INFOCUS EXQUISITE CORPSE RELAY WITH UNIT 3 PROJECTS

SPECIAL INSPIRATIONINTERIOR GUIDE

ISSUE 03 APRIL

INVESTMENT TIPS ARTISTS TO WATCH

NEW ART amp ARTISTS

RESIDENCIES EXPLORED

COPYRIGHT copy DegreeArt2013

Edited and Designed by Chantelle May Purcell

CONTRIBUTORSElinor Olisa

Isobel BeauchampAnneka Soobhany

Phil DavisSophia MoseleyUnit 3 Projects

Kate McDermottMichaela Manning

Hannah ShakirNorman Miller

CO

VER

TO

TEM

S VI

I B

y N

atal

ie T

kach

uck

201

2 P

hoto

grap

hy 1

016

x 7

62

x 0

7 cm

pound1

900

00 |

CO

NTE

NTS

PAG

E E

MIL

Y by

Nic

k Lo

rd 2

013

Pai

ntin

g 8

0 x

100

x 5

cm pound

300

000

COPYRIGHT copy DegreeArt2013

Edited and Designed by Chantelle May Purcell

CONTRIBUTORSElinor Olisa

Isobel BeauchampAnneka Soobhany

Phil DavisSophia MoseleyUnit 3 Projects

Kate McDermottMichaela Manning

Hannah ShakirNorman Miller

CO

VER

TO

TEM

S VI

I B

y N

atal

ie T

kach

uck

201

2 P

hoto

grap

hy 1

016

x 7

62

x 0

7 cm

pound1

900

00 |

CO

NTE

NTS

PAG

E E

MIL

Y by

Nic

k Lo

rd 2

013

Pai

ntin

g 8

0 x

100

x 5

cm pound

300

000

NEWSWhatrsquos On lsquoUnit 3 Projects In All Directionsrsquo exhibition Whatrsquos On for the YearUpcoming Residency Maria KjartansSignature Art Prize is Now OpenLatest OffersExciting Nick Lord Collaboration

INTERIOR GUIDEIn this issue we bring you a special interior guide drawing inspiration from the latest design and colour trends

THE TRIBEWe reveal Sophie Derrickrsquos tribe members completed throughout her residency at DegreeArt

INFOCUSChantelle Purcell interviews Sophie Derrick to out about her residencyWriter Sophia Moseley interviewsillustrator Carrie MayInterview with Unit 3 Projects

CONTENTSUNIT 3 PROJECTSAvailable worksWatch Learn amp Be InspiredExquisite Corpse Relay Delve into this special section where we ask Unit 3 Projects to respond to the word lsquoGesturersquo

NEW ART We welcome the artists and see the latest new art works selected by Anneka Soobhany

CURATED Writer Norman Miller selects artworks

ARTIST INSIGHTPhil Davisrsquos exploration of Sant Atoni Festival

COLLECTING ARTElinor Olisa featured in the Money Maker

ARTISTS TO WATCHIsobel Beauchamp picks three collectableartists within her section lsquoOnes To Watchrsquo

DegreeART NEWS

EXHIBITING ARTISTS

ABIGAIL MCDOUGALLANNA ROTHWELLCARRIE MAYDAVID CHARLES WILLIAMSDAVID RIDLEYKATE MARSHALLLAURA IOSIFESCULAURA HUNTLEE HERRINGLOUISE MCNAUGHTNICK LORDPAZ PERLMANRAMZI MUSAREBECCA MOLLOYSOPHIE DERRICKWENDY HYDE

DEGREEARTSTAND C6BRISTOL AAF 26-28 APRIL 2013

DegreeART NEWS

EXHIBITING ARTISTS

ABIGAIL MCDOUGALLANNA ROTHWELLCARRIE MAYDAVID CHARLES WILLIAMSDAVID RIDLEYKATE MARSHALLLAURA IOSIFESCULAURA HUNTLEE HERRINGLOUISE MCNAUGHTNICK LORDPAZ PERLMANRAMZI MUSAREBECCA MOLLOYSOPHIE DERRICKWENDY HYDE

DEGREEARTSTAND C6BRISTOL AAF 26-28 APRIL 2013

EXHIBITING ARTISTS

ABIGAIL MCDOUGALLANNA ROTHWELLCARRIE MAYDAVID CHARLES WILLIAMSDAVID RIDLEYKATE MARSHALLLAURA IOSIFESCULAURA HUNTLEE HERRINGLOUISE MCNAUGHTNICK LORDPAZ PERLMANRAMZI MUSAREBECCA MOLLOYSOPHIE DERRICKWENDY HYDE

DEGREEARTSTAND C6BRISTOL AAF 26-28 APRIL 2013

DegreeART NEWS

UNIT 3 PROJECTSEXHIBITIONIN ALL DIRECTIONS10 diverse artists from Unit 3 Projects have been working with beside around and against one another in DegreeArtrsquos lsquoThe Execution Roomrsquo in order to engage themselves and you in an experimental and haphazard creative conversation Taking lsquogesturersquo as its central theme In All Directions is a celebration of possibility exchange and risk

EXHIBITION RUNS UNTIL MAY 5TH 2013

Flavius Alagrius John Appleton Abigail Box Henry Byrne Pamela Carr Jennifer Farmer Silvia Krupinska Hormazd Narielwalla Samuel Overington and LuisIgnacio Rodriguez will use their DegreeArt residency to explore whether what happens in the margins and on the periphery can be just as bold and just as extraordinary In All Directions celebrates that there is no one way of working and that inspiration

ecruos ylekilnu tsom eht morf emoc nacThe artists of Unit 3 Projects will either collaborate or collide they might even achieve both While the artistsrsquo individual practices cover mediums such as painting video installa-tion performative drawing and interactive audio the work to be created during In All

the artists to rise to the challenge of trust- krow eht dna sevlesmeht rehto hcae gni

