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Lock's practice straddles fact and fiction, truth and the fake. Weaving new narratives of history and myth through a complicated and sometimes mysterious tale of heartache of heartache, lust and delusional thinking, Lock allows her practice to accumulate, take unfathomable journeys and elicit deceit to create part encrypted biography and...
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Martyn Cross presents us with a disturbing and weird world, one where joy and innocence appear infected with dark thoughts and actions. Often using the covers of found knitting patterns as his canvas, brightly coloured images of happiness and comfort are disfigured and despoiled so that their subjects find their newly knitted garments covered in...
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I have been making pictures since childhood. In 2006 I completed a degree course in fine art at university where I reaffirmed my love and compulsion to paint. From a continuing passion for landscape painting, I have broadened my scope of practice to tackle broader subjects and ideas. Originally...
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Fiona Curran's paintings, installations and assemblages explore the impact of new digital technologies on our experience of landscape space. The works reveal a recurring utopian impulse, formal idealism and sense of escapism that registers in a palette borrowed from the computer screen and advertising. There's a sense of spatial...
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David Sherry (b. 1974, Northern Ireland) studied at the University of Ulster at Belfast (1994-1997) and Glasgow School of Art (MFA, 1998-2000). Solo exhibitions include Catalyst Arts, Belfast (2006), M and M Gallery, Antwerp (2005) and Jack Hanley, San Francisco (2005). Select group exhibitions include G.A.K. Bremen (2010), The Ikon Gallery...
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My current practice combines painting with sculpture and the made with the ready-made. My continued interrogation of painting and process has seen me evolve from working exclusively with oil paint and two-dimensions to gradually introducing new materials (Fablon, gaffa tape, furniture, scrap metal, strip lighting, gloss paint) in order to...
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'Ian Gonczarow works in the traditional artworld genre of painting, yet he forces the paint into images of cultural and political dissent. The heraldic insignia of world power politics - the Stars and Stripes, heroic soviet statuary, all cack-handedly reproduced with meticulous care - are filtered through the blatant bad taste aesthetics of...
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unmaking painting My paintings use repetitive procedures, structures and processes of reproduction in an attempt to acknowledge one in the immediate present, standing one with respect to time, a feeling of time ’. The vocabulary of abstraction is entwined with reference to ‘experience.’ By navigating a route through abstraction...
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'At the centre of Sarah Staton’s work is a dialogue between design, architecture, modernism, interior, exterior; the space between the work and the ground or support structures that exhibit the objects, and a little bit of life and fun without any cause for concern or angst-ridden guilt.' (Stephen Snoddy, 2012)Sarah Staton studied at...
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I am currently employing a variety of approaches to debate notions of people, place and time. My personal experiences of living in two countries have prompted me to reflect upon the extent to which individuals are a product of their genetic make-up or of their environment i.e., nature or nurture. I have personalised this by producing a series of...
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Mimei Thompson's work delves deep into a dark underworld where brush and pen marks coalesce into distorted faces, body parts and organic forms. These alien sprites are in a constant state of flux and unrest, monsters of the id that rail against the pictorial frame like untamed scientific specimens pounding against the glass walls of a bell jar....
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Katie Orton is an artist interested in the concept of the microcosm. What can a seemingly insignificant product or action tell us about societal forces and methods of control? What is it that makes us who we are? That is the question at the heart of Orton's work. She seems to have a fascination with the props of identity; a ring on a finger,...
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Artist statement 'Since my subjects have always been my sensations, my states of mind and the profound reactions that life has been producing in me, I have consistently objectified all this in the visual, spiritual and cultural triggers which have for years forced the internal lyrical motives that impelled me to create. This is the most sincere...
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My aim is to remind the audience of someone they know when they look at my work. The person they see depends on who they are. I am curious about what sorts of things can make a person be recognised or differentiated from others. Yuko Nasu Imaginary Portrait Series, Y, 2007 Selected by Liz...
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'Dispositions (Finlandia Hall)', 2004(click to enlarge images) Jon Wood: We were talking earlier about medium and categorisation in relation to your practice...
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Emily Cole deals with the urban and rural 'familiar': views half seen from the interior of a train carriage or through the rear window of a car. Documenting the random nature of the road trip, she ventures to capture a certain unromantic reality, a perspective on the commonplace architecture and landscapes she passes through. Cole works from...
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