George’s work falls somewhere in between Comedy and Tragedy, emotionally raw and uncomfortably honest. Painting acts as an outlet of expression, a coping strategy and a way to define his own uniqueness. It provides him with an opportunity to share his personal experiences of life with the viewer.
Unfiltered text is painted and/or used as the work's title. This text exposes his most intimate experiences and thoughts and acts as if it were a secret diary – which most people would want hidden from the world. Yet George bares all to let people know, so that they can understand him and his situation.
Daniel creates sculptures which are a dismantlement of architectural space. Cross-sections of domestic buildings are re-imagined through an exploded view that uses a series of material layers. These forms are no longer structural, and instead, provide an analysis of their original environment through their material properties.
His process is meticulously driven by the manipulation of these raw forms into something dysfunctional, yet tangible. This combination of raw materials, found objects and mass-produced products provide an experience for the audience which propels them into a familiar domestic surrounding similar to the spaces that we inhabit.
Andrew's work primarily takes the form of mixed media paintings that are abstract in their nature. There is an overarching theme that focuses on humans and the actions that we take as humans, but as absences rather than presences, and through the traces left behind on ruined and damaged forms.
He explores the impact and processes of human thinking, either as an abstract conceptual space or through the lens of history, politics, philosophy, and literature. This thinking is represented by marks on textured surfaces, which are designed to evoke natural or constructed, virtual or actual landscapes.
Adrian creates large-scale watercolour paintings that address urban disjunction. Landscapes contain ambiguously competing forces: the built and natural environments, privilege and disadvantage, myth and reality, often within a cross-sectional cut which provides simultaneous views into adjacent but disparate spaces.
A formal use of watercolours, a medium with vocational and “picturesque” connotations reflects his attention to seemingly lowbrow or gritty subjects: the weathered architecture, graffiti and detritus. These works suggest a field study in which the subjects have been documented for research or nostalgic purposes.
Robert's practice is as an examination of the concept of place, how it is a constant ebb and flow of objects, people and histories that bounce around its boundaries, changing it and being the subject of change. Through different guises of making: painting, film, sculpture, photography, and writing, he engages in an act of world-building.
Environments get built up over time through the playful arrangement of materials and the building up of a language of forms. These forms take on roles within their spaces and highlight his view of the landscape as an areas of constant happening, complete with mundane events that inspire intrigue.
Eddie explores the contemporary human experience whilst simultaneously making an inquiry into Art. He elevates the fence panel, the rock, the living plant and pieces of sheet metal, metal tubing, coloured plastic and building material to the status of art object by placing them within the white walls of the art gallery.
A natural or mechanical weathering of materials over time helps to create an aesthetic quality similar to abstract paintings. When combined with elements of the natural environment, attention is drawn to those elements of the readymades which are often ignored, or unnoticed.
Opoku is a research artist, creator and speculative designer. He has a contemplative practice and spends much time thinking and investigating, before creating conceptual performances, audio recordings, and texts. He presents his output to the viewer as an experiential learning process.
Among other things, he is working on The Heterotopia Initiative, an artist residency program on the mountain of Pico Da Cruz, Cape Verde which will exist as a physical and theoretical space, provide opportunities for cultural exchange and connect the static geographic location of Pico Da Cruz to globally relevant ideas...
Jasmine's approach to painting is emotional and instinctive; she feels an urgency to make marks and respond to people and places in the context of a historical narrative. A fascination with rural landscapes, old settlements and past human stories lived informs her work. Within these curious paintings are lost figures and hidden characters moving through the undergrowth.
The imagery in her painting draws parallels and connects with the lived experience of contemporary and historical societies. Jasmine has a fascination with the moment by moment conversations and experiences that connect us and transcend time, particularly our emotional and spiritual existence and its connection with place.
Over the last few years, James has primarily worked with large scale cyanotype prints on linen which depict the narratives of the Artist Cowboy. Purposeful, yet humorous text gives the work a clear intention, whilst printed imagery, clothing, playing cards, and other objects provide the viewer with a visual interpretation.
These fictional scenes provide an insight into the thoughts and actions of Billy Childish and Vincent Van Gogh and explore the Artist and the Cowboy as examples of individuals with characteristics that lead them to make the choice of navigating a risky but potentially rewarding path through the wilderness.