Collaboration Collision In all directions

DegreeART NEWS

MARIA KJARTANSSPIRITUAL LANDSCAPES13TH MAYndash 16TH JUNE 2013

First Thursdays 6th June 6pm - 9pm Artist Talk amplsquoWe Are The Weatherrsquo film premiere23rd May 6pm - 9pm

LOUISE MCNAUGHTSUPERNATURAL17TH JUNE ndash 28TH JULY 2013

First Thursdays 4th July 2013 6pm - 9pm Artist Talk 25th July 6pm - 8pm

ANNUAL PROGRAMME 2013 UNIT 3 PROJECTSIN ALL DIRECTIONS24TH JUNE ndash 5TH MAY 2013

First Thursdays 4th April 2nd May 6pm - 9pm Pecka Kucha Talk 23rd April 6pm - 8pm10 diverse artists from Unit 3 Projects will work with beside around and against one another in DegreeArtrsquos lsquoThe Execution Roomrsquo Taking gesture as its central theme In All Directions is a celebration of possibility exchange and risk

ANNUAL PROGRAMME 2013

ELLIE YOUNGIN RESIDENCE10TH - 24TH SEPTEMBER 2013

10TH ANNIVERSARY1ST ndash 26TH OCTOBER 2013

First Thursdays 3rd October 2013 6pm - 9pmTo mark their 10th anniversary DegreeArt celebrates with a retrospective exhibition

LAURA FISHMANIN RESIDENCE28TH OCTOBER ndash 16TH DECEMBER 2013

First Thursdays 7th November 5th December6pm - 9pm

REPRE IN RESIDENCE29TH JULY ndash 9TH SEPTEMBER 2013

First Thursdays 1st August 5th September 6pm - 9pmRepre are a group of nine artists that share a common vision to capture and depict reality From the body to the landscape each artist is concerned with not only depicting the real but exploring the boundaries of realism within their practice

MARIA KJARTANS

SPIRITUAL LANDSCAPES

WATER FORMS by Maria Kjartans 2012 Photography 50 x 70 x 0 cmpound55000

DegreeART NEWS

UPCOMING RESIDENCY

MARIA KJARTANS

DegreeArt are proud to announce Maria Kjartanrsquos artist residency lsquoSpiritual Landscapesrsquo Icelandic born artist Maria graduated with a MFA from Glasgow School of Art in 2007 Since then Maria has exhibited internationally working from London Paris Greenland Granada and Reykjavik lsquoSpiritual Landscapesrsquo connects the audience directly with the feral aspects of human nature instinct passion and curiosity of places that we interact with physically and spiritually

As much an explorer as a photographer Mariarsquos fascination and obsession with life cycles and events across cultures dominates the subject matter of her pieces and drives her to visit often remote and unusual locations

For this residency Maria focuses on Icelandic nature shot in various locations across summer amp winter offering the viewer a window onto the limit-less and eternal spaces The results are bewitching

insights and stories that present the viewer with a

takes you on a journey across these vast terrains

reality as it is lived is magic I suppose my curiosity amp passion for new places and experiences is what takes me out to explore I am a traveller To get out there and be a part of our world makes me feel alive It is never a solitary journey when you are collaborating with the sunrdquo Maria Kjartans

Throughout the residency Kjartans will collaboratewith Icelandic musician Biggi Hilmars and multi-media artist Harpa Einarsdottir transformingthe gallery into a vibrant and eclectic placethat will bring together the distinctive haunting and provocative music stylings of Biggi Hilmars and Harpa Einarsdottirrsquos intricate illustrations and patterns to create new and exciting mixed media works that will engulf the space

WHEN 13th May - 16th June 2013 daily 12-6 pmFirst Thursdays 6th June 2013 6-9pmLive Music Performance by Biggi Hilmars amp Film PremiereThursday 23rd May Artist Talk amp ldquoWe Are The Weatherrdquo - Film Premiere

MARIacuteA KJARTANSIcelandic born artist Mariacutea Kjartans graduated

SPIRITUAL LANDSCAPESldquoIcelandic nature is a surprising and exciting place Anything can happenrdquo

captivating sense of discovery and reflection that

with her MFA from Glasgow school of Art in 2007 Since then she has been living and working in London Paris and now most recently Reykjavik exhibiting her photography and video art all around the world Alongside being an artist and a director Mariacutea work as a co-founder and an artistic director of Vinnslan in Reykjaviacutek Mariacutea was rewarded Signature Art Award in London 2011 and the IdeasTap Magnum Photographic awards for her photography projects and most recently nominated for best Icelandic short

doing visual art Mariacutea collaborates with theatres performers and musicians in UK France Iceland and Spain

HARPA EINARSDOTTIR(Ziska) was born in Borgarnes Iceland 1976 As a child she had a fertile imagination and could get lost in her own world in the magical nature surrounding her Harpas childhood was an adventure and it has

After graduation from the Iceland University of art and design she had numerous creative jobs one was working as a character creator at CCP games After drawing for three years Harpas skills grew and made her want to dive back into her own world of creation now focusing on art project Ziska Zun along with other explorations True creativity arises from a union with the divine with the mystical and the unknowable

ldquoMysticism magic earth creatures love and balance There has to be evil so there can be good Accept your

them trim their claws and braid their tailrdquo This is how Harpa Einarsdottir describes her work in general She has passion for the Icelandic myths symbolism and magic She likes to combine her designs with her art and one of her strengths in fashion is her ability to create amazing prints for the fabrics in her collections Harpa also worked as a costume designer and stylist after she gradu-ated at Iceland School of Art and Design along

