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20 TWELVE Fine Art Degree Show North Wales School of Art & Design
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Glyndwr University degree show 2012 booklet

Oct 26, 2014

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Page 1: Glyndwr University degree show 2012 booklet

20T W E L V E

F i n e A r t D e g r e e S h o wN o r t h W a l e s S c h o o l o f A r t & D e s i g n

Page 2: Glyndwr University degree show 2012 booklet

When you apply for a place on a Fine Art degree you can choose the course, the location, even your tutors, but you can’t choose the people you will study alongside. I can’t think of a better group for you to have been part of. Over the years we have watched a creative community emerge that is about more than modules or the bricks and mortar that make up a building. Staff and students together have each made a unique contribution to the distinctive character and flavour of the Fine Art programme that has evolved.

You have filled our studios with energy and ambition and your work and your ideas will inspire conversations with the students who will follow you. It is hard to believe that the three short years you have spent with us in Fine Art have now passed. It passed all too quickly.

We would like to wish the Fine Artists taking part in this year’s show well in all that they go on to do. You will, we are sure, enhance our reputation in everything you do and will always be welcome in our studios. You are already part of both our history and our future and we are proud to call you graduates of Fine Art and of the North Wales School of Art and Design.

John McClenaghenSue LiggettTracy Piper-Wright

The Fine Art Team, North Wales School of Art and Design, Glyndwr University, Wrexham

INTRODUCTION

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Page 3: Glyndwr University degree show 2012 booklet

My current interests involve exploring shapes to go with heads. I am working intuitively, without worrying too much about what the work is about, for I believe that the subconscious will always come through in the work anyway.

DAVID [email protected]

HANA [email protected]

What is the purpose of art?

What if art was used to help create a rhythm of community life?

What would art look like if it was a response to a call of spiritually and materially improving conditions in our surroundings?

“Arts, crafts and sciences uplift the world of being, and are conducive to its exaltation. Knowledge is as wings to man’s life, and a ladder for his ascent.”Bahá’u’lláh

carmelha.wordpress.com

Page 4: Glyndwr University degree show 2012 booklet

“Man the tailor made god” L. Langner

Clothes and the dressing and undressing figure are explored as a way of building an identity, as we dress ourselves we build ourselves into something new at the same time. These are moments of transition, which represent moments of shifting of layers, the skin as just another layer. The kind of viewing that happens during this process continues to draw my attention. As something that is usually private and almost sacred, this pull between being concealed and being viewed has gathered around it a sense of ritual, during which we form ourselves a second skin.

VICTORIA ELLISvictoriajellis@hotmail.co.ukwww.patternsforpeople.wordpress.com

HELEN [email protected]

I work mainly in textiles and found or readymade objects. My work is quite diverse from fairly traditional machine and hand embroidery, to more contemporary three dimensional pieces and installations.

I have recently been working on larger installations exploring three dimensional drawing, using lines of fabric and threads, and experimenting with adding objects to these lines.

I am from a Craft background, having always made clothing, accessories and patchwork. I am interested in the crossover from Craft to Fine Art in the use of both materials and processes, and the acknowledgement in Fine Art of skills perceived as craft skills. This interest also allows consideration of the history of both and the emotional interest that use of a skill or process perceived as craft brings to a fine art piece.

07534082464

Page 5: Glyndwr University degree show 2012 booklet

Objects are bearers of memory, surrounding us in our everyday lives. Those objects that we hold dearest are sometimes our last connection to a person we may have lost and can provide a valuable link to accessing our memories of them. My work explores how memories are formed, exposing the fragmentary nature of memory through installation, print and photography.

“...the fragment is defined in terms of both presence and absence. It is something in itself–a physical object... but this object is also perceived as a sign, an index of a something missing.”Jacqueline Lichtenstein

SARAH [email protected]

DOROTHY [email protected]

“Drawing, however seldom attracts consensus views. Instead it invites frustration or obsession in attempting to clarify something which is slippery and irresolute in its fluid status as performative act and idea; as sign, and symbol and signifier; as conceptual diagram as well as medium and process and technique.”Deanna Petherbridge

My particular obsession is line, singular or plural, a simple form yet one which enables me to inhabit that potential space between the real, the fictive and the imaginary. An intense and meticulous process which encloses a peculiarly symbiotic relationship of mindfulness, drawing and discovery which takes me beyond myself yet is presentto me.

