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LUKE BARTLE.jpg

My studio practice is firmly rooted in psychology, allowing me to incorporate non-academic research to manipulate the various elements that have altered the way the work captures the essence of human behavior. I quickly realized that studying human values would lead me down the path of sociology, which investigates how societal collapse and societal values affects the human mind and mental health. The significance of unconscious processing is emphasized, allowing for a multi-level examination of theories of perception, memory, thought and language.

 

Using elements from Francis Bacon’s painting ‘Two Figures’ (1953) and Dayana Danger’s photograph ‘Gi Zhaa Goo Tha Mlk’ (2017), my work emphasises the recognition of human instincts, capturing a sense of interaction with humanity’s bestial nature while reflecting the subconscious conflict of personality traits.

 

It makes a significant difference in perception to see the work in person rather than on a screen. The composition and structure of the installation piece evokes a timeless quality and a dreamlike state, with moments of playful humour interspersed. Endoscopic features associated with examining the hollow organs of the body resulted in a fictitious image of bodily distortion, producing a surrealist caricature of the human anatomy. This creates a full glare of sharply contrasting effects, evoking Hypnagogia, a state of consciousness between being awake and asleep.

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I am a multi-media experimental artist i primarily use readily available materials such as masking tape, PVA glue, plastic, sharpie and paint, to create works of art that primarily explore themes of identity. I predominantly focus on my own identity but also identity in general. I am mainly exploring my own identity through my face and facial expressions. I work with identity because I think it is healthy to expose and explore your own identity. Because who you are changes from day to day it can sometimes be an uncomfortable process to peel back the layers of who you are to find something raw underneath.

My work appears to be abstract or figurative, but it is quite methodical in its creation, I typically work by listing steps that need to be completed in order for me to finish a piece. I would say that my work is clear and intriguing, and I aim to leave anyone who views my work satisfied and happy, I enjoy making aesthetically pleasing works of art. Although the themes and ideas are clear to me, I would rather people to draw their own conclusions and ideas as I prefer a free exchange of thoughts over just telling viewers what to think.

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I use collage playfully to manipulate found imagery discovered within vintage books, postcards and contemporary magazines as a way of comparing and exploring contemporary cultures and ancient societies. My practice deals with themes of historic artefacts, archiving imagery, contemporary fashion and the repetition of subject matter. Through my appreciation for ancient art and cultures, specifically Roman, Greek and Egyptian civilisations, I identify similarities in the way we perceive and present the human body within contemporary culture and in ancient times. Ancient history is often not written but portrayed visually, and while exploring ancient artefacts I play with the visual narratives of these civilisations often shown upon vases, within art and architecture. I have produced multiple series and standalone pieces as a way to demonstrate my exploration of these topics.

 

Archaeology has a strong influence on my practice, on the process of discovering imagery and piecing it together to create a composition. I see the imagery I use within my collages as archaeological discoveries, but unlike traditional archaeologists I piece them back together without being historically correct. Each collage retains original elements of the image’s integral form, which aims to entice the viewer to interrogate what they are looking at. This is evident within my series ‘Artefacts’ (2021), which uses the repetition of ancient Greek vases in a monochrome colour scheme as a way to create tension between the original object and the viewer. I do this by tricking the viewer that what they are seeing is the original, but on closer inspection they see the collage’s true form. The monochrome colour scheme is also made to look like old newspaper photographs, suggesting a historical mediation. Overall, the work acts as a visual narrative to present the past, the present and the merging of historical and contemporary societies.

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My passion for filming interactions and conversations amongst people, a process that is so readily available on smart phones, is inspired by the joy I find in taking Polaroids and looking into their narratives. I record on an iPhone and capture live Facetime conversations and pre-recorded Whatsapp audio, or I'll simply record a conversation happening in real time in front of me. I might instigate or aid a conversation by providing a theme, like asking certain individuals to discuss a particular photograph to reveal its significance to them, or as another strategy ask them to discuss their personal experiences of a journey or of travelling generally.