BIGGI HILMARSBlending classical electronic ambient avant-

developed a distinctive haunting provocative original music style which is why he is now one

and television Icelandic by birth International by nature he has lived in London Paris New York Los Angeles and Reykjavik He has enjoyed chart success and notoriety as part of the Iceland Invasion with power indie rockers Ampop and is now embarking on a solo career alongside his

include the full feature film lsquoBrash Young Turksrsquo Ash and Naeem Mahmood brothers Ridley Scottlsquos lsquoLife in A Dayrsquomovie trailer and Motorolas Xoom Android Tablet US Super Bowl ad spot

Follow us DegreeArt SpritualLandscapes DAresidency

LAND by Maria Kjartans 2011 Photography 70 x 100 x 0 cmpound95000

DegreeART NEWS

DegreeArtcomrsquos Signature Art Prize returns for its 6th year to seek out the lsquosignature stylersquo of emerging artists A one of a kind international art prize open only to students amp recent graduates the Signature Art Prize was founded to encourage discover amp promote the signature style of the art-ists of tomorrow

Artists are invited to apply by entering ONE piece into ONE of the following categories

PAINTING ndash PHOTOGRAPHY ndash SCULPTURE ndash DRAWING ndash PRINTMAKING

Semi Finalists 10 per category will be exhibited at our Prize Gala evening at which the Winners of each category will be announced

THE PRIZES

Category Winners will each receive pound1000 cash prizeA commission at the sponsorrsquos discretion to be agreed between DegreeArtcom and the artistGuaranteed representation with DegreeArtGifts from our sponsorsInclusion in 1 month exhibition at DegreeArtrsquos Execution Room March 2014

PEOPLESrsquo CHOICE AWARD 2013

In addition to the judging process there are 4 further opportunities to win a cash prize of pound250 amp participate in the Gala as all entrants are entered into the Peoplesrsquo Choice Award which invites your friends family amp the public to vote on their favou-rite entry of the past two months THE JUDGING PROCESS

The Judges are seeking to nominate artists who enter a piece of artwork that makes a statement It is important that you can explain why your entry is a lsquoSignaturersquo style or piece ~Please provide further images that show your work hung in situ or from different angles

They will be looking for work that is not only visu-ally powerful but conceptually sound amp compre-hensible You must consider your presentation

SIGNATURE ART PRIZE NOW OPEN FOR ENTRIES

both online amp offline ensuring that if selected as a Semi ndash Finalist or Peoplesrsquo Choice Award winner that the work can be exhibited

Remember that your entry should you choose for it to be so will be for sale on the DegreeArt website Last year over half of the Semi Finalistsrsquo work were purchased amp added to DegreeArtrsquos clientsrsquo collections

All entries are reviewed by our esteemed panel of industry judges amp shortlisted artists will be se-lected to exhibit at the Central London Gala award night followed by an extended one-month exhibi-tion at DegreeArts Execution Room in the cultural hub of Vyner St East London

OUR PREVIOUS JUDGES

Amira Hashish- Assistant Arts Editor of The Eve-ning Standard Chris Hitchcock - Art Director The Times Magazine Chris Pensa- OwnerFounder APPLY NOW

of Love Art London Emmanuel Balogun Market-ing Assistant Haunch of Vension Fiona Barratt Founder of Fiona Barratt Interiors Harry Hardie - Luxx Magazine The Times Jennifer Francis Head of Press amp Marketing Royal Academy of Arts Jordan Ambler Manager Cowling amp Wilcox Ma-rissa Cox- Online Arts Editor for Art Wednesday Mark Westall- Creative Director of Fad website Nick Galvin - Archive Director of Magnum Rachel Rogers - AOP Gallery manager

HOW TO APPLY

The prize opens for entries on April the 15th amp will close 30th November 2013Please ensure you READ FULLY the Term amp Con-ditions of entry

All entries are made through the Prize website

DegreeART NEWS

SPECIAL OFFERSDegreeArt offers you the option to purchase artwork using our finance scheme

You can apply for as little as pound100 or as much as pound2000 for the purchase of original works of art by living artists in any media in-cluding paintings sculpture photography ceramics glassware and artist made jewellery and furniture

Loans are repayable in 10 monthly instalments completely in-terest free ndash so yoursquoll never be paying more than the advertised price

Terms and Conditions0 APR Representative The credit advertised on this website is provided by one credit provider with whom we have a commercial relationship

Offer subject to age and status Terms and conditions apply

SPREAD THE COST

0

NEWART2013pound15 OFF

SPRING CLEAN NEW ART pound1500 OFF

To welcome all new DegreeArt collectors we are offering you a pound1500 Art Voucher

GET THE DEAL

Simply enter NEWART2013 In the Coupon Code box to receive your discount when checking out with purchases over pound5000

Please note that the pound1500 discount will be applied to your order total once you have com-pleted checkout

Terms and ConditionsOffer expires Sunday 5th May 2013

Valid on all purchases over pound5000 excluding Postage and Packaging

Only one voucher can be used per purchase

CANrsquoT DECIDE ON THE PERFECT GIFTGIFT VOUCHERS AVAILABLE

GIVE THE GIFT OF ART WITH OUR ART GIFT VOUCHERS

Our gift vouchers make for the perfect gift for an art enthusiast

These can be redeemed on any product of the same or lesser value than your voucher for sale on the DegreeArtcom website The vouchers are available in various amounts ranging from pound25 to pound500 And can be sent direct to the recipient as an online voucher or for something more special a gift certificate can be posted encased within a frame

DegreeART NEWS

DEGREEART ARTIST NICK LORDCOLLABORATES WITH PHOTOGRAPHER SCOTT COLE

Nick Lord graduated in 2011 from Kingston University with a BA in fine Arts Nick a portrait painter explores the possibilities of paint work-ing from iconic figures in the media to create meaningful works that install within the viewer a sense of familiarity He has painted portriaits of Amy Winehouse Maggie Thatcher Sir Chris Hoy Mark Cavendish Queen Elizabeth II Always

looking for ways to reinvent himself as a painter Scott Cole is one of the leading photographers in the alternative modelling scene specialising in photographing tattooed models They come to-gether in an exciting collaboration that will see painting and phtoography come together to explore the human form

