fine art degree show catalogue
DESCRIPTION
Loughborough University Fine Art Degree Show Catalogue 2012TRANSCRIPT
Fine ArtDegree Show
2012Loughborough
University
lborofineart.co.uk/2012ISBN: 978 1 907382 55 0
John AtkinReader in Fine Art
Over the last few years it has been interesting to watch how a cohort of students have developed through exposure to a wide-range of facilities and teaching strategies. I recall working with this Final Year group of students in Part A and discussing with them, the work of Part C students. It was clear at that early stage in their studentship that they were keen to engage with sophisticated ideas and to explore ways that test the boundaries of Fine Art practice.
The Fine Art students here attest to the high quality of achievement consistently attained by students in the School of the Arts. They share a commitment to artistic insight and the creative impulse that raises practice from merely technically adept to the inspirational, utilising the wide range of “Hubs” and wider scope of resources that exist throughout the University.
This group of students also enjoy the advantage of studying in an atmosphere, which encourages a sense of community and the sharing of ideas within the cohort, frequently discussing opinions through organised seminars as well as informal interactions within the group. This is testimony to their ability to engage with a wide range of concepts outside the sphere of their own practice and an inquisitiveness, which allows them to take a fresh look at their own studio based practice. It has inculcated an ambition in students’ work that is particularly broad and prompts a healthy debate within the Fine Art Programme about the nature of Contemporary Art in the 21st Century.
The human condition, architecture, abstraction, community, consumerism, identity, and all manner of other concerns that characterise our place in the 21st
Century, are prevalent within the work of Part C students, yet none represent anything that can be described as a house style. Instead, the Fine Art Programme reflects diversity, not only in philosophy, but also in practice. This is a healthy position to occupy, particularly at a time when converting creativity and energy will be central to student’s onward progression within the wider world outside of University life.
There are a number of distinctive characteristics within the range of work that students are engaged with, which address several tiers of art historical prerequisites in Modern & Contemporary Fine Art practice. These topics enjoy full vent within the scope of painting, sculpture, performance, kinetics, creative writing, animation, film & video, installation, drawing, ceramics, printmaking, photography, textiles. It’s fascinating to note how the delivery of some of these ideas has involved collaboration with LU-wide Departments, such as Mechanical Engineering, Chemistry and Design Technology, testing traditional methods of Fine Art practice as well as innovative technologies. At a time when collaboration is pushed as the key to success, it is rewarding to see how undergraduate students are
prepared to take the lead by using Additive Manufacturing alongside sophisticated computer software programmes, together with traditional techniques, such as stone carving and hand wrought drawing. Other students have positioned their output to encompass the community, and this strategy again demonstrates notions of reach, that expands the sphere of Undergraduate study.
The human figure, as well as the contemporary landscape, are also key features of several students Final Project, and it is rewarding to see how each of them have explored their subject matter in unique ways that reflect on the history of the subject within a fresh contemporary framework.
I should also mention how well Part C students have interacted with colleagues from Nanyang Academy of Fine Art in Singapore. Each year NAFA sends a small group of students to work alongside domestic students here in Loughborough and this has sparked some interesting exchanges between diverse cultures. Dialogue between domestic students and those from Singapore has been constructive enabling both sets of students to
contextualise their ideas within global cultural frameworks.
Graduating students are adept at utilizing their transferable skill’s accrued throughout their three years. Some will set up their own studios, others will expand their knowledge base through further study, but in common with previous years graduating students, they will find ways of gaining autonomy within their careers after leaving Loughborough University.
Without a team of dedicated staff, none of this would be possible, and I am indebted to colleagues who have helped foster a comprehensive scope of practice that both honours and challenges the discipline of Fine Art practice embracing the full breadth of its possibilities.
This years graduating students face a range of challenges within their chosen career paths, and all staff wish them the best of luck in achieving their goals.
John Atkin FRBSReader in Fine ArtSchool of the Arts, English & DramaLoughborough University
10
Amy Albon’s practice explores aspects of ‘human trace’. Taking reference from Locard’s Exchange Principle that every contact leaves a trace, interest is directed toward the physical bi-products of often transitory and fleeting daily activities. The trace evidences the event.