Using a broad range of topics has helped spark a range of reactions and relayed experiences that hopefully the audience can relate to. Most importantly, I wanted to offer the audience a chance to reflect on life before and after the Covid pandemic, and in that, a space to feel safe and hopeful. I want the viewer to watch my films on hand-held devices such as phones to keep it relevant to how we have been communicating with one another throughout the pandemic.

The direct nature and honest truthfulness revealed in Richard Billingham’s autobiographical family photographs inspired me to maintain and capitalise on the sense of normality within my work; to be proud of it. I wanted people to simply be themselves with me and to capture their character and integrity.

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I am a non binary transfem artist who specialises in written art, often in the form of poetry and truisms surrounding themes of gender, identity and sexuality as well as the less talked about aspects of being queer which are less palatable to mainstream queer thought such as the grey areas between identities and the anger and frustration that being lgbt often carries. I work with collage, both digitally and physically, the most, and occasionally employ the use of other techniques such as painting, monoprinting and photography.

 

My artwork comes with a message and is structured around this core of having something to say, be it bluntly or through metaphor. It’s often personal and autobiographical and through this ends up being relatable to my audience, the target audience being other queer people in similar positions to myself.

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I love sex. Masturbation. With a partner. With someone you’ve just met. Watching porn. Exploring sex toys. Being called a slag. Questioning yourself. Questioning your sexuality. Being open. Challenging taboos. Finding your clitoris. Loving yourself. Accepting yourself.

Being a strong sexual woman has and will always be at the forefront of my artistry, learning to accept my sexuality despite being called ‘too much’, ‘vulgar’, ‘disgusting, ‘a whore’.

Sex is political.

Being a woman who is vocal about sex, masturbation and pleasure is political.

My art is in your face, it’s vulgar, it’s dirty, it’s beautiful, it’s sensual, it’s offering all the things myself and many other women and gender non-conforming people have felt ashamed for and celebrating it instead, it’s allowing others to accept themselves, it’s rejecting gender bias.

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Memory. It can be a slippery mechanism, and we can rarely be certain of its accuracy. Our memories may also become blurred over time, and therefore our perception of the past may alter. As human beings we often take time to reflect and reminisce on moments that have passed, encountering various emotions such as regret, sorrow, hope and desire. My practice is not a form of documentation, instead it consists of a series of figurative drawings which have emerged from subjective depictions of moments that I have encountered in my past experiences. In a similar vein to the works of Tracey Emin and Fay Ballard, I aim to convey the emotional essence of my own experiences. However, there is a strange duality which lurks within my drawings, as they are both personal and ambiguous. The subjects that I draw are carefully considered beyond my own personal attachments, as I am aware each individual drawing within my series has the potential to evoke the memory of the viewer.

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I’m interested in temporality, illusion, the experiential, and the constantly changing and shifting nature of space. Using kinetic sculpture, installation, video, and instructional text, I interrogate how durational things have porous spatial boundaries, and how those boundaries interact with those of the participant and of the environment where both reside. Low-grade, cheap and accessible kinetic materials are spontaneously placed and activated. Systems of controlled and uncontrolled movement combine to create an illusion of unpredictable actions that seem arbitrary, allowing the participant to make their own connections of meaning.

In video work, I use green screen as a way of layering the recorded documentation of kinetic sculptures, producing an interaction where objects in physical space merge with moving image. Illusion is exposed when the effects of chroma key begin to deteriorate, when what seems to be an object moving across an expanse reveals itself to be an empty green. Mirage, 2021, investigates the void in the surface of the video created after chroma keying, using the movement of a reflective surface to further merge the object and moving image.

My Visible/Invisible Interior, 2021, anthropomorphises the conservatory I have been recently using as my studio, creating a fictionalised recollection of an event that happened nearly twenty years ago, when the room was infested by flying ants. The conservatory itself narrates a text, examining the history and personal experience of one of its corners, where a territorial battle between man and ant has, and continues, to ensue.

