Sunday, 21 November 2010
Tobias Houlton’s practice has typically been engaged in exploring the world of dream, nightmares and mortality, and how these can reflect upon our vision of material Earth.
The world encompasses a whirlwind of emotions and experiences that can be projected upon objects. Material entities of which inevitably provoke symbolic relevance to each individual. The artist, to reveal underlying truths about our human existence, has manipulated objects of familiarity into surreal metaphors. These pieces are to act as quiet statements regarding life in a hectic world.
Faith has been using faceted lenses to look at the city of Berlin. Making her own architecture, growing it on the pre-existing facades and urban furniture. Many of the places she visited have been abandoned. When places are neglected other things start to grow.
Thórunn Bára explores conveying a perception of an uneasy relationship between nature and culture in her native environment of Iceland, a lack of understanding of interdependency of all things in the natural world.
She believes art has a place in facilitating the spectator to orientate themselves by having a closer look and using his or her own experience and thus having a chance to experience a collective responsibility for nature.
Lichens and mosses are considered low plants and often overlooked but they do have a pioneering role in the evolution of life by preparing the soil for rooting of higher plants and hence are both signs of the beginning and the end of civilizations.
Geological fillings in ordinary stones deep in the earth have long been sought after in our culture.
Manmade material meets objects from the natural word in a nonchalant way.
A fascination with the documentation of everything, yet an apparent, paradoxical reluctance to give everything away, drives Sacha Imrie’s practice.
Her sculptural work revolves around the two-dimensional – using photography as an initial means of recording thoughts, surroundings, surfaces and whatever else may warrant archiving.
A bid to restrict this documented information, and select points of viewing, sees materials subjected to various processes of fabrication, layering and omission, until sculptural objects form.
Rachael Thomas and Rachel Charter have been collaborating together for over a year, sharing an interest in mundane materials, lo-fi processes and site responsive installations. 13.11.10 takes the form of a large, high hung tapestry, composed of oil paint, flour and sugar applied directly onto sheets of tin foil. The work rests on the window ledge with an assortment of soap sediments and sugar coated objects.
The simple materials and plain form combine to create a work that not only takes into consideration the window’s architectural characteristics, but also draws upon the window as a space to promote commodities. Although non-functional and fragile, the everyday domestic materials offer connotations of desirable fabrics and cosmetics, with the title referencing a specific time of happening or an important appointment.
Found objects interest the artist by their deep-rooted familiarity and gradual re-shaping through possession. In her work, Kupyrova approaches both the mundane and the extravagant of domestics by constructing fictional “homes” which carry the traces of their previous inhabitants, or creating fake household objects, which manipulate the protective, comfort and totemistic qualities of their prototypes.
Low Pressure is an arts collective connected by friendship and an interest in creating exhibitions, events and happenings that provide a platform to support and inspire interaction between artists of various disciplines. Acting as a support network for each other they work both collaboratively and individually.
Low Pressure have produced a collection of objects from mundane materials that play with the idea of value. The outcome created is an illusion of luxury and value in each object emphasized by the laboured process and the manipulation of materials by the artists.
Sarah MacIntyre / Margaret McCormick / Sara Sinclair / Laura Sutherland
The principle concern of Konomi Kaneya’s current art practice is to explore various natural phenomena in specific stages of their development. She is principally interested in the flow of natural energy; this exploration allows her to understand the living and natural environment. It is important to depict the invisible flow of natural life and by the use of the “line” Kaneya can portray worlds, specific tensions, currents or rhythms.
Kirsty Sumerling’s jewellery collection focuses on the beauty of surface decay and the resulting work appears as a series of snapshots of surfaces frozen in time. This installation shows the extensive samples that were produced, informing the final work.
Intrigued by the effects of time and decay Summerling explored this condition in enamel and chemical patina, playing with both control and unpredictability. The embedded patina and change within a surface implies that a transformation has occurred over a period of time.
The resulting work is unpredictable and unexpected; a product of a process deliberately out of her control.
You are human.
Kathryn Wiggins created these images to illustrate what that really means.