Occurring en mass in the form of remainder residue and indentations, traces can be low in visibility and often viewed as aesthetically negligible. The work therefore transforms the ‘insignificant’ to ‘significant’ by making traces the focal subject matter.
Amy Albon
[email protected] I (2012) Glass Etching,
15x10cm
12
Rhythm, mark and the language of paint become a metaphor for the Fragmented borderline between man and nature.
Andy Allen
Hinterland (2011) Oil on canvas,80x130cm
14
My work is themed on the ‘King Arthur Legend’. Using my own unique folk art style using manga (Japanese comics) look and painting, combining both of these with my childhood interest with the Arthur legend, I am attempting to tell few of the many stories that surround it through a single image then with multiple images.
Angus Beaumont
16
The art explores how society functions within a capitalist system relating to the recent financial crisis and global recession. The project highlights the absurdity of modern life and mass consumption by applying the cartoon aesthetic seen in newspapers; questioning every day practices to make the audience consider
the necessity of these habits. Typography and slogans are utilised within the art to reflect sensationalist techniques employed by newspapers and advertisers; drawing a parallel with the protest aesthetic seen in public demonstrations such as the ‘Occupy Wall Street’ movement.
Laura Bennett
[email protected] The End We Are All Eaten (2012)
Digital print
18
The concept for the 2012 Olympic series
is based on my continued interest in
depicting the dynamism of sport through
oil painting. My work engages in the
visual aspects of human anatomy and the
atmosphere incorporated with sporting
events throughout the World. I wanted to
highlight a vibrancy through my paintings
that encouraged future participation
throughout the United Kingdom
subsequent to the London 2012 Olympics.
My experiences at Loughborough
University has given me the opportunity
to develop my work through a personal
passion that is evident in my art practice.
This series is dedicated to Loughborough
Students Athletics Club.
Stephen Bennett
[email protected] 2012 Oil on canvas, 182x152cm
20
Charlotte Bryan’s work explores patterns in the architecture of today’s urban jungles. It is driven by her fascination of the ephemeral nature and the ever-changing designs of our contemporary environment.
Her current practice mirrors the energy, or lack of, that drives the growth in our densely populated cities, employing a range of materials and processes.
The continuous energy in our 24/7 cities is reflected by Charlotte’s practice, by the incorporation of multiple layered compositions.
Charlotte Bryan
[email protected] Untitled 1792
22
The sky is the source of light and the chief organ of sentiment in nature. The infinite variation and constant fluctuation of light and sky impart a transient significance upon places that are often overlooked due to an attitude of familiarity or indifference.
The sky is omnipresent, and the effects of light produced by it have the power to imbue even the most seemingly commonplace and banal experiences of place with an atmospheric beauty.
P. Clarke
on.fb.me/PClarkeArtwork07807242134
108 Sharpley Road Oil on canvas, 115x80cm
24
Abstraction and figuration intertwine to form the suggestion of a particular place. The dialogue between the malleability of paint and the natural environment juxtapose together to evoke a sensory engagement within the viewer.
Martin Clarkson
[email protected] in Spirals Oil on canvas,
175x240cm
26
The passionate belief that drawing is the basis of all art and visual thinking, which in turn seeks to argue that drawing, is not a supportive or secondary practice. The work investigates humanities shifting and uncertain relationship with the natural world. Paper emphasises the fragility of the environment but also challenges
the perceived ‘throw away qualities’ of a drawing. Large scale charcoal drawings evolve panel to panel creating a personal response to the Leicestershire landscape. The viewer is pulled between the spatial depth of the image, then back to the surface of the paper.
J. Cook
Evolving Dialectic Charcoal on paper,600x210cm
28
The work intends to objectify the missing, through the exploration of loss, memory and time.
As people are ‘lost’ either metaphorically or physically, the space and time that they used to fill is left behind in the form of memories. These traces continue to inform the work allowing a reliquary of presence and absence to form.
Emily E. Cox
emilyelisabethcox@hotmail.co.ukemilyelisabethcox.tumblr.comemilyelisabethcox.wordpress.com
Shadow Series # 1, # 2 Mixed media, 48.5x22.2x25.4cm
30
James Dann’s work explores representation of the beauty and fragility of nature within art. The materiality and aesthetics of his work is important to the final outcome and so using only organic, natural or delicate materials, and processes, he is able to capture the essence of the subtle delicacy we often overlook in nature, making us aware of the details in our surroundings.