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I produce layered digital moving image works that depict young women, who have been animated or represented through avatars. I aim to subtly highlight notions of the absurdity of the internet and the imagery, text and juxtapositions it throws up. I respond directly to existing content on the internet, developing narratives about being transformed by my own online experiences. This is reflected in how I mimic the daily habits of users of social media by logging on and taking part in selfie culture. Several of my artworks involve animating the selfies I have produced - this process makes the young women seem autonomous, as they are breathing and mumbling, and also mimics other human gestures. Each piece has been through a range of processes: transferred, downloaded, uploaded, edited and filtered. My work involves the following operations: consuming images, screenshotting, planning the selfie and taking a photo, akin to current online popular culture. These mirror my own existing usage of social media. The work itself mimics our daily experience with the screen and the rituals we have subscribed to when using social media. Often my work is accompanied by a text-to-speech voice. Other works use avatars, which instead of human subjects, represent social media interaction and culture in a wider context. I investigate the consequences of a world in which the virtual and physical selves are interlaced.

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My animations depict everyday actions that we all do. Using a combination of different settings and themes, I portray activities that normally go unnoticed. My earliest animation, ‘Habitual Actions’, combines continuous line drawings to create a sequence that merges one activity into another in a condensed form, inviting the viewer to take notice of what stands out within our everyday: brushing our teeth, getting dressed or cooking meals. My linear drawings portray the continuous actions that we complete within our daily routines, emphasising the delicacy and beauty of simple actions that we all carry out. My animations allow the viewer to question what is going to happen next, as for a few moments we are left with uncertainty as to what is going to be displayed on the following scene. Not placing my animations in chronological order leaves the viewer able to recognise where the everyday does not follow a rigid timeline; it is subject to adaptation and change.

 

Normally, an individual’s everyday life is a combination of sequential events chosen to achieve certain goals. In compressing these into a short film, I enhance our everyday actions, which morph into one another. This makes us aware of the daily obligations we must maintain within society. My work seeks to offer a new perspective by displaying a step-by-step process acknowledging the disregarded movements one would usually partake in subconsciously.

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Chloe Francis is a singer-songwriter and filmmaker based between Nuneaton and Leeds. Reflections is an artist of the telematic realm. They are both me. One side of my practice has a focus on Chloe Francis and her lyrics, which are very personal and expressed through home-made videos and recordings in collaboration with many other artists and producers. These are brought together on the website HOME | Chloefrancismusic (wixsite.com).

Reflections on the other hand is a separate essence. Reflections holds an experimental side that taps into the telematic space – a space that makes use of telecommunications and information technology to distribute other performers between two or more locations, usually done through zoom calls in collaboration with other performers.

 

Reflections exists on Soundcloud and her website, HOME | My Site (wixsite.com).

In a group, via a screen or alone, the audio tracks are improvised collages of many different personas or characters that are formed inside the realm of Reflections. Within her music you will hear various voices, backwards loops, strange effects, field recordings and the use of other objects that would not be classed as instruments, mostly foil and metallic objects such as cutlery.

 

‘The alter ego is a mirror in all characters of life’ – Reflections

Chloe cannot exist without Reflections and vice versa. The works come from two completely different worlds, but they are the same person. The integrity of understanding what it means to become the authentic self and utilising a space where one can have two separate practices, one to express emotions and the other to express creative control and to be as experimental as possible, is crucial to my practice.

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I’m a Leeds-based conceptual artist who makes work primarily concerned with human phenomena. Over time, my work has explored a wide range of concepts that may not take a physical form: these include ideas of the self, perception, and consciousness in addition to the notion of universal communication and deconstruction. I primarily question overlooked everyday phenomena.

 

I’m constantly thinking and questioning my ‘self’ and the world around me. Therefore, the work I create highlights my thought processes and how I interpret reality. I have previously examined these concepts through utilising multiple mediums such as video, handwriting, and collage. The subject matter of each body of work determines the materials and forms that the work may take. Each project usually consists of a collective body of work; that utilises a range of different media.

 

Currently, my practice consists of blending handwriting with digital forms to create work that may seem inquisitive and sarcastic as it explores an analysis of semiotics, communication, and digitality. My work seeks to encourage discourse on the concepts that day-to-day life isolates.

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Leeds-based artist Sydney Gilbride has been practising multi-disciplinary art methods for the past several years. More recently, Sydney has focused her practice to create collaborative spaces for discussions surrounding activism and creativity.