Among the visual rhythms, you will come across undecipherable notes and pictures that do not allow illusion, inspired by ancient artefacts we cannot decode.
At the same time, these elements provide innate resonation while invoking a deep sense of having seen unmistakable relics of the human spirit.
Eric Schumacher's work is strongly influenced by experiences gathered from explorations of urban areas. Different kinds of architecture and architectural improvements, as well as furnishing of interiors and other home personification are surveyed with an analysis of the different styles of design found throughout the decades and centuries.
The work shown at the WOT is considered by the artists as a 2D sketch of found images and materials and plays with the idea of an absurd juxtaposition of the human evolution and its utopian visions.
“Being immersed outside in water at Sundlaugin í Vík í Mýrdal I was able to look out to the mountain Reynisfjall and I knew that the sea was close by. The day before was the first of a road trip travelling towards the east of Iceland and passing this village a lullaby had been sang to me: remnants of that melody echoed. Suddenly I was fully aware of physically engaging with the tactility of the water- I wasn’t only looking at or only touching the ground with my feet. I was making my own stories I could then tell to others.”
Sigrún Guðmundsdóttir and Becky Campbell began collaborating in Reykjavik in January 2010 following a journey through the south of Iceland. Plants have been sent from Iceland which Campbell has reconfigured as props to be returned to Reykjavik for a performance by Guðmundsdóttir.
The obsession of window patterns in Chinese and Islamic architecture has led Alice Bo-Wen Chang to create geometrical objects with patterns growing and flowing organically. In collaboration with Becky Campbell, whose interest focuses on the elevation of plants and throw-away detritus, they meet half way along their journeys from opposite ends: the hands that carve the geometries of the flooding light, and the fingers that manipulate the reconstruction of the uncanny nature, are held together. Together, the artists' works interact, converse and compliment; the space becomes luminous.
Augustus Veinoglou’s visual and theoretical research is informed by pragmatic studies, which have interest in the materiality and the structural qualities of the urban landscape.
He is interested in the psycho-geographical and the archaeological traces as these appear on the materiality and textural qualities of urban space.
He is currently looking into the poetics of space and in forms of dream-space and dream architecture, as spatially bound dreams make him grasp better the emotional significance of specific experiences in real space.
He usually works in a tactile and intuitive way.
Cast edifice can be either seen as a miniature model for the realization of a larger structure or an independent sculpture, CE is a material experiment making reference to the ephemeral materiality of contemporary architecture and construction. It involved customary sculptural practices such as modelling and casting.
Thursday, 18 November 2010
The collection, based on Fair Isle knitting patterns, led to an obsession of repeating shapes and lines. Stamps and stencils were cut to create marks and build up surfaces.
The work, although silk screen printed, shows the naïve quality of drawing and the clear use of felt tip pen and cut shapes, onto natural coloured fabrics like paper drawings.
an exhibition of desirable art objects that defy specific function
The WOT, George IV Bridge/Victoria Street
25th November - 9th December 24/7
artists' talk : Wednesday 24th November 18:30. e25. Edinburgh College of Art
curated by Becky Campbell
The WOT is a window gallery for students and recent graduates of Edinburgh College of Art. It is located across six large windows on George IV Bridge and Victoria Street; the windows are part of the City's Central Lending Library building. This is an exciting opportunity for a new kind of exhibiting as the windows are open 24/7.
Wednesday, 20 October 2010
Ba (Hons) intermedia Art
Drawing (in progress)
Black paper and sunlight
My interests predominantly centre around communication, information and behaviour, with specific regard to the technological advances which have altered and will alter our lifestyles either subtly or to a far greater extent.
Ba (Hons) Painting
My work touches on appropriation. Similar by its means, it is more personal and attempts to challenge the reproduction as taste forming. I am interested in the paradox: whether it is possible to profane a copy, does it have value and can it still be classified as art.
By conscious choice, I am trying to bring back art to the reproduction. The artist’s choice is deliberate. The pieces are carefully selected. I consider them significant in my practice from various reasons. Very often it becomes a comment, a tribute, a dialogue.