James Dann
Dandelion Seeds (2012) Mixed media
32
Objects being the embodiment of memories are the focus of Hannah Davison’s work. The assembling, and disassembling of artworks denotes a child-like inquisitiveness that is central to understanding how her sculptures operate for the viewer. Hannah challenges the mundane appearance of everyday objects by incorporating a narrative that links to
the notions of childhood memories. In this way the objects tell a story reflecting on their past, within the context of the viewers own personal history. The artworks intention is to probe the gaps between the actual history of the object, and the interpretation of the same objects from the perspective of the viewers’ own history.
Hannah Davison
[email protected] Untitled (2012) Resin with gold leaf
34
The work concerns itself with methods of display and the discourse between high and low art. An artwork can be elevated to the same level of status as a painting, via the use of a frame; the outcomes created have attempted to reverse these roles by using art to elevate the status of the Frame.
Christopher Docherty
[email protected] Frame IV Giclée , 36x55cm
36
An interest in notions of translation, play and narrative are central to my practice. These often relate to a framework of institutional critique and are contextualised by ideas of conceptualism and relational aesthetics. I’m interested in ideas of contemporaneity, modes of living, and love.
The paintings invoke a conflict between object and theoretical framework, possibly highlighting the commodification of both. They relate directly to my experience of art school. The stage is a signifier of performance, and the potential of performance. To access the texts the audience must enter the stage and an awareness of self.
Mateus Domingos
[email protected]@parisoir07519620583
Painting Number 11 (Arrrrrt) Acrylic on laminate flooring
38
Heather Lee Durrant’s key inspiration when painting is the sense of place and familiarity we feel when we are in a landscape that is well-known to us. In particular, her motivation for this group of paintings is her home environment; the Norfolk Coastal Landscape, and the
experience of displacement in moving away to a situation that is completely new and strange. The act of painting then becomes a return to the familiar for the artist, but an introduction of what could be strange to the viewer.
Heather Lee Durrant
[email protected] Marsh (2012) Oil on canvas,
243x91cm
40
Victoria’s work is concerned with image and object. Foremost, a fascination with the similar processes in both ceramic and photographic mediums led her to explore a collaboration between the two. Using carefully selected lost or forgotten photographs, she seeks to rescue nostalgic moments. The images are then exposed onto the ceramics thereby cementing the memory. The fragility of the ceramics is a physical metaphor for the tenuous affinity of the image, the object and the moment in unconscious time.
Victoria Eaton
Untitled (2012) Porcelain with photographic print
42
Life and Death are presented together in celebration of the beautiful efficiency of nature.
Samuel Evans
mr.samuel.e@gmail.commrsamuele.tumblr.comartofsam.wordpress.com07939139140
The Queen’s Lament (2012) Mixed organic materials, brass and one Anthocharis
cardamines butterfly
44
According to Plato, we exist because we are seen by others. We learn and construct our self through other’s eyes. This can result in a self suppressed and worn down by societal expectations. One that has become alike so many others; denied of its colours and unique identity. Like parasites
to their adopted host, we would struggle to sustain life without this constructed self. As life goes on, and nears the end, we find that we’ve acted out much of it at the cost of depriving our self freedom of recognition and acceptance.
Angeliki Myrto Farmaki
[email protected] The Masquerade (2011)
46
My work is the study of form; I relentlessly try to understand its deep complexity. Recently my practice has focused on space and structure, how an object physically exists within a space. I am trying to paint the truth as I see it, towards a purer design. I do not try to paint a sphere,
for example, through representation; instead I begin to understand and to paint its form of roundness. Consequently this is where originality will occur. When I am confronted with something alien within my work, I know I have done something right!
Richard Fitton
[email protected]/index.php07713508816 Boat Oil on canvas, 99x175cm
48
A foray into the nexus through which the nature of truth and artificiality can be fully explored. The natural world provides the foundation of the true, existing in organic forms, patterns, colours and lines. Artificiality is discovered through extraction and collation of various realist organic shapes from the true to invent new
images. The transition from the truth to the artificiality is symbolised primarily through the use of colour. These fundamentals have encouraged abstraction in the work. To explore the potential of the two concepts the theme of water is introduced; Is it a destructive force or a purifying/cleansing medium?