Page 6: Glyndwr University degree show 2012 booklet

My work arises from a deep affinity with music and the need to capture the significant bits before they disappear into the atmosphere. A choice of joyful and sometimes moving but beautiful music generates responses which are made physical by way of gestural, linear mark making.

I am also concerned with the continued development of methods of paint manipulation and delivery that best denote my interpretation of the additional atmospheric nuances that are perceived from the music.

Working with egg tempera paint on gesso coated boards, a method that was used before the advent of oil and canvas is becoming increasingly important to me. Paintings made using this ancient technique take on a ceramic like quality and fragility similar to the ephemeral nature of the music and so, are handled with care.

SHEILA [email protected]

RHIANNON [email protected]

The context of a fairytale serves as a great tool to explore the human form through the language of sculpture. The manipulation of a narrative which has become more “sugar coated” throughout history is to me of great interest, seeing as its one of the few elements in modern culture that has become more rather than less sensitised.

My aim is to invite viewers of innocence and experience into this escapist environment built up of the eclectic mix of dark imagery and “typical” fairytale aesthetics, to see which outweighs the other in the viewer’s mind.

Page 7: Glyndwr University degree show 2012 booklet

My work aims to transform everyday mundane objects that normally we wouldn’t consider to be interesting and turn them into something intriguing using transparent materials to obscure light.

My photographs are abstract, zoomed-in sections of these obstructions producing microscopic –like images. Playing with colour, contrast and brightness has resulted in these edited still images, frequently in a negative or solarized format, now being made into short moving videos.

Sculpture has always played a large role in my works and so it felt natural to combine it with my photographs. I aim to create eerie, uncomfortable atmospheres with my work by using these sculptural, human-like forms alongside my interest for light.

AMY [email protected]

AMI [email protected]

This work is highly influenced by the environments that surround me. As an artist I have always been inspired by nature, I grew up in the countryside and it always seems to be the main focus in my work.

This work is a reflection on the countryside and the busy town that I now live in. Making miniature houses out of bark and photographing them up close I began messing around with the scale and it brings another aspect to my work. It allows the viewer to view my work from another perspective.

07773081549

Page 8: Glyndwr University degree show 2012 booklet

My work shows everyday items which are disposable in a different light. Not just plastic bottles that were once used to contain liquid but when emptied are rendered useless. I want the viewer to look at the installations in a new light. My work is not pretty it is black, gritty, hard edged and confusing but thought provoking. I am trying to represent the anguish of our beginnings by using modern materials, which owe their existence to the organic living structures of the past as a cosmological explosion in origin. The ideal sculpture is a bomb that contains time.

ANGELA [email protected]

FIONA [email protected]

Within this work I have been looking at the feelings that I have towards the loss of my family home. When the house was sold I felt it as a form of grief and I have felt the need to hold on to objects that once dwelled within this house. These objects form the basis of sewn drawings that are being held within the image of my family home.

“I dream of a house, a low house with highWindows, three worn steps, smooth and greenA poor secret house, as in an old print,That only lives in me, where sometimes I returnTo sit down and forget the grey day and the rain”Andre Lafon, Posesies “Le reve d’un logis”, 1913

fionamacpherson.carbonmade.com

Page 9: Glyndwr University degree show 2012 booklet

My artwork is based on retreating into the mind; a place where we think and reflect upon both times of trouble and times of joy.

The sensory environment I have created within the structure has the ability to produce a safe haven for these thoughts to occur. The outside of the structure is an outward reflection of the personal journey that occurs on the inside; thus giving the viewer insight into the mind, albeit obscured by the deceptive bright colours anddisjointed patterns.

KATHRYN [email protected]

HANNAH MARIE [email protected]

“Were it not for shadows, there would be no beauty.”Junichirou Tanizaki, In Praise of Shadows.

Nature is central to my practice, with its comforting familiarity constantly changing to reveal new characteristics. My love of the organic is reflected in my work; exciting possibilities flourish from the simplicity of organic shadow.

Delicate paper work reflects the ephemeral qualities which the experience of shadow envelops. With illuminated paper forms, my aim is to provoke feelings of childlike awe and wonder; creating a space which encourages these emotions will recreate the feelings that I find so fascinating.

Page 10: Glyndwr University degree show 2012 booklet

“ ...My picture is my stage, men and women are my players, who by means of certain actions and gestures, are to exhibit a dumb show.” W. Hogarth

Theatre; a place of the highest folly, yet allows opportunity for raising contentious matters whilst masking them with a veneer of humour and wit. Concepts and elements within my work are intentionally recognizable to provoke questions concerning wealth, greed, hierarchy, exclusion and intentional ignorance within a ‘polite’ culture. Confronting how the poor are represented in society and reversibly how society responds in the face of poverty.