We get the inside scoop into his collaboration with Scott Cole and what he envisages from the union

ldquoWe both discussed the idea and the possibility of combining our practises and working with each other We both have a fascination with the human

NICK LORD COLLABORATESWITH SCOTT COLE

LB by Nick Lord 2013 Acrylic Spray Paint Ink Emusion Oil Pastel on Canvas 90 x 120 x 5 cm pound395000

DegreeART NEWS

BUBBLES by Nick Lord2013 Painting 80 x 100 x 5 cmpound350000

EMILY by Nick Lord2013 Painting 80 x 100 x 5 cmpound300000

form and the figure which we both want to ex-plore in different and exciting ways We thought that lsquoThe Collaborationrsquo could be the perfect solu-tion for us to develop our creativity and profession

The Collaboration is going to be a series of work focusing on tattooed and alternative models Itrsquos been inspired by traditional compositions that wersquoll be bringing up to date with exciting new models and imagery We are both interested in the contrast of ink on skin and the effect that has on the subject and perception of the image

Theyrsquore going to be exciting and vibrate images yet subtle and beautiful Wersquore playing with the question of what would the old masters paint nowadays Itrsquos going to be an exciting experience and experimentrdquo

WHITE FIRE 2012 Acrylic Emulsion Wood Stain Oil Pastel on Canvas 55 x 75 x 4 cm pound250000

INSPRIATION FOR YOUR HOME

INTERIOR GUIDE

SHALLOW DIVE by Jill Lliffe 2012 Painting76 x 50 x 4 cmpound90000

NAUTICAL

FISH amp CHIPS by Mengsel 2011 Silkscreen Print595 x 42 x 01 cm pound7500

BLUE LAGOON by David Ridley 2012 Painting76 x 102 x 4cm pound85000

SHALLOW DIVE by Jill Lliffe 2012 Painting76 x 50 x 4 cmpound90000

NAUTICAL

FISH amp CHIPS by Mengsel 2011 Silkscreen Print595 x 42 x 01 cm pound7500

BLUE LAGOON by David Ridley 2012 Painting76 x 102 x 4cm pound85000

BEAUTY CONTEST BLUE by Jill Lliffe 2012 Painting42 x 30 cm pound13500

SEA 58N 4W by Paddy Sutton 2006 Lambda print Ed of 20 100 x 100 cm pound88000

LOST BRITON 2 by Will Nixon 2009 Lambda print 54 x 54 cm pound42500

SCILLY BOAT SHED by Christine Bradshaw 2010 Painting 20 x 20 x 4 cm pound20000

ULTRAMARINE BLUE amp VENETIAN RED by Wendy Hyde 2012 Painting90x 90x 37 cm pound89500

FAMOUS FACES1

23

4

5

1 MARILYN by Michael English Painting 72 x 60 x 3 cmpound87500

2 BARONESS THATCHER by Carolina PiteiraPainting 123 x 90 x 2 cm pound400000

3 NO 1 by Anika Manuel Painting 32 x 22 x 1 cm pound27500

4 AUDREY II by Bobby PatmoreWoodcut Chine-colle Print 52 x 42 x 35 cmpound26000

5 TWIGGY by Dan Pearce Painting on Steel canvas 100 x 80 x 4 cm pound65000

6 MARK CAVENDISH by Nick LordPainting 150 x 150 x 4 cm pound700000

7 I AM THE IDEAL by Anika Manuel Painting 24 x 20 x 1 cm pound27500

8 CARRY ON SMILING by Anika Manuel Painting 41 x 31 x 2 cm pound45000

9 KARL amp CAMELLIAS by Mira BirkinovitchPainting 100x 100 cm pound150000

67

8

9

|| GRAPHIC LINES |||

1

2

3

1 HIBERNAL by Elizabeth PictonLimited Edition Print 35 x 35 cmpound10000

2 DIAMONDS amp RUST 2 by Kostas GeorgiouPainting 100 x 50 x 4 cm pound85000

3 PIXELS PAUSED 6 by Caroline Hall Painting 42 x 57 x 03 cm pound85000

4 VERTICAL COLOUR by Molly BehaggPainting 122 x 22 x 2 cmpound135000

5 UNTITLED 5 (Dark Yellow Light Yellow) by Bryan Lavelle Painting 76 x 76 x 2 cm pound100000

6 CAMBERWELL by Duncan BrannanPainting 77 x 77 x 4 cm pound210000

4

5

6

DegreeART inFOCUS

MONOCHROMES

1

2

3

4

5

6

7

8

1 BABY RAT SPHERE 8 by Hannah Biscombe 2010 Photography 37 x 37 x 5 cmpound13800

2 ISSHONI JUSAN by Yuki Aruga2012 Limited Edition Print 135 x 135 x 1 cmpound7500

3STAGES OF SHAVING by Phil M Davis2010 Painting 35 x 25 x 2 cmpound100000

4 IF YOU KEEP PRAYING YOUR KNEES NEVER WILL HEAL by Alan Harding 2010 Painting1 x 51 x 41 cmpound35000

5 THE WILD ONES 7 by Nadja McDevitt2011 Photography 35 x 28 x 2 cmpound62000

6HONG KONG CAGE 58 by Fran Giffard2011 Drawing 83 x 63 x 4 cmpound71000

7 THE SPACE BETWEEN US by Kirsty OrsquoLeary-Leeson 2013 Drawing 32 x 60 x 1 cmpound100000

8 WHEN PEOPLE ASK ME WHAT I DO I TELL THEM I MAKE SCULPTURES by Rebecca Wright2008 Sculpture 93 x 34 x 5 cmpound100000

METALLIC IRRIDESCANTS

EacuteTUDE OP19 by Subash Thebe 2012 Painting53 x 63 x 3 cm pound99900

BY THE TIME WEVE MADE IT WEVE HAD ITby Alice Woods 2012 Sculpture 12 x 12 x 25 cmpound200000