Rebecca Gill
[email protected] Fractal colony (2011)
50
Colette Griffin’s practice is concerned with shape, form and materiality. The work seeks to establish an unpredictable, dramatic relationship between material and form. The practice is process led, requiring continual physical intervention. Constantly reworked, all materials are used for their physical properties and some are stretched to breaking point.
Fragile and impermanent, the deteriorating latex replicates the changeability of the sculpture itself. Structures developed from EvoShape, shape generation software form the works solid component. Barely balanced the suspended sculptures show a potential for movement through visual tension. The sculptural outcomes tempt palpation but threaten to give way if handled.
Colette Griffin
[email protected]/photos/cjgriffin Untitled (2012) Wood and latex
52
The work is centred upon landscape, most of which are devoid of human presence. The depictions of organic forms aim to explore the boundaries between what is familiar and what is imagined. Inspired by the rural environments of Britain, the paintings seek to immerse the viewer into the atmosphere and power of land.
Jessica Griffith
Heathland IV (2012) Ink and oil on gesso on board, 122x122cm
54
In landscapes commanded by ice and water, I find a metaphor for mankind’s omnipotence, for they present hard and fast evidence of a process of destruction that is rapidly gathering pace. Throughout recent history, the impact of mankind on the landscape has intensified - there is nowhere on the planet where humankind’s influence is not apparent, not even
in the vast void of the Polar Regions. Ultimately, the work is an ecological study of our interaction with and transformation of the natural environment, presenting landscapes as little more than contemporary ruins left in the wake of the anthropogenic age.
Simon Hall
[email protected] 253865 Larsen B (2011) Screen-print, 35x50cm
56
My working medium is ceramics in which I have made an installation of tiles, describing a variety of textures, colours and patterns.My inspiration comes from the urban and natural landscapes from both South Africa and the United Kingdom.I have used different methods and processes such as coloured glazes, slips and transfer images, which have been expressed on each tile.This installation represents a decorative vocabulary of different colours, textures and patterns inspired by Britain and South Africa.The combination draws attention to the contrast between these two very different cultures and environments.
Emma Harrison
[email protected] Untitled Stoneware and terracotta with
slips, glazes and transfers
58
The paintings are intended to improve self-awareness and understanding by placing myself in the subject’s position and being portrayed in classical and ostensibly objectifying poses. Through the process of painting I am achieving greater understanding of myself as a person. By pushing through personal boundaries and confronting feminist notions of objectification I am liberating my body as a woman.
Megan Y. Hill
[email protected]/ Naked Nude Oil on canvas
60
The definition of hinterland is a rural area surrounding the urban catchment of a large city or agglomerations. It is characterised by a less dense population and infrastructure. Through the medium of photography the work explores the different connotations behind the idea of hinterland. Focusing in particular on how this initial definition can be interpreted in different ways.
It explores the collision of manmade and natural locales by examining how man has influenced nearly all areas of land. The works are investigating the surrealist juxtaposition of a manmade object within a rural scene.
Alyssa Hunter
[email protected] 782139 Untitled (2012) Photograph, 60x20cm
62
Ashley Ibbitson
[email protected] Collection Jars (2011) Mixed media
Conceptually derived from exploring the relationship between personal objects and memories, Ashley Ibbitson creates installations in a range of media including sculpture and video. She translates her drawings and mark making into three-dimensional materials including cardboard, papier mâché, modroc, wire, plaster and clay. Materiality and process
are very important aspects of the way in which Ashley works. Ashley’s artwork emphasises the manipulation of the materials she uses. Each cut, tear and score is highlighted not hidden. This raw aesthetic emphasises the physical dialogue she has with the material she is using.
64
The paintings explore formalism as a subject; the main concerns being colour, mark making, composition, aesthetic value and the materiality of paint. The work aims to visually stimulate and engage the viewer through formal aspects.
Abigail Jackson
Abigail_Jackson.fineart@hotmail.co.ukabigailellenjackson.tumblr.com Vesta Oil on canvas
66
I am a figurative painter as the human form holds a strong importance for me. I am interested in the process of creating a tangible form of a human presence/being through paint application. Colour and tone are in high concern regarding my painting process. I wish to flaunt the
tactile qualities and the materiality of oil paint. I often use my painting as a vehicle to explore ideas surrounding the world of professional fighting and the psyche and personalities of such fighters.