REBECCA ROBERTSbeckylroberts@hotmail.co.ukwww.rebeccalouiseroberts.carbonmade.com

AMY [email protected]

I am a multi-disciplinary artist and my specialisms are painting and drawing, my theoretical focuses are on science and art collaborations and aesthetics.

I have a fascination for nature but specifically the natural sciences, mainly microbiology, botany and taxonomy. This fascination with the natural world and the continually advancing sciences, allows me to draw from a variety of visual and theoretical resources to inspire me.

I explore the contrasts of art and the natural sciences, using drawing and painting as a key point of reference.

aeritchieart.tumblr.com

Page 11: Glyndwr University degree show 2012 booklet

“The invention of the camera changed the way men saw. The visible came to mean something different to them. This was immediately reflected in painting.” J. Berger

A camera by its nature is mechanical and only looks where it is pointed, whereas, the artist sees; seeing being a learned phenomenon that is dependent on experiences an individual has. As individuals we view the world in different ways. Our perception of what is in front of us is dependent upon our own learned experience of seeing what is visible.

My work exploits a distortion of what is visible and how it is perceived through both the mechanical intervention of photography and an intentional interaction with painted media.

NATHAN [email protected]

CLAIRE [email protected]

I came to Glyndwr University as a painter who enjoyed looking at Landscapes around the North Wales area. I started to investigate into 3D, artists that have really inspired me are Hamish Fulton and Lebbeus Woods due to their amazing map and line work.

I decided to make my work based on the interesting lines and shapes that Anglesey had to offer and due to me coming from Anglesey it had a special place in my heart. My work consists of maps made into 3D through using wire and interesting photos that I collected on a journey round Anglesey.

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Page 12: Glyndwr University degree show 2012 booklet

I’ve always been interested in ruins especially when they’re reclaimed by nature. They recall sentiment associated with romanticism. I try exploring this when making my photographs, creating a dreamlike quality which relates to the world around us, except exists outside of time. When viewing something and thinking about the history of a place or the folklore, the idea may interrupt what’s directly in front of you causing, however brief, an alteration. My photographs aim to disrupt the here and now allowing the viewer to experience history as fiction.

Ruination of the photograph mirrors the inability to remember what never was.

EILIDH [email protected]/eskilling82

KATE [email protected]

Exploring the possibilities within photography that go beyond the camera has always been an interest of mine and a focal point within my work. The concept behind my vision resided in my attempts to achieve a surreal representation of the truth, superseding that we may consider to perceive through our eyes, and so delivering something that is not artificial as such, but more so a vision of what we are seeing when emotion and personal perspective are taken into consideration. Within my work I present you with my own perspective and the point at which subjectivity meets reality.

www.katesheldon.com

Page 13: Glyndwr University degree show 2012 booklet

I look at marks made and residues left during the making of work, trying to establish whether or not these residues are as much a work of art as the piece which would usually be framed and exhibited.

The objects used to create the works are as significant as the works made.These objects covered in marks and residues have a character, a history, and a life of their own.

From exploring this idea I came across the question- Is the artist significant in the process? Could a machine do the same job?

These are questions explored in my work.

LAUREN [email protected]

ELIZABETH ANNE [email protected]

My work is a complex organisation of lines and forms, subtracting and adding, showing the construction and deconstruction of an object, creating a formal and spatial composition.

I remove portions of the object without losing its identity leaving a sense of the whole. The drawings represent a sequence of layers in time, where plotting the changing positions of identified points within an object are used to register the space.

Using explorative lines within a framework, I can analyse emerging patterns and relationships, making visual judgments of the line, shape and composition, analysing and synthesizing them into a single composition.

07950649648

Page 14: Glyndwr University degree show 2012 booklet

THANK YOUDr. Susan LiggettJohn McClenaghanDr. Tracy Piper-Wright

Caron AllmanJohn ArcherWayne ClarkStuart CunninghamBrian DuffyJean EmbertonDave GillSimon HallDavid JonesDavid KellyColin SalisburyKaren Tudor

Artwork by Hana Abbas and Victoria EllisDesign and photography by Nathan Sale

Page 15: Glyndwr University degree show 2012 booklet

P R I F Y S G O L

U N I V E R S I T Y