non-fiction exhibition catalog

8/8/2019 NON-FICTION EXHIBITION CATALOG

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JULIE FAGANTALES FROM THE WAITING ROOM

In the series Tales from The Waiting Room there is an unfolding story of a liminal state which is both a

personal story and a universal human experience. The works speak of a place of uncertainty, change

and transition: an articulation of being somewhere in between.

Tales From The Waiting Room engages an audience by allowing them to re examine the craft of

painting. The work is mathematical, methodical and architectural in its composition and undertaking.

Composed of crisp lines and sharp shadows Julie Fagans work plays on the viewers understanding of

light and immerses the viewer into the paintings own physical sphere. What we see in Julie Fagans

paintings is not the 2D physical element of her work but the colossal structures that in varying light

burst from the frame it is displayed within.

Julie Fagans practice is that of an architect-sculptor, who happens to work with and in virtual space.

Drawing directly in three-dimensions is the backbone of her practice and the way in which all of Julie

Fagans paintings and digital drawings start life. She feels that this new media practice is exhilarating

and liberating, offering a discourse on limits; a place in which anything is possible and without beginning

or end.

www.juliefagan.co.uk


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FRAN GIFFARDHONG KONG, CAGE 2

I enjoy drawing things I want to possess. Every drawing depicts an item or creature I would like

to have, or an event I would like to see. Each series of drawings represents a collection. By drawing, I am simply feeding my curiosities, needs and obsessive nature.

Each drawing starts as a series of photographs, in this case: depicting the birds of Hong Kong

with the cages from the Yuen Po Street Bird Market. I combine and manipulate these images on

the computer, resulting in a digital image of a fictional scene, made from elements of reality. I

then draw the computerised image using only graphite pencil and horizontal lines, giving it a

printed appearance, but with a graphical and contemporary feel. The monochromatic graphiteresults in an intense and heavy drawing.

Fran Giffard is a recent graduate of Camberwell College of Art, part of the University of the Arts

London, where she studied Ba(Hons) Drawing. As part of an Erasmus exchange, she spent

time at the Universidad Complutense de Madrid, Spain. She graduated from Foundation Art and

Design at Maidstone College of Art, part of the University for the Creative Arts. She is based in

London and Hong Kong. Fran is always drawing, whether it is her own interests, or challengesset by others.

www.frangiffard.com


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RONNEE HUIORBITAL MOTIONSHORIZONS

Inspired by autobiographical experiences and observations, both Orbital Motions and Horizons

engage with anxieties of an everyday nature. Presented as a one page dramatic script, typed on an old

golf-ball word processor Orbital Motions recounts an unexpected experience with a Dustbuster

handheld vacuum cleaner, a bookshelf and a visiting spider, while exploring time through its repetition

and circularity. A 3-page excerpt from an International Maritine Health document about seafarers and

passengers who disappear without trace from aboard ships, links the 2 nd work. Horizons, (3 mins 13

secs) is a video of the horizon line seen at sea from the end of a boat adrift in the waves, that by contrast

investigates the relationship between stillness and movement. The static long take emphasizing the

element of space-time. The image, empty of beings, alludes both to history painting and seascapes, as

well as to those lost at sea.

Ronee Hui is a London based artist. Completing a Masters in Fine Art at Middlesex University in

London, under Professor Jon Thompson in 2002, her background includes photography and computer

assisted fine art.

Working in a range of media that has involved object and text based-works as well as installation, video

and photography, her work has been shown in more than 50 exhibitions and festivals, across 20 different

countries, including the 6th Sharjah International Biennial of Contemporary Art in the United Arab

Emirates and the 25th Viper International Festival of Film, Video and New Media, in Basel, Switzerland.

Since 2008 she has also been a member of the international video artists collaboration, The Exquisite

Corpse Video Project. http://www.wix.com/roneeh/Ronee-Hui


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HESTER JONESCALL YOURSELF A MOTHER

"You do not have to be clever, and you do not even have to think if you do not want to" in order to be a

good enough mother. D.W. Winnicott.

This series of photographic portraits examines the ambivalent feelings and fantasies many

mothers experience towards their children. The work unsettles idealized romantic portrayals of

motherhood as found in Media and more traditional forms of representation.