Armed with a passion for connection, Sydney co-founded TITCHAT - an online platform dedicated to understanding the ways intersectionality influences our daily lives.

 

Influenced by the work of Professor Kimberle Williams-Crenshaw, TITCHAT was formed out of a desire to self-educate and discover more about Crenshaw’s teachings and how, as a white woman, she could do more to facilitate intersectional education for other white people. Inadvertently, through TITCHAT’s progression over time, the platform has turned to look at work more locally, bringing a focus on creatives within Leeds who have intersecting identities. Through local collaborations, TITCHAT has become a platform that is rooted in intersectional feminism but focuses on the impacts Crenshaw’s work has on creative identity within Leeds.

 

@thetitchat www.titchat.co.uk

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Growing up in rural Lancashire I often questioned why our society functions, why I was considered poor and how someone’s background ruins their potential. My background informs my art practice and I strive to humanise politics to help others better understand their own positions. I hope that through my projects, others can identify and think differently about austerity, social housing and how the class system has ruined communities.

 

My practice celebrates what it means to be in the grassroots and to have a community, as well as celebrating the lives of my family members whether they are still alive or have passed away. To help some people very close to me understand the strengths they have – but may not appreciate – I have created the music album ‘iGnorancE iS BliSS: a FAMiLY ALBuM’ to tell some of the stories from my perspective.

 

I released the album on 20th May 2021 across all formats, including vinyl, to ensure the highest possible levels of accessibility. It is a priority for me that anyone in the world can listen to this because whilst the issues are local, on a global stage it can highlight the class disparity that other countries may not see happen in Britain. But could also relate to class division in America. I hoped that my family stories would ensure struggling families felt the solidarity they need in order to function today. As Bernie Sanders, a life-long socialist, activist and US senator once said, “A nation will not survive morally or economically when so few have so much and so many have so little”.

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The work aims to address the physicality of the internet and the effects of its corporate landscape on the bodies it oppresses. Drawing upon Lauren Elkin’s Flaneuse (2016), a digital wandering may allow for the disruption of data recorded by Google and the negotiation of a space.

LAURIE HENDERSON

Laurie Henderson has work available to view in the publication.

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Employing staged and collaged frame-filled photographic landscapes comprised of flowers, food, insects and evident body parts, my practice explores ideas of mortality visually presented as an aesthetic spectrum of both the sensual and the repulsive. Working with digital photography I am endeavouring to beautify the abject. The work employs colour palettes that shift from the muted to the riotous and details the variety of textured surfaces that spans the exuberance and cessation of organic life.

The inclusion of opposing elements in the work creates anxiety and unease but also a startling desire to touch, smell and feel the objects within the frame. Decaying matter, strands of hair and waste alongside tropes of beauty that are presented in a manner commensurate with commercial advertising photography, serve in combination to invite, even tantalise yet unsettle an audience. The evident lush colourful enticing images first invite the audience’s gaze which is soon met with unsettling imagery. This duplicitous subterfuge hopefully entices the audience to inspect and interrogate the imagery further as they attempt to understand what it is they are seeing and responding to. Developing this approach encourages imagery that presents the grotesque sitting alongside the beautiful.

Working digitally with the imagery allows greater scope to manipulate images and create illusions that weren’t possible in the photography shoots. This creates imagery that is further disturbing yet visually beautiful as there is a need for the more comfortable, softer and ‘prettier’ aspects within the image to act as an antidote, for the audience, to oppose the contrasting, conflicting and more confronting elements that they were presented with. Overall, the work acts to visually invite and repel, entice and repulse, in equal measure, to be a visual feast and treat.

CAITLEN HUTCHINSON

Caitlen Hutchinson has work available to view in the publication.

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Rays of Me consists of a portrait in which my South Asian features are the focal point. With the thread forming a fingerprint like structure over my face & the rays extending outwards, it is an attempt to highlight the pride I take in my identity and culture.

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The jigsaw Inception Puzzle project.

To conclude my work for this year, I decided to be playful with the way I present it. My main practice is painting, and I wanted to find a unique way to exhibit my work.