Caleb Kilpatrick
[email protected] Lloyd (2012) Oil on canvas
68
Jake King’s work interrogates the political potential of art and how it is inhibited by the self-centred nature of commodity-based practice, whilst finding more democratic and equal models of collaboration between artist and audience. Dialogue becomes the medium, conversation is engaged in intentionally with specific aims of increasing understanding, addressing
problems and questioning thoughts or actions.
His final work, ‘The Degree Show tradition’ challenges the appropriateness of the degree show to a conception of art that is both socially critical and effective. It deals with salient epistemological issues of ownership and the nature of the artist.
Jake King
[email protected]@jake_art
The Gallery model of Art (2011) Intervention outside Nottingham
Contemporary Gallery
70
Grinning, the girl grows a strawberry from her back, filled with pink juice as a gift from the dandelions. Burger grease drips to the floor and turns the ground to sludge. Its smell reaches her nose and with blind desire she gobbles it all up. Her eyes turn yellow, her strawberry scabs up and falls from her back, and instead humongous warts grow. Her legs twist and bend to the ground and her mouth is sticky with ketchup, she complains with a terrible croak and leaps to join the others wallowing in the burger sludge. She forgets the wild dandelions forever.
Fiona Laird
[email protected] Graphite and metallic pencils on
paper.
72
Through the exploration of colour, pattern and print, Aimee Leverington creates a body of work that not only considers drawing, painting and screen printing, but that also touches on techniques traditionally used within Textiles by means
of machine embroidery and hand stitching. She experiments with a variety of materials to create floral inspired designs as well as gaining inspiration from popular culture to generate ideas and concepts.
Aimee Leverington
[email protected] printed fabric with machine
embroidery embellishment
74
Emma Locke’s imagery is concerned with the subtle changes to our facial features caused by our closest relationships. Her work is inspired by current studies into this subject as well as notions of genetic engineering and obsession with youthful looks. This is explored using photography
and editing techniques in order to question the assumptions made about a photographic portrait. The underlying concepts to her large scale photographs are representations of identity, ideas of the self and questions whether we can grow increasingly similar to another person.
Emma Locke
[email protected] emmalockephotography.blogspot.com Pete and Beryl (2012) Digital C type print
76
A love for nature has lead to an interest in macro photography as a medium for recording and discovering the forms and features that make up the natural world. It has allowed for an appreciation of what is almost unperceivable to the human eye.
The photographs are of natural objects abstracted beyond recognition, creating a sense of ambiguity to encourage a fresh observation and a new intimacy with the beauty and detail in nature.
Zoe Marshall
78
If words could sufficiently express all our emotions, questions and ideas there would be no need for painting. A painting can break the barriers of speech and text and connect us with one another through the more instinctual and universal language of colour, texture and form. In the present era
of high-speed communication where time and space are no longer such obstacles, a painting reconnects us with the present moment - viewing reminds us that we exist and connect with that particular object in that particular place and time.
Marianne Mclaughlin
[email protected] Mountain Sickness Acrylic on board
80
My work deals a corporeal identification of the self and the traces that are left behind by us. Foremost this is done through experimentation with physical matter such as human hair, aiming to provoke ideas questioning human fragility. It is interesting to see how people can feel seemingly
conflicting responses simultaneously. Hair is a familiar material, yet once it is taken off the body it becomes an innate source of repulsion. Using traditional techniques such as weaving and sewing I use this material to create sculptures.
Tanya Moody
[email protected] Human hair weave
82
Murray’s interest lies in environmental issues and the significance of artist experience. She seeks ways to address these views through her art work.
Katie Murray
[email protected]’ 33’ 55.52’’ N, 3’ 05’ 4.84’’ W
(2012)
84
The work is dealing with issues surrounding how the world is represented through today’s media. In particular how modern day events are manipulated to create the impression of a world in chaos. The intention of the collage pieces is
to use distortion to recreate this feeling of disaster. The drawings feature iconic images that have been widely distributed by the media and it is these drawings that make up the collages.
James Neill
[email protected] Earth Pen and ink on paper
86
The world is in a constant state of flux, and we are all passengers caught up in the flow of time. In our chaotic lives delicate moments are often left unobserved, by sustaining these moments in time, we are able to capture life’s temporality.