Each photograph becomes a space for performance in which various mothers act out feelings andfantasies of ambivalence for the camera. Referencing the Madonna and Child in Western Art, each

image is cropped to focus on the mothers hand and breast, so the loving gaze of the mother is

disrupted. With this gaze removed from the viewer's inspection, the conventional portrait is overturned,

and each womans expression is undetermined. The viewer is thus invited to question the mothers

identity in todays society. Since the subjects remain anonymous, they cannot be accused of being

bad mothers.

Hester Jones is a British born artist who currently lives and works in London. She has lived andworked also in Italy, Spain, the USA, and Brazil.

www.hesterjones.com


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SULE KEMANCI

Sule Kemancis work deals with the relationship between 'the real' and 'the fantasy' and the

impossibility of complete fantasy without traces of reality. This same idea also applies to fiction/

non-fiction. Fiction is always affected by our social surroundings and never exists as a

separate entity so it always carries elements of non-fiction in it.

In my work I would like to make the viewer question reality/non-fiction with the half human hybrids I

create, these hybrids can be read as belonging to another world but they are also firmly connected to the

realm of our everyday. They contain a degree of familiarity both physically and emotionally, which can

make them uncanny while creating a simultaneous repulsion and attraction.


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AGNIESZKA KOLOWSKATHE WALKING PROJECT

The Walking Project explores the possibility of communicating in the form of an artwork a subjective

experience of the world understood in spatiotemporal terms and in relation to the body as the necessary

subject of perception. It consists of long-exposure photographs, films, heart-rate records, sound records,

maps, etc., which in this multitude of approaches attempt the impossible: materialization of a transient

experience of basic activity engaging the body in a linear progress through space and time, and

production of an object indexical to the distance and duration of the experience. Starting with the

realization that the above has already been attempted (notably by the walking artist Hamish Fulton) and

failed (as the above quote suggests), I embarked on technical experiments with cameras and

photographic materials to test the limitations of the medium in recording a walk in its continuity.

Balancing between materiality and immateriality, obscurity and information, the work places equal

importance on the experience of the artist - principally a solitary affair without a witness - and that of the

viewer - an imaginary journey upon encountering the traces of the walk.

Agnieszka Kolowska graduated from an MA in Photography at UCA, Rochester, this year. Her practice

is based in photography, with results often extending into the fields of moving image and installation

work. Agnieszka Kolowska also tends towards unconventional uses of various media, with a passion for

photographic experiments in both analogue and digital realm.


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NICOLAS LABORIESTIGMA

Stigma is an exploration of the misinterpretation of Mental Health. The art film will present itself

with a direct, personal and often challenging approach by various testimonials from people who

suffer from mental illness.

The main protagonists suffer from various forms of mental illness and are in their 30s. The film

depicts an event in their daily lives and the scenes are in the (mis)comfort of their own homes.

Dealing without barriers, the film features a free flow of emotions and raw reality; it projects a

message of the illness, which many of us refuse to see. Many people are still oblivious to the

existence of mental illness and this film aims to raise continual awareness and trigger the

debate again, through the medium of art.

Stigma is a short art film directed by Nicolas Laborie, written by Rebecca Lori , and music by

Rael Jones, starring Sylvie Gourdon, Teuta Skenderi and Richard Harvey.

www.nicolaslaboriefilms.com


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HOWARD LUKEDEATH OF A PHEASANT

This painting is concerned with the idea that nothing lasts forever; that we are in a constant

state of flux. The changing water of the estuary, the emotions felt by the two lovers staring into

the distance, the shadowy figure of the old man walking on the bridge above the dead pheasant

that dominates the picture.

I wanted the painting to be a dreamscape with each element seemingly plucked from the

subconscious. Some of the elements were taken from paintings by Monet, whereas the purple

sky is taken from Princes 1999. The painting can also represents the death of love and being

old and alone. These are the non-fictional elements of this surrealist piece.

Howard Luke is a painter based in London.


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GRAEME NEWTONINSIDE, INDOORS

The picture I have created to represent the theme Non-Fiction shows people eating, drinking

and enjoying themselves in the great outdoors. It has a kind of festival atmosphere.

It reminds me of a special time when I was at a festival; sitting in a tent, enjoying myself and

watching football.

The picture shows people sitting, there is food and drink on the table, there is a stove. Same of

the outside is on the inside. There are mountains, sky and a truck.

I have also used biro, pencil and gel pens, which I like for their vibrant colours to create this

festival atmosphere.

Graeme Newton is a London based artist who has studied art at Lewisham College. Hepresently attends the art classes at CoolTan Arts.