I WANT TO LIVE IN A WORLD WHERE A CHICKEN CAN CROSS THE ROAD WITHOUT ITS MOTIVES BEING QUESTIONEDby Alice Woods 2012Installation 80 x 100 x 4 cmpound50000

WOODEN ICON - SONG BIRDby Louise McNaught2013 Painting 16 x 23 x 1 cmpound24500

COPPER CRINKLE BANGLE by Alexandra Parkinson Jeweller amp Silversmith 2012Sculpture 10 x 12 x 8 cmpound11000

I WANT TO LIVE IN A WORLD WHERE A CHICKEN CAN CROSS THE ROAD WITHOUT ITS MOTIVES BEING QUESTIONEDby Alice Woods 2012Installation 80 x 100 x 4 cmpound50000

PEST UNLIMITED by Catriona Faulkner2011 Painting 25 x 25 x 45 cmpound110000

GOLDEN GIRL by Ramzi MusaPainting 150 x 120 x 3 cmpound120000

IM NOT GOING TO THINK OF ANYTHING SUPERFLUOUS by Hans K Clausen2012 Sculpture 15 x 38 x 21 cmpound282800

DegreeART inFOCUS

JOIN THECLUB

DegreeArtcom presents the Collectors Club founded to support

promising emerging artists by enabling their work to be accessible to a new and

wider audience

The Collectorrsquos Club provides unique priveledges and tools to enable members

to understand buy collect and own contemporary graduate art

Collector Club Membership starts from pound500 per annum

Debut Membership Event 23rd May 6-9pm 12a Vyner Street London E2 9DG

APPLY NOW

Become an Art Collector with DegreeArt

DU

LCIS

(So

ft F

latt

erin

g D

elig

htfu

l) 20

12 D

igita

l pri

nt w

ith o

verl

ying

oil

pain

t and

col

lage

35

x 26

x 0

3 c

m pound

850

00

THE TRIBE HAVE ARRIVED

SOPHIE DERRICK

DegreeART inFOCUS

AQUIFOLIA (Pointy Leaves) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

DOLO 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

CURIOSUS (Curious) 2012 Digital print with overly-ing oil paint and collage 35 x 26 x 03 cmpound85000

BELLATOR (Warrior) 2012 Digital print with overly-ing oil paint and collage 35 x 26 x 03 cmpound85000

VERBERO 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

AFRO 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

HERSEE 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

PERSICI (Peaches) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

DegreeART inFOCUS

OCULIS CERVA (Doe Eye) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

BUCCULA (Little Cheek) 2012 Digital print with overly-ing oil paint and collage 35 x 26 x 03 cmpound85000

CAELUM CAPUT (Space Head) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

MITIS (Mild Meek Gentle) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

CONVORRO (Sweep) 2012 Digital print with over-lying oil paint and collage 35 x 26 x 03 cmpound85000

SUPPINGO 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

FRIDA 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

SEROTINA 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

DegreeART inFOCUS

APEX PUER 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

UNDA (wave) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

VESPERTILIO PUELLA (Bat Girl) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

INDUMENTUM 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

CLAVUS CAPUT (Spike Head) 2012 Digital print with overlying oil paint and collage 35 x 26 cmpound85000

PRINCIPISSA (Princess) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

OTUS ALFREDI 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

SNUFKIN 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

DegreeART inFOCUS

RIO 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cm pound85000

OCULIS CAERULEIS 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cmpound85000

ASPICIO LONGUS (Long Face) 2012 Digital print with overlying oil paint and collage 35 x 26 x 03 cm pound85000

ROMANUS (Roman) 2012 Digital print with over -lying oil paint and collage 35 x 26 x 03 cmpound85000

COME VISIT US AT GRAND DESIGNS amp GET SOME INSPIRATION FOR YOUR HOME

ARTISTS

DEGREEARTSTAND E7GRAND DESIGNSLONDON LIVE4-27 MAY 2013

ABIGAIL MCDOUGALLANNA ROTHWELL

CARRIE MAYDAVID CHARLES WILLIAMSDAVID RIDLEYKATE MARSHALLLAURA IOSIFESCULAURA HUNTLEE HERRINGLOUISE MCNAUGHTNICK LORDPAZ PERLMANRAMZI MUSAREBECCA MOLLOYSOPHIE DERRICKWENDY HYDE

BOBBY PATMORE

DegreeART inFOCUS

BEHIND THE LENSCHANTELLE PURCELL INTERVIEWS SOPHIE DERRRICK

You reference to Catherine Underwoods term Total Painting within your title Could you de-scribe why you refer to this and how you use paint as an agent of transformation

I went to the show at the Tate lsquoA Bigger Splash Painting after Performancersquo and found it really relevant to my work and in fact it took me back to the things that interested me when I first started this idea of painting onto myself There were a lot of artists featured in the show that I had re-searched and referenced at Uni so I bought the publication that went with the show In her piece lsquoPainting in the Shape of a Housersquo Catherine Un-derwood coins the phrase lsquoTotal Paintingrsquo and I thought this really summed up what Irsquom doing with paint

lsquoThese new forms of what I will term lsquototal paint-ingrsquo were in general less to do with either lsquoaction paintingrsquo or with modernist derived notions of ex-panded painting [hellip] and more to do with ideas of paint as a specifically material surface that cov-ers masks and changes things Such approach-es re-cast painting as a transformative medium that claims both the abject and the illusionistic and a mobile entityrsquo I use paint as an agent for transformation by covering my identity my face with thick impasto oil paint masking my features and transforming me into something other than myself The paint really does cover mask and change me