Catherine Ozorio
[email protected] Untitled (2011) Film still
88
This work is a visual response to the current financial crisis and lack of employment in Britain. This focuses around the drug culture amongst youths, gang violence, protests and demonstrations within the so-called lost generation. The sporadic figurative characters in the pieces represent typical actions and emotions of Britain’s youth from the viewpoint of what one might find in the news and also at first hand. The figures each have their own narratives but they are all set within a common bleak urban landscape represented on canvas.
Daniel Pheloung
90
For the past two years Heather has been working with the subject of dreams and after her practice going through many changes, she now works with the idea of recording and communicating her own, personal dreams. Her dreams and sleeping patterns are recorded in dream diaries and then this collection of information provides the raw material for her work, with text and multi-sensory media forming an important part of her practice.
Heather Pike
[email protected] Sleep Patterns
92
My practice uses stitch to explore the familiarity of landscape. I use embroidery as an attempt to document our continually evolving contemporary urban surroundings. My work draws focus to areas you’re used to looking at but not into, stitch allows me to select and bring forward certain information. As if it’s holding this torn and fragmented
world together. I am also critiquing globalisation and the rise of IKEA on every corner. Calling attention to the sameness by highlighting the insignificance of the corporate world to the particularities of different locations creating separate shots as well as passages in a single, overarching landscape.
Amy Prebble
Antrim Road (2012) Embroidery on canvas, 23x10cm
94
Samuel Roy Prosser’s work explores the relationship between the moving object and its spatial surroundings. The work attempts to create a lively dialogue between the object, the space and the viewer. This makes us question the
pre-conceived ideas of the ‘Gestalt’, by adding a sense of theatricality to a known geometric shape, through movement of the object forcing the viewer to readjust their surroundings with the invasion of the object upon the space.
Samuel Roy Prosser
[email protected] Untitled (2012) Plywood and electric motor
96
Faces are arguably the most interesting thing we can see as there will always be a fascination of how people came to be. A portrait is not about what the person looks like, as the artist can go beyond the
face to tell us who the subject is. Through the language of paint a portrait can be moulded to contain the life of the painter which creates something that is almost magical.
Holly Proud
[email protected] 367517
Ryan (2012) Oil on canvas,120x70cm
98
A dominant point of inspiration within my work is the notion of labour, considering artistic value held within the ethics of mass production. Exploring the reproduction of work in contrast with the uniqueness of the handmade, aiming to define the value of the artistic hand.
Within terms of production, process becomes integral, using a clocking in
machine documenting labour and time involved, clocking in every time I involve myself with practical work. Investigating how the state of the artist impacts on the object and if unintentional uniqueness is achieved.
My ultimate aim is to not only define a value, but also identify where that value is held within the work.
Katie Ramsdale
[email protected] Little Sweetheart 32 Ceramic pieces
100
Continual deconstruction of figurative painting attempts to dislocate and prohibit what is customary and expected from representational imagery. Controlled chance creates passive-aggressive nuances together with multiple connotations towards what is being represented.
Francis Reynolds
Appearance of Time (2011) Acrylic & oil on canvas, 110x98.5cm
102
Within my work I attempt to unite disparate sources, allowing myself to create sculptures that reference both popular culture and simultaneously the statues of ancient civilisations. To me there is an inherent futility within representing the human figure which is the reason why my works are misshapen or absurd,
attempting to subvert what sculpture is expected to be or how it looks. Often hovering on the edge of abstraction I strive for my work to have a humorous aspect and a touch of the uncanny which causes the viewer to look back at themselves and their surroundings.
Luke Routledge
[email protected] Moby Grape Mixed media, 181x44x33cm
104
My artwork explores popular brand imagery, celebrity culture and advertising which takes a critical view of social, political, and cultural issues. The paintings involve a combination of comic superhero mythology, popular children’s toys, desirable brand names, and totems of art history to create a visual language of evolution. The work is a juxtaposition of
images, which are incorporated together to produce a personal contemporary explanation on consumer culture. I deconstruct the American dream by manipulating current issues within the media. The media is composed of oil paints and acrylic paint applied with an airbrush to produce a hyper realistic effect.