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FROSO PAPADIMITRIOUCHAIR PAINTING SERIES (PICTURED)BLACK DOT SERIES

The use of specific materials like furniture and recycled objects aims to create a bridge of

familiarity whilst the newspaper cuttings are used to provoke social awareness and to

remind the viewer that human depravity and the suffering associated with it is a Non-

Fictional state of life.

Every piece of work is part of a narration of testimonies and life stories arising behind

borders, weather that is house walls or territorial limits, that features on the media placards

but fails to intrude in our box-shape everyday routine.

What drives my work is the need of communication with the viewer, within an alarming

content about the fading humanity and isolation of the self from social attention and action.Based on the requirement of a personal non-objective translation and intimacy of the viewer,

the work itself is open to any interpretation that derives from experiences and memories.


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LULU PARENT THROUGH THE LOOKING LENS

Through the Looking Lens is a grid consisting of 288 photos arranged in a 24 x 12 framework in a

colour coded spectrum. The piece is essentially a photo grid which represents her daily visuals, that which fall into

her melting-pot of influences. The grid consists of a series of photographs she has taken of things that attracted her

eye in the streets. Mostly urban art and doorways, she has captured through her shots, the world that she sees.

She believes that each individual has a very personal way of seeing things, each person would therefore have

his/her own completely different grid. The things I shoot are simply the things I see... she explains. Her photos

are then carefully wrapped around blocks of wood to create a mini artwork that works well on its own or in a small

series. The title Through the Looking Lens is a reference to Alice in Wonderland, another childhood memory she

wants to impose on the viewer. Even her photographs have a childlike quality about them. Lulu is revealing to us

her non-fiction, her world the way she sees it everyday.

Lulu Parent lives and works in London. She recently graduated from Central St. Martin's with a BA in Fine Art. She

works in various mediums, focusing on the conceptual aspect of research before generating the ideas into

artworks. Throughout the years she has worked to create an atmosphere through her art rather than a specific

piece. Often centred around themes of childhood, colour and repetition, she experiments with the audience's

reaction to the spaces she creates. She works with installation, painting, photography, sound and film, developing

the medium to suit the concept. She enjoys questioning the audience and revealing glimpses of the world through

her eyes.


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THERESA PATONHOME

Often depicting retreat, my work is interrelated capturing the concept of space in its entirety,

encompassing the connection space has to time and movement. Through the exploration of

geometry and physics this has enabled me to take a closer look at nature and has helped me

comprehend the association between rhythm, pattern and the formation of growth. My

fascination then grew towards the relationship a straight line has to the curve and this

encouraged my objective to produce organic and free flowing skeletal structures using this principle. In essence my work is about seeking the truth and references the fundamental science

of mathematics and the connection this has to the very core of ones existence. The nature of

my work corresponds well with my concerns over time and space and the beauty of my practice

stems from simplicity, which could attract the involvement of all ages and walks of life.

Newspaper is used as a medium to convey the importance of recycling and emphasise the

endurance and resilience of nature, whilst expressing fragility of form. Home is about retreat, of

contemplation and deliberation. By rolling newspaper, this action provides instant filtering of information, and thus representing the spring-cleaning of ones Home.

www.theresart.me.uk


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TOM POWELL

Born in Manchester in 1950 it was not until I went to work in Italy as a young man that I became

aware of art and culture. Although only a waiter, I found myself surrounded by people whose

character had been greatly influenced by music, art and food. This experience gave me the

confidence to attend Art College, which I did on my return to England. I then became a

silversmith working and living in Scotland and the Orkneys. Returning to lancashire I became an

Art and Craft teacher. Since taking early retirement, art and painting have become very

important to me. I have lived in Rochdale for nearly 30 years and exhibit my paintings and

drawings regularly. In the future I have plans to exhibit my silverwork.

I enjoy art that has a strong narrative, and that is the reason that most of my pictures have a

story attached to them.


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LOU PSYCHEDOG GIRL MONKEY BOY

Dog Girl Monkey Boy is an ongoing series of paintings that are inspired by the true lives of feral

children Oxana Malaya the Ukrainian dog girl and John Ssebunya the Ugandan Monkey boy. After being

'rescued' from her dog family Oxana now lives in a home for the 'mentally handicapped'. When asked

what makes her happy she replied Im happiest barking and howling'.

John ran away from home and lived with monkeys after watching his alcoholic father murder his mother.

It is suspected that John had suffered from some form of mental illness before the incident, which

perhaps made him unable to seek human help.