Can you talk about your how you got inspiration for the tribes colour palette

I generally get my colour inspiration from really

random sources I always trawl through maga-zines and get inspiration from images I see and for the Tribe I did just that I found a few images that had really great colours in and I took my in-spiration from there I really needed a colour pal-ette that had quite a few different colours in that worked well together as I wanted the Tribe mem-bers to all look different but like they went to-gether and were connected so by using the same colours throughout the series they hopefully look like a collective group I actually started off with quite a muted palette but it became really bright by accident really

The initial process within your work is done in a very private way how would you say you tackled this whilst working within such a public space And how have you remained to keep an air of mystery within your work

I do really need privacy when Irsquom painting my-self I definitely couldnrsquot do it in front of anyone as I need to be alone to fully get into the process and not feel self conscious The way I tackled this was to build myself a fortressbox to hide myself away in to paint in peace The room did have some peepholes incorporated in precarious positions around the sides so people could peep in and see me painting but the peepholes distorted this view so it seemed as if I was really far away and this I think kept an air of mystery and distance in the work Despite the peepholes I did feel like this was a really private space which is strange I think as there was only 6mm of MDF between me and the public

IN THIS INTERVIEW CHANTELLE PURCELL GOES BEHIND THE LENS TO FIND OUT MORE ABOUT SOPHIE DERRICKrsquoS EXPERIENCE OF UNDERTAKING A SIX WEEK RESIDENCY AT DEGREEART

DegreeART inFOCUS

Would you consider the box as a form of masking in itself And can you describe the various layers of masking you employ to conceal yourself

I definitely think the box is a form of masking in itself This residency has really made me realise the extent of layering and masking I employ within my work everything is masked even the names of the pieces The box acts as the first stage of concealment hiding and masking me inside and putting the first physical barrier up between my body and the viewer Then I mask myself with the paint applying it directly on to my skin and photographing this act This photograph is then printed and more paint is applied over the top further masking and layering me out In the residen-cy I experimented with collage using images of paint either directly from the palette I used or from the images of paint from the previous tribe members and this acted as a further layer and mask Another form of masking I subconsciously created during the residency was the titles of my pieces I always name my pieces in a really literal way naming them after whatever they remind me of but for this collection of portraits I felt that this was a bit random and the names needed to be cohesive I named all the pieces in my usual literal way and then converted them into Latin so they all had this connection and this also act-ed like a kind of taxonomy of these strange portraits The real silly names were hidden and masked by this very serious and intellectual language acting as another layer of masking However Within all these different stages of masking there is always an eerie element that I am always there hidden in the box under the paint and collage and behind the titles Therersquos always this presenceabsence thing going on

How important would you say your films are to communicating your ideas within your work How do they work to both reveal and conceal

I think the films are really important as people of-ten donrsquot get the work straight away and during the residency the films have really been integral to peo-plersquos understanding of my process I think the film made on the residency of me actually applying the paint allowed people to witness and understand fully the extent of the process the physical and some-times almost painful to watch (when I cover my eye)

masking and use of the paint None of the films show the whole process and theyrsquore all distorted in some way like the newest film zooms into the brush strokes and it was also filmed in a mirror so you get my real face and the mirror version at the same time which keeps this aspect of reveal-ing the process but also concealing it through distortion Watch the new film here

You talk of the discarded paint that you scrape of your face as being a signifier of absence and presence Can you talk about the juxtaposing dualities of your work And how does the documentation acts as a memento of the performance

The discarded paint scraped from my face is the physical thing left behind from the process it is the mask thatrsquos been taken off and is now lsquodeadrsquo It becomes a signifier of absence and presence as it has presence in a literal way of being this physi-cal thing this real piece of evidence I suppose of the process but it also holds an element of ab-sence as it is a signifier that something has hap-pened but there is an absence of this something the performance of the paint mask This theme of absence and presence runs throughout the lay-ers and stages of my work and on the residency it started with the box The box acted as a barrier

between me and the viewer creating an element of absence with me hidden away but also pres-ence as they knew I was in there Then therersquos the painting process which results in the physical paint mask scraped from my face and the image The image is printed and painted and collaged over and this layering pushes out my lsquoselfrsquo and uses my body as the starting point of this new im-agecharacterportrait So again there is this ab-sencepresence thing going on in the final piece an absence of me as myself but a presence of my body as the canvas In the final image there is also the absence of the real impasto sculptural paint that is rendered flat through photography only to be re-instated over the top of the photo bringing back the presence of the paint Phew Thatrsquos a lot of absencepresence going on The final piece the portrait is really a documentation of the whole process a memento of this really drawn out way of creating an image and the discarded paint mask is also a memento of this process and performance The only difference is that the scraped off paint is more immediate closer to the performance itself and the final image has gone through stage after stage of creation distancing it from the original act of painting onto my body

Your tribal members have literally evolved across the gallery walls how has there also

DegreeART inFOCUS

Would you consider the box as a form of masking in itself And can you describe the various layers of masking you employ to conceal yourself

I definitely think the box is a form of masking in itself This residency has really made me realise the extent of layering and masking I employ within my work everything is masked even the names of the pieces The box acts as the first stage of concealment hiding and masking me inside and putting the first physical barrier up between my body and the viewer Then I mask myself with the paint applying it directly on to my skin and photographing this act This photograph is then printed and more paint is applied over the top further masking and layering me out In the residen-cy I experimented with collage using images of paint either directly from the palette I used or from the images of paint from the previous tribe members and this acted as a further layer and mask Another form of masking I subconsciously created during the residency was the titles of my pieces I always name my pieces in a really literal way naming them after whatever they remind me of but for this collection of portraits I felt that this was a bit random and the names needed to be cohesive I named all the pieces in my usual literal way and then converted them into Latin so they all had this connection and this also act-ed like a kind of taxonomy of these strange portraits The real silly names were hidden and masked by this very serious and intellectual language acting as another layer of masking However Within all these different stages of masking there is always an eerie element that I am always there hidden in the box under the paint and collage and behind the titles Therersquos always this presenceabsence thing going on