Sara Sammakia
[email protected]/SaraSam807762785824
106
Hannah Saxby draws inspiration from the industrial landscape and has a personal fixation with metal lattice shapes and forms such as pylons, cranes, and scaffolding. Their symmetrical interlocking patterns have enhanced this fascination continually inputting on the work. These repeated geometric shapes have informed this practice, which relates to Minimalism.
With an intention to overwhelm the viewer, the work is made to be viewed from all angles and to tower over the onlooker. Juxtaposition is central to the practice, using a simple minimal shape, but repeating this, thus making it more complex. It’s simplicity leads to its complexity.
Hannah Saxby
108
Zuleika Stannard’s landscapes concen-trate on the materiality of space and colour, heightened sensation sometimes erupting through the very surface of the paint and sometimes in the more organic relation of natural and man-made forms. Above all she is a colourist of vivid shades and shadows, receding perspectives
folded into ghosts of natural shapes, the paint wrapped round her hills and valleys, defamiliarising conventional landscape images. A statement by Clive Bell has always inspired her: ‘Lines and colours combined in a particular way, certain forms and relations of forms, stir our aesthetic emotions.’
Zuleika Stannard
[email protected]/index.php Maratea Oil on canvas, 80x80cm
110
My work looks at the tactility of paint in its most original form. Understanding the physicality of paint on canvas allows real art to be made and my perception is directed onto the canvas. It is about engaging with the surface of the canvas. By this I mean understanding
the materiality of the mediums and then engaging in creating art work, so judging each brush stoke by the previous mark made, and then continuously repeating this process. I explore tactility or facture, as Benjamin Buchloch describes it with reference to Gerhard Richter.
Luke Teague
[email protected] Heather
112
Our body image and our gendered identity are formed through our experience of our own body, but also through interacting within codes of social expectations and representations. Thornhill’s practice explores how a gendered identity is constituted through an interwoven relationship between a subject empirically living within an incarcerated bodily
perspective and the socially signified construction of gender. These paintings form a metaphorical cultural/corporeal collision of perceived body images. The underwater body signifies the perspective of corporeal incarceration, while the reflective surface implies the distortion of the exterior gaze, of socially constructed forms of representation.
Nicola Thornhill
114
Sarah Torr has investigated the conversation between architecture and art. Her work explores the powerful rigidity of architecture, converging on the chaotic urban environmental which is portrayed within a geometric style.
Throughout her project Sarah has changed mundane architectural constructions into an abstract form, reflecting on graphical and industrial design.
The Bauhaus movement had an astute impact upon her progression. Her work may be seen as minimalistic, developing an identity, which lies amongst conceptual art and geometric abstraction. Colour has played an imperative part throughout her project. Using colour relativity, intensity and vibrancy delivers illusions of transparency, capturing the viewer.
Sarah Torr
Iridescent Abstract Photographic print, 84.1x59.4cm
116
Ben Victor’s practice re-configures traditional portraiture methods, empha-sising character over representation. The artist generates work by process of recorded interview, in which questions put to each sitter encourage a deeper understanding of their personality. Photographs taken to capture responses consequently inspire meticulous ink drawings in which the artist may consider
the sitter in more depth. Each portrait demonstrates the rigorous analysis of an individual, materialised through the artist’s amalgamation of photographic and hand-drawn images into a single, layered portrait. Coupled with original interview recordings, each portrait challenges the viewer to form their own conclusion on the character of the image.
Ben Victor
Untitled (2012) Layered photographic portrait – digital photograph
and rotring ink pen drawing, 42x29.7cm
118
The paintings represent the human form through an abstraction brought forwards by race, gender and cultural difference. The paintings emphasize the moment of uncertainty and sense of unease within friendships, which discusses a melancholy like perception. The stylization has significantly transformed the figures
and has allowed for a breaking in the texture of the body, and develops an unsettling nature of loneliness that each person has felt at a point of distress in life. The process of painting has developed from photographs, which has allowed for a more in depth view of the figure within a natural environment.
Satveer Vryaparj
[email protected] 07704767481 Untitled
120
Mental illness is scarcely represented in the arts. Endemic lack of awareness has facilitated stigma and misunderstanding. This work recreates experiences associated with madness to foster empathy and promoting tolerance.