I work in not extending 7 series, using the same starting point. Each peace is unique and exists on its own. The materials are very minimal and fragile. Putting them next to each other removes reassuring comfort zone and reveals their origins.
Monday, 18 October 2010
Wednesday, 4 August 2010
Inspiration is drawn from the period of the industrial revolution; a time of significant importance during Dundee's history.
The production and distribution of jute within the old city provided metaphorical connections between the location of mill and factory buildings in land, and the presently filled in harbor which falls across the given site. These connections, projected as straight lines, gave an initial concept from which a masterplan of Dundee's waterfront was developed.
In the form of the museum itself; regimented and frank structural solutions create volumes (interior and exterior) whose atmospheres are intensified by the stark, honest materiality (largely concrete, exposed steel and wired glass) which emulates that used in historical industrial architecture.
The interior gallery spaces are individualized by the application of texture to their raw concrete walls, each texture speaking of the subject of its exhibition.
Gerry Smith (MFA Intermedia Art)
This Line Is Six Feet Long
I am interested in reductive forms and have recently been working on my own variant of punctuation poetry. The poems on show are composed of the symbols used to indicate the emphasis placed on syllables.
Transparentes Meer (transparent sea) is an alexandrine; a poetic line six feet in length - in this case 6 dibrachs, which are metrical feet of 2 unstressed syllables (??). It is also a concrete poem, the 12 breves constituting the wavy line of this transparent sea.
This Line Is Six Feet Long is another alexandrine. It is composed of 6 spondee (--), which are metrical units of 2 stressed syllables.
Tuesday, 3 August 2010
Monday, 2 August 2010
Intermedia 2nd Year
My love for the wild runs in my blood as in my work. I am interested in adventure and beauty; in search of the sublime. To me Bleak is Beautiful.
The idea of an experience and having a relationship with a place or environment is important in my work. It can be nostalgic; back to childhood adventures in a kind of escapism of maturity,civility and the banal rules of the everyday. In some sense to become feral is to become free. I often find myself trying to describe or copy something, something i cannot describe or put my finger on, it is an emotion brought on by a place or an experience of the outdoors. I am beguiled by this unreachable thing, this something beyond ourselves much greater.
Alastair Cook | Artist
MSc Architectural Conservation, 2nd Year
Alastair work focuses primarily on positive responses to key global social, cultural and environmental issues: he is interested in the moment. Alastair recently spent time among the communities of Sutherland and Caithness; the resulting landscapes open discussion on the brutal effect of human habitation in a stripped, stark and difficult land. His current
solo show, The Land and the Sea, is at The Drill Hall in Dalmeny Street, until 14th August.
Saturday, 26 June 2010
Wilhelms Wharf, Berlin
Harvesting aquaculture from the fertile waters of Brandenburg and wider continental region, Berlin is at the heart of a rich network of waterways that have a vast untapped potential. Responsive to the harvesting of its waters, the needs of Berliners can be fed sustainably by an unlimited supply of fresh, healthy food. Harvested farm stock is stored in tanks in a state of hibernation and transported by barge from the farms to a central fish market at Wilhelms Wharf. The stock is then euthanised humanely using anesthetic and brought to market as fresh as possible.
In the built environment of Berlin, we find restraint in a framework of legislative limits; within, we predict and nurture the growth of a city. The limits of growth are scarcity and need; scarcity is dissolved through diversity, need is eliminated through sustainability. This project is an exercise in nourishing a city as Wilhelms Wharf aims to connect with a Berlin which matures with a sense of restraint.
Berlin is a hard city of statistics, facts and legislations; Berlin is a soft city of experience, myth and aspirations.
Both are ideals; both are constantly growing.
The limits of growth are imagination and fear.
My work addresses the ethereal properties of semi precious stones and crystals and tries to communicate their supposed powers or auras. I wish to challenge my audiences’ perceptions of reality and spirituality whilst inducing meditative states and feelings of positivity, happiness and open-mindedness.