting/pasting and layering/erasing new connections evolve between the diverse elements of screen sourced and media images, Internet text/graphics and personal photos. This process and these images...
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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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Sculptural practice and thought allows a very real exploration of the physical world. All its aspects fascinate me. My work is fuelled by diverse sources and open patterns of thought. Current work explores extremes of visibility, experience, material nature, location and situation. Time’s relationship with matter is a recurrent interest...
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My work focuses on human nature, in particular group dynamics and social isolation.  I am interested in the many facets of human behaviour - from the kindest of gestures to more sinister actions and Machiavellian treachery.  As well as depicting dramas I also create tiny tales of growing and crumbling relationships using...
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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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My bold and vivid abstract paintings are born out of theories of geometry and numbers. The lines of the composition are brought to the fore as bold lines criss-crossing the plane bouncing off the edges in defined trajectories. In the recent work masking tape is employed to create crisp graphic aesthetic. Representation is eschewed in favour of 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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I'm utilising a hybrid language of materials to create accidents and chance encounters; drawing upon memory traces and observational details, trying to balance layers of imagery with a sense of translucency, wondering between form, space and colour.It's exciting to merge figurative and abstract painting. I'm sourcing inspiration from...
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My process of painting continually evolves within different stages of concentration, one that is figuratively minded and one based on abstract formal decisions. I find that these types of mindset are activated by one anothers absence. It starts with the conscious decision of trying to do something back to front, an interest in figurative...
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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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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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I'm interested in questioning the fixed identities of objects and materials so they defy usual definitions and expectations, or, as the artist Tom Friedman has said, 'Testing what matter is by allowing it not to be'.Central to my practice are ideas of displacement: is the location of material central to its definition so that if it is...
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Following a period working in the Victoria and Albert Museum’s conservation department, I moved across the road to the Science Museum where I was given access to their stores. It was here where the roots of my work began.  Disparate objects placed next to each other by size and material gave rise to surprising and discordant marriages....
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Through an examination of mundane moments in time I investigate how meaning and significance are attached to banal elements of the everyday. This can include subjects as diverse as: shopping malls, peeling paint, drains, or sand scattered on a footpath. By incorporating varying amounts of participation I compress, or extend, the interaction a...
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As a child my parents worked for travelling circuses, moving between towns and educating my sister and I on the road. My dad was the ringmaster and I was fascinated by the show.As an adult I worked for the circus too, travelling in the UK and abroad, still fascinated by the feel of the place and the transformative element of this life where a...
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I work as a painter in Cardiff and am inspired by the landscape of South Wales, which has been described as evoking emotion 'as if on the edge of some drama'. My work explores the holistic experience of landscape; from the journey to a destination, to walking, collecting and observing, to the physical and emotional connection to the land...
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I make work that is site responsive and participatory. I examine how our perceptions are shaped. Frequently I use smell as a medium, focusing closely on the relationship between smell and our associations with it. This has lead to investigations into how our histories and environments are constructed. An integral part of my work is engaging people...
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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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Concepts, Processes and techniques We and our surroundings are changed and marked by the processes of life. These marks, arising from human and natural processes, are my inspiration. The bubbles momentarily visible on the beach as a wave retreats, the sand ripples left by an outgoing tide, the footpaths worn by people walking from place...
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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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My work oscillates between painting as image and painting as a material process. I'm concerned with the tension that exists between the illusion and the surface. Working from personal photography and found images, I utilise the effects of reproduction and pixilation on a painterly aesthetic. I start by painting the image in a...
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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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