Lou's paintings are about freedom and nakedness. She paints on found/scavenged/salvaged materials

for these works in order to feel connected with a more feral identity. They are about discovering the real

self and casting away the ego and illustrate the confusion of desire for freedom and nakedness

conflicting with the desire to conform

Lou Psyche is a London based artist who graduated from Sir John Cass London Metropolitan University

in 2009.


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JULIE RAFALSKIWHAT WAS MISSING THEN?

In the documentary-style video installation What was missing then?, people in Warsaw answer

the questions: What was missing during the communist time? and What is missing today? A

second screen shows a flower seller naming flowers that were unavailable or missing duringthe communist time. A voice-over describes which images the narrator lacks in the documentary

itself. Documenting a transitional period in Poland, this piece compares two political systems by

pointing to that which was of value in the previous communist time as well as that which

appears to be of value today. While looking at both the communist and capitalist systems

through the lens of everyday experience, the piece maintains an ambivalent standpoint on the

advantages of both systems.

www.julierafalski.com


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ALUSINE SHUMA

YOU CAN COME BACK (TRIPTYCH)

I was born in Sierra Leone and came to London in 1993 to escape the civil war in my country,

during that time, I participated in the Peckham Positive Project to study Art and Design and

English. I have been attending CoolTan Arts for the last six months.

My paintings are about a quiet place with some activity. I tried to represent a sense of

continuous movement through the landscape. The place is divided into three different views that

also allow the element of time to enter the scenery as morning, afternoon and evening. The

passing hours reflect the three different ages of man but instead of nostalgia I wanted the

painting to express the interaction between man, the land and the changing seasons.

As seasons always return so we hope to return to the places that we love.


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CLARE SMARTKATHERINE

Katherine is a multi media body of work, which highlights and aims to make aware the

complexity of the condition of schizophrenia.

Clare Smart is a London based documentary photographer using photography and multi-media

to create images rich in character.

My social portraits always remain true to the real lives of the people I photograph, focusing on

identity, family and narrative. In video and multi-media I tell peoples stories to raise awareness

about particular issues. I believe in immersing myself in the world of my subjects, allowing

space and time to build genuine relationships. I merge techniques of documentary, portraitureand photojournalism to create bodies of work. www.claresmartphotography.co.uk


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LESLEY STEVASABERFEDY FALLSCASCADE II

This theme has developed out of the pleasure that I derive from walking either in a London park, such as

Hampstead Heath, or along the banks of a Scottish riverside near to my brothers cottage. I have

become captivated with the movement of water such as waterfalls. I take photographs to use as

reference material. I do not wish to studiously reproduce the waterfall, which the photograph recordsbut merely use it as an aide memoir. I feel an affinity with nature to the point of feeling overawed; its

almost like falling in love. Sadly this is not the case when I am in the middle of an urban environment. I

want to escape from there as often as I can.

I wish to communicate my notions of the joy that feel when I am outside especially by waterfalls. I am

inspired by the effects of the weather, the bright contrasting tonality of sunlight on water or its rays falling

upon the leaves of a tree.

I also wish to convey a sense of playfulness and vivacity in paint, as the water bursts and splashes and

yearns to be free of the limitations of the stones and rocks which contain it. Or perhaps its the sound of

the waterfall which roars with laughter at me.

Capturing the movement of a waterfall is one of the most difficult subjects that I have painted and some

days I feel like giving up. The photographs from which I work offer just one still moment of this constant

movement and the paradox is that paint is about making things slower, so that any changes take place

gradually. Sometimes I am so excited when I paint that I physically shake and when the painting workswell I feel intoxicated with happiness.


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BEN WALKER

The central themes which inform my work currently are historical atrocities, specifically the

Holocaust and Nazism.

I dont want to make literal, descriptive paintings but to use figurative elements and subdued

tonal ranges to depict people who were viewed as anonymous or as objects, and to reflect asense of vulnerability and create an impression of remoteness. The figures in the compositions

are often vague or simplified, reduced to silhouettes, with unnecessary detail eliminated. The

backgrounds of the paintings contain enough information to indicate some kind of space or

setting.

I work on coarse grained linen which is sized rather than primed, and use a fairly narrow range

of colours mainly browns, greys and greens. There is an emphasis on the actual process and

evolution of making the work. Value is placed on the application of paint, the variation of the

brush marks, and the surface. www.londonsartistquarter.org/content/icb


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non-fiction exhibition catalog

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