Narrative animation combines drawing and authorship producing a multidimensional forum for expression. A thoughtful
portrayal of psychosis can question our notions of reality as conventional perception interchanges with illusion through visual and auditory hallucinations. The viewer is allowed a glimpse through the gates of perception normally restricted to the visions of a shaman in the grips of religious ecstasy or the feverish deliriums of a raving madman.
Alex Widdowson
[email protected]@alexwiddowson
Study for Patients Ink and pencil drawn animation, 3.32min
122
Thomas Wilkinson
124
The Romantic resonates within the landscapes to form a contemporary depiction of the expressive English landscape. Familiar human interventions and the overpowering experience of nature, combine in a landscape both structured and chaotic.
Aimee Willcock
Pylon (2011) Oil on canvas, 100x140cm
126
Ageing is a defining characteristic of what is truly human. As time passes by we are robbed of youthful appearances and forced to accept mortality. The work confronts the viewer with the inevitable. It attempts to capture the brutality of ageing through the scrutiny of each wrinkle.
Accentuating the natural deterioration of the body but celebrating the organic shapes which form the aged flesh, in an attempt to show the complexity of ageing and its intriguing contours which make skin comparable to landscapes.
Jessica Mary Wilson
79 years Acrylic, pastel, thread on cotton canvas, 182x122cm
128
Artificial spaces found in urban settings are reinvented and transformed through the process of painting. Built upon layers of images the paintings play with perception of space. Isolated figures attempt to assert themselves against an imposing backdrop, and allude to an indefinite narrative.
William Wood
Underpass Oil on canvas,147x100cm
130
Rosie Woods uses composition, colour and form as tools to engage with and appreciate the details of her surroundings. The work plays on the boundaries of abstraction and still life; focusing on natural, organic beauty in small forms that are often overlooked. Working on a large-scale, Rosie explores and distorts
these details through the medium of paint, hoping to provide a visual spectacle that the viewer cannot choose to ignore. She hopes to provoke the viewer’s imagination and suggests new ways for them to relate to the objects they encounter in their own lives.
Rosie Woods
[email protected] Untitled (2011)
Degree Show Committee 2012: Amy Albon, Emily Cox, James Dann, Hannah Davison, Colette Griffin, Megan Hill, Abigail Jackson,
Katie Murray, Sam Prosser, Hannah Saxby & Aimee WillcockCatalogue by Mateus Domingos & Samuel Evans
Thanks to Alan Duncan for his help and time with the photography throughout.
Amy Albon p.10 Andy Allen p.12 Angus Beaumont p.14 Laura Bennett p.16 Stephen Bennett p.18
Charlotte Bryan p.20 P. Clarke p.22 Martin Clarkson p.24 J. Cook p.26 Emily E. Cox p.28
James Dann p.30 Hannah Davison p.32 Chris Docherty p.34 Mateus Domingos p.36 Heather Lee Durrant p.38
Sam Evans p.42 Angeliki Myrto Farmaki p.44 Rebecca Gill p.48
Colette Griffin p.50 Jessica Griffith p.52 Simon Hall p.54 Emma Harrison p.56 Megan Y. Hill p.58
Alyssa Hunter p.60 Ashley Ibbitson p.62 Abigail Jackson p.64 Caleb Kilpatrick p.66 Jake King p.68
Victoria Eaton p.40 Richard Fitton p.46
Emma Locke p.74 Zoe Marshall p.76 Marianne Mclaughlin p.78
Tanya Moody p.80 Katie Murray p.82 James Neill p.84 Catherine Ozorio p.86 Daniel Pheloung p.88
Heather Pike p.90 Amy Prebble p.92 Samuel Roy Prosser p.94 Holly Proud p.96 Katie Ramsdale p.98
Fiona Laird p.70 Aimee Leverington p.72
Francis Reynolds p.100 Luke Routledge p.102 Sara Sammakia p.104 Hannah Saxby p.106
Zulieka Stannard p.108 Luke Teague p.110 Nicola Thornhill p.112
Ben Victor p.116Sarah Torr p.114
Satveer Vryaparj p.118 Alex Widdowson p.120 Thomas Wilkinson p.122 Amy Willcock p.124
Jessica Mary Wilson p.126 Rosie Woods p.130Will Wood p.128
Fine Art Degree Show 2012 Loughborough University