Inspired by my teachers’ observations along with my favourite activity, I wanted to come out of my comfort zone when it comes to my art. I always tend to be a perfectionist and I decided to do the opposite.

My paintings are abstract paintings with other elements and various techniques, some are not even visible, they do not consist of realistic representational narrative, and the main purpose is to create your own individual narrative upon looking at the art.

My paintings are like pieces of a puzzle: each painting has its own paintings inside the painting; every inch and corner is different and like a painting of its own. Therefore, for this project I used black frames to hide or reveal pieces of each painting, sometimes not even revealing how the whole painting looks, so the audience can decide, like a story where you can decide the ending. Leaving it to the imagination and subconscious to finish or complete the paintings and put all the pieces together like a puzzle, each piece is its own painting, and all the pieces together create another bigger painting. You can place different pieces together and create a new painting or you can complete a painting with your imagination, or you can not complete a painting at all and have just a piece of the puzzle. Or you can add something new: it is a never-ending cycle of creation and freedom of art making and expression.

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A film about a boxer who cannot swim despite having a leisure centre named after him. After the opening ceremony, the dreams begin. The film combines elements of local history and childhood memories with appropriated footage from the television series 'The Man From Atlantis'.

COURTNEY MATHER

I do my art practices

I struggle to talk about my mental health

My art practices are quite closely linked to my mental health

I do my art practices that are quite closely linked to my mental health which I struggle to talk about

My art practices are quite closely linked to my mental health

I struggle to talk about my mental health

I do my art practices

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I want to take you somewhere you've never been.

You don't have to leave home.

You don't have to leave your seat.

Just listen. Just watch.

Follow a train of thought. Let it hold your hand. I'll be there waiting.

 

What happens when you imagine?

Perhaps instead of a thought, you piggyback a feeling. Surf its waves while you reminisce.

Either way, it is bound within the limits of what you’ve already perceived.

A dream is just a permutation of all of your pasts.

But there are things hidden away that you have not yet seen, not yet felt.

This is the uncharted territory within.

 

A sad nostalgia for a place you never knew.

The mourning of a future that was lost long ago.

Overwhelming fatigue from the burden of care.

But then;

A change in perspective, in all of its rarity.

The freedom of knowing you’re alone here.

Surrendering to time and feeling its stillness.

 

Understand this:

Memories are not remembered. They are invoked.

Through space, not time.

They are entwined with the present, a part of our ongoing current experience.

So when you come, bring them with you.

 

Seek out the spaces that hold your past. Are they real?

Perhaps they are dark or forgotten.

Under the stairs. Behind a chair. In the fridge. On the roof. Over the road.

Inside becomes outside.

Maybe they only exist in the corners of a wandering mind.

Outside becomes inside.

Do you see it yet?

 

Let's go for a walk.

REECE OXLEY

My practice has developed through a growing interest in Artificial Intelligence, concerning its potential, and possible repercussions. Marrying this with the concept of immortal life, this phenomenon remains unknown to humans as we cannot experience it, however my portrayal of this subject secretes the unimaginable eternal suffering through the regret of a desire so dangerous and unpredictable. The unquenchable lust for everlasting youth driven by the increased usability of Artificial Intelligence would be either our next step at forcing evolution among ourselves or humanity’s downfall caused by self-inflicted destruction. My perception of Artificial Intelligence expands beyond the mere robotic assistants as well as problem-solving machines that we have around today. I see them as humanity’s ticket toward reaching bigger goals beyond the little dirt planet we call Earth. It is up to us to decide our fate and what we do with the technological advances we create.

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As an artist-writer, a relatively new cultural form, I interrogate the world around us by transporting audiences into factitious and surreal spaces. Through often abrasive and oppressive writings, I hope to encourage people to observe their own environment in a different way, perhaps even being more appreciative of life—be that its beauty, its absurdity, its highs, its lows. My current work is a tool for my own discovery—I appear to be in search of meaning. As a result of this, I don’t think I will ever be able to exactly define what my practice is. Exploration will bring about new ways of using text in visual art. Investigating the spatial and socio-political character of an art space, and what it means for an artwork to exist both in and outside of one, has led me to think about the relationship between art and people. Within my own work people act as agents for mediating between two different spaces— the interplay between outside and inside is key here. The representation of spaces through written texts presented in a visual art context allows me to understand the world we live in using a spatial language. I want my work to ‘encapsulate’ the feeling of a space in a less literal, more conceptual way—to represent the physical un-physically. My work exists in an imagined contextual space, neither here nor there but in the minds of those reading it.