How important would you say your films are to communicating your ideas within your work How do they work to both reveal and conceal

I think the films are really important as people of-ten donrsquot get the work straight away and during the residency the films have really been integral to peo-plersquos understanding of my process I think the film made on the residency of me actually applying the paint allowed people to witness and understand fully the extent of the process the physical and some-times almost painful to watch (when I cover my eye)

masking and use of the paint None of the films show the whole process and theyrsquore all distorted in some way like the newest film zooms into the brush strokes and it was also filmed in a mirror so you get my real face and the mirror version at the same time which keeps this aspect of reveal-ing the process but also concealing it through distortion Watch the new film here

You talk of the discarded paint that you scrape of your face as being a signifier of absence and presence Can you talk about the juxtaposing dualities of your work And how does the documentation acts as a memento of the performance

The discarded paint scraped from my face is the physical thing left behind from the process it is the mask thatrsquos been taken off and is now lsquodeadrsquo It becomes a signifier of absence and presence as it has presence in a literal way of being this physi-cal thing this real piece of evidence I suppose of the process but it also holds an element of ab-sence as it is a signifier that something has hap-pened but there is an absence of this something the performance of the paint mask This theme of absence and presence runs throughout the lay-ers and stages of my work and on the residency it started with the box The box acted as a barrier

between me and the viewer creating an element of absence with me hidden away but also pres-ence as they knew I was in there Then therersquos the painting process which results in the physical paint mask scraped from my face and the image The image is printed and painted and collaged over and this layering pushes out my lsquoselfrsquo and uses my body as the starting point of this new im-agecharacterportrait So again there is this ab-sencepresence thing going on in the final piece an absence of me as myself but a presence of my body as the canvas In the final image there is also the absence of the real impasto sculptural paint that is rendered flat through photography only to be re-instated over the top of the photo bringing back the presence of the paint Phew Thatrsquos a lot of absencepresence going on The final piece the portrait is really a documentation of the whole process a memento of this really drawn out way of creating an image and the discarded paint mask is also a memento of this process and performance The only difference is that the scraped off paint is more immediate closer to the performance itself and the final image has gone through stage after stage of creation distancing it from the original act of painting onto my body

Your tribal members have literally evolved across the gallery walls how has there also

masking and use of the paint None of the films show the whole process and theyrsquore all distorted in some way like the newest film zooms into the brush strokes and it was also filmed in a mirror so you get my real face and the mirror version at the same time which keeps this aspect of reveal-ing the process but also concealing it through distortion Watch the new film here

You talk of the discarded paint that you scrape of your face as being a signifier of absence and presence Can you talk about the juxtaposing dualities of your work And how does the documentation acts as a memento of the performance

The discarded paint scraped from my face is the physical thing left behind from the process it is the mask thatrsquos been taken off and is now lsquodeadrsquo It becomes a signifier of absence and presence as it has presence in a literal way of being this physi-cal thing this real piece of evidence I suppose of the process but it also holds an element of ab-sence as it is a signifier that something has hap-pened but there is an absence of this something the performance of the paint mask This theme of absence and presence runs throughout the lay-ers and stages of my work and on the residency it started with the box The box acted as a barrier

between me and the viewer creating an element of absence with me hidden away but also pres-ence as they knew I was in there Then therersquos the painting process which results in the physical paint mask scraped from my face and the image The image is printed and painted and collaged over and this layering pushes out my lsquoselfrsquo and uses my body as the starting point of this new im-agecharacterportrait So again there is this ab-sencepresence thing going on in the final piece an absence of me as myself but a presence of my body as the canvas In the final image there is also the absence of the real impasto sculptural paint that is rendered flat through photography only to be re-instated over the top of the photo bringing back the presence of the paint Phew Thatrsquos a lot of absencepresence going on The final piece the portrait is really a documentation of the whole process a memento of this really drawn out way of creating an image and the discarded paint mask is also a memento of this process and performance The only difference is that the scraped off paint is more immediate closer to the performance itself and the final image has gone through stage after stage of creation distancing it from the original act of painting onto my body

Your tribal members have literally evolved across the gallery walls how has there also

DegreeART inFOCUS

been an evolution within the tribe itself

Yes there have been a few revelations throughout the residency that meant the tribe evolved within itself I started off with this idea of the colours and also the desire to use collage within the work The colours really evolved to be quite bright deviating from my initial palette and the use of collage really changed too I started collaging over the pieces with images of the discarded paint scraped from my face I thought this extra layer of photo of paint added a further concealment of the real me and pushed the work further into the realm of fiction I also liked the idea of using the paint that was involved in the work as my collage material However I got a bit bogged down in the collage element it kind of didnrsquot feel natural within the work but then I had a revela-tion I started cutting out blobs and strokes of paint from the previous tribe member images Irsquod made and sticking these pieces to my head whilst I was painted so the collage was put back a stage into the actual photograph itself I think this added an inter-esting take on the paintingphotography element of my work and the Trompe Orsquoleil aspect of the work I also liked the fact that the images of paint I was using had come from the previous images so the tribe was organically building on from one another growing from the previous pieces This culminated with my tribe leader where I created a kind of head dress made from all the collage pieces I had used from the smaller tribe members so she really was built from her ancestors I suppose

What have been the revelations throughout the residency And what discoveries have you learnt from allowing your work and process to be seen publicly

Irsquove learnt that I can let the public see my whole process (from behind a few barriers) and that this is actually really interesting to see rather than just the final image I have definitely become more confident in my work throughout the residency and feel like I can be a bit more experimental with it and thatrsquos cool