RHIANNON O'REILLY

A series of studies of the human hand in various poses, conveying different meaning and gestures and carrying out different tasks. My aim is to explore the way we express ourselves with our hands both consciously and subconsciously and what our hands reveal about who we are.

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Other than reading this, what are you doing? Don’t worry, it’s not a rhetorical or metaphorical question on how impressively or badly your life is going. It’s just a question on what’s happening around you at this exact moment.

For me, when you read this, I’ll most likely be ordering a takeaway or trying to convince myself to do some exercise… and then ordering one anyway. For me now, I’m currently typing these exact words out onto my laptop while being scared shitless because I’ve moved into a new flat which looks and feels haunted (I don’t want to say it out loud in case the ghosts hear me, I

hope they can’t read). To my right a second ago there was a muffled bang (I assume, and hope, it was the extractor fan cover falling from the bathroom ceiling… again). And to my left I can hear birds, I think they’re sparrows but to be honest I’m probably pulling that out my arse.

I ask you this because my work revolves around the here and now. I look at random, unpredictable interactions taking place on live public broadcasting channels. I reflect upon how Covid enabled me to become less of a Fasian* by helping me not feel chilli heat since it fucked up my taste (along with other things but we move on). I also consider how being mixed race alters how I look at situations and my need to clearly categorise everything just for some sense of comfort and belonging.

So, what are you doing?

 

*Fasian – Fake Asian

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A Manifesto

 

What Can We Do to Help with Climate Change?

 

  • Use natural energy such as solar, wind, hydro, tidal, geothermal and biomass energy OR limit your energy and gas use by not using electricity and gas when you do not particularly need to – such as leaving on lights and plugs.

  • Buy clothes from independent stores such as charity shops rather than buying into the big brands fashion industry where a lot of their clothes are made in developing countries such as Indonesian factories which throw their chemical waste into the Citarum river. You can also re-cycle your clothes by making donations to charity shops or donation bins, so they do not end up in landfill.

  • Try and cut down on the number of products that use plastic, such as food wrapping, instead head down to your local fruit and veg shop where they use paper bags instead.

  • Dispose of your rubbish correctly by putting them in the right bins, i.e., recycle recyclable products and do not illegally fly tip.

  • Instead of using transport such as buses or cars to get to work or university, walk or bike if you can.

  • Agriculture is one of the biggest environmental pollutants in the world which contributes to greenhouse gases and destroy forests. Try and limit your meat and dairy intake.

  • When you can, buy more eco-friendly products that do not contain harsh chemicals that may be going down your sink drains, for example. Examples include the Ecover brand and bamboo toothbrushes.

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I am a visual artist that creates works using the mundane. I take something ordinary, but also extraordinary – like dust – and push it as a subject to its absolute maximum, through film and photography. I look for hidden qualities to enhance in order to extract new relationships between the ‘ordinary’ world and the ethereal.

In doing so photographically, I create manipulated environments in which ordinary home-made crafted objects sit within alternative spaces. I allow physical objects to bridge a gap between humanity and the unknown.

In doing so, I explore voids and spaces and places between the digital and physical. For me, this is a form of escapism, of slipping into narrow gaps between clearly defined phenomena, and this boundless utopia or dystopia (depending on how you see it) is a continuous journey with multiple beginnings and endings. As Ilya Kabakov comments in ‘The place of projects’ (1995-98), ‘at first you begin to drown in the gigantic sea’.

This ‘place’ that I describe is interchangeable, inhibiting the material and intangible. I pull inspiration from physical objects, film, sound and other mediums in human culture. The advantage of exploring a digital space is commented on by Catherine Bernard in ‘Bodies and Digital Utopia’ (2000), as ‘a space of great equality’. If then the idea that the digital is full of opportunities is true then the depth of this ocean is larger than my original thought.

 

I use mirrors, lights and reflections like a magician and imbue each film or photograph with enormous abstract ideas. For example, I say the work is about ‘everywhere’ but in doing so, set up an immediate conundrum of impossibility. I set my own artworks a-sail like rafts in endless seas.

 

Drifting away

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My work is an exploration of urban spaces. I then manipulate the colours of each documented space to create dreamlike images. These are juxtaposed with bleak and strange audio to create a cinematic piece for the audience to immerse themselves and lose themselves within.

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My recent work is the result of me deciding to stop second-guessing or conforming to any specific genre. This enabled me to explore and experiment with ideas and approaches without any self-constraint or presupposition, to follow my own imaginative meanderings. My work as imaginative campaigns and ventures from initial sketches to collages, models and films infer the mystical, extra-terrestrial, magical and fantastical, as a blend of possibility. These are the ambitions in the work that offer new perspectives, alternate readings, and new worlds.

Admittedly no-one can see what is in my head, but I feel compelled to realise and share it. The images that my brain conjures up reflect the eclectic changing territory of the image-saturated society that surrounds us, comprised of offered futures, sci-fi films, comics, webpages, and cartoons.

This all offers a version of a hopefully brighter, more expansive, informed and ‘knowing’ future. My work is a means for me to explore and chart my imaginative thoughts and operates as a visual journal of my own often multifaceted thoughts. Each person viewing my work will see it differently, there is no single interpretation as it will inevitably make connections to their own experiences and thoughts. I want to revel in the possibility of things, to accept difference and celebrate the illogical as a claim for wonder to act as an antidote to the deafening grey path and droning sound of normality. My work is an offer to suspend disbelief and enjoy, if not marvel, at the possibility of things.

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They shout, and they leer.

 

They whistle while they steer,

 

I feel eyes all over me, they sting.

 

Why does being in a car give them the audacity,

 

why can’t they just pass without stopping to harass.

 

A day in the life of a woman.

 

I want this day to end.

 

 

I use my voice as an artist to raise awareness of the issues women face in society on a daily basis such as objectification, harassment and sexism and educate those who choose ignorance. I feel that my work lies somewhere between art and activism, and regardless of whether my art makes a large impact or a small one it is my duty to speak up.

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My practice negotiates an immersive creative space free from the limiting constraints of daily life. It's when I can relax and explore the creative possibilities through the emotionally relaxing and active practice of weaving.

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Virtual identity is an ongoing series of prints, made to explore aspects of social media, and question the way we choose to express ourselves online.

I'd describe my practice as process-led, as I often make work and question what I have created afterwards. I particularly enjoy working in layers, to add depth and texture to my prints. Perhaps this adds a ‘filter’ or ‘effect’ that we are familiar with on our social media platforms such as Instagram, Facebook and Snapchat to name a few. This generation has become selfie-obsessed, and taking images today has never been more accessible, with most people having cameras on their smartphones; and uploading images online is almost instant.

With features like filters and likes, this blurs the line between reality and our online identity. One may argue that there is a pressure to conform to online trends, and influencers may represent a false idea of what is real life, posting staged images that create a fantasy lifestyle and promote consumerism. In today’s 21st century, we can become whoever we want to be online, and our lives can be as public or private as we choose.

I would like to delve into virtual identity and one’s online persona, looking at the unrealistic expectations of society, and question what we perceive to be aesthetic.

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My practice looks at our over-reliance on technology as a human race, specifically in historical technology that uses binary code. Binary first developed from the invention of the Jacquard Loom. This machine was able to read binary as action or no action, a big influence on future technologies in production which also adopted the help of binary to replace the need for human interaction in the assembly line and would in turn reduce manual labour costs. The introduction of machines capable of manual work means that new workers are only a singular part of the production line. This leads to deskilling in the workplace, a theory found in Karl Marx’s ‘Das Kapital’. I look at evolving workforces and the resulting products brought about by the introduction of automation into factories.

 

My work combats the modern-day pace of living by making sure to slow down, as weaving is a practice that takes time when not aided by machinery. It is important to my work that it involves the process of weaving from start to finish, including the preparation of wool.