What has been your favourite comment left on the comment wall

Hmmm there were a lot of strange comments on the wall but there were a few that made me laugh lsquoI was told there would be cakersquo lsquoHope your evolu-

DegreeART inFOCUS

tion works well signed C Darwinrsquo lsquoI really enjoyed the films about the painting in the face Maybe try more with the rest of the body as that would be really inter-estingrsquo no But my favourites are probably this one saying lsquoI want to stroke the facesrsquo because I re-ally enjoy the picture theyrsquove drawn And because that means the work is doing its job of being really tactile and making people want to touch it to work it out

What advice would you offer to artists considering or approaching a residency

I would say just go for it and go with the flow I was quite nervous and worried about doing this residency at the beginning as Irsquod never done one before and I was getting all stressed about whether this idea was going to work or if it would be a disaster But I think I just threw myself into it and yeah there were a few disas-ters and a lot of creative problem solving to deal with but it kind of made it more exciting and rewarding So I donrsquot really have much advice other than yoursquoll get back what you put in

Any tips for the next artist(s) in residence at Degree-Art Gallery

Eeerm try not to get too much paint on the floor itrsquoll take you a day to scrub it off ʻ I think as a collective the next artists in residence will use the space really well and they donrsquot need any tips

What do you think you will you work on next

Next I want to explore this collage in the paint idea and also experiment with the paint pattern back-grounds I started using in some of the last tribe members I also want to re-visit some ideas I started during my MA that I donrsquot feel I got to grips with fully like painting over other objects such as taxidermy I think the paintingphotography element of the work will always be of interest to me so I have some ideas surrounding that too that I want to work on Doing the residency has really re-ignited my motivation and inspiration

AR

IER

A A

UR

IS P

UEL

LA (B

anan

a Ea

r G

irl)

201

2 D

igita

l pri

nt w

ith o

verl

ying

oil

pain

t and

col

lage

133

x 1

00 x

03

cm

pound2

800

00

Doing the residency has really re-ignited my motivation and inspiration

been an evolution within the tribe itself

Yes there have been a few revelations throughout the residency that meant the tribe evolved within itself I started off with this idea of the colours and also the desire to use collage within the work The colours really evolved to be quite bright deviating from my initial palette and the use of collage really changed too I started collaging over the pieces with images of the discarded paint scraped from my face I thought this extra layer of photo of paint added a further concealment of the real me and pushed the work further into the realm of fiction I also liked the idea of using the paint that was involved in the work as my collage material However I got a bit bogged down in the collage element it kind of didnrsquot feel natural within the work but then I had a revela-tion I started cutting out blobs and strokes of paint from the previous tribe member images Irsquod made and sticking these pieces to my head whilst I was painted so the collage was put back a stage into the actual photograph itself I think this added an inter-esting take on the paintingphotography element of my work and the Trompe Orsquoleil aspect of the work I also liked the fact that the images of paint I was using had come from the previous images so the tribe was organically building on from one another growing from the previous pieces This culminated with my tribe leader where I created a kind of head dress made from all the collage pieces I had used from the smaller tribe members so she really was built from her ancestors I suppose

What have been the revelations throughout the residency And what discoveries have you learnt from allowing your work and process to be seen publicly

Irsquove learnt that I can let the public see my whole process (from behind a few barriers) and that this is actually really interesting to see rather than just the final image I have definitely become more confident in my work throughout the residency and feel like I can be a bit more experimental with it and thatrsquos cool

What has been your favourite comment left on the comment wall

Hmmm there were a lot of strange comments on the wall but there were a few that made me laugh lsquoI was told there would be cakersquo lsquoHope your evolu-

DegreeART inFOCUS

tion works well signed C Darwinrsquo lsquoI really enjoyed the films about the painting in the face Maybe try more with the rest of the body as that would be really inter-estingrsquo no But my favourites are probably this one saying lsquoI want to stroke the facesrsquo because I re-ally enjoy the picture theyrsquove drawn And because that means the work is doing its job of being really tactile and making people want to touch it to work it out

What advice would you offer to artists considering or approaching a residency

I would say just go for it and go with the flow I was quite nervous and worried about doing this residency at the beginning as Irsquod never done one before and I was getting all stressed about whether this idea was going to work or if it would be a disaster But I think I just threw myself into it and yeah there were a few disas-ters and a lot of creative problem solving to deal with but it kind of made it more exciting and rewarding So I donrsquot really have much advice other than yoursquoll get back what you put in

Any tips for the next artist(s) in residence at Degree-Art Gallery

Eeerm try not to get too much paint on the floor itrsquoll take you a day to scrub it off ʻ I think as a collective the next artists in residence will use the space really well and they donrsquot need any tips

What do you think you will you work on next

Next I want to explore this collage in the paint idea and also experiment with the paint pattern back-grounds I started using in some of the last tribe members I also want to re-visit some ideas I started during my MA that I donrsquot feel I got to grips with fully like painting over other objects such as taxidermy I think the paintingphotography element of the work will always be of interest to me so I have some ideas surrounding that too that I want to work on Doing the residency has really re-ignited my motivation and inspiration

AR

IER

A A

UR

IS P

UEL

LA (B

anan

a Ea

r G

irl)

201

2 D

igita

l pri

nt w

ith o

verl

ying

oil

pain

t and

col

lage

133

x 1

00 x

03

cm

pound2

800

00

Doing the residency has really re-ignited my motivation and inspiration

DegreeART inFOCUS

tion works well signed C Darwinrsquo lsquoI really enjoyed the films about the painting in the face Maybe try more with the rest of the body as that would be really inter-estingrsquo no But my favourites are probably this one saying lsquoI want to stroke the facesrsquo because I re-ally enjoy the picture theyrsquove drawn And because that means the work is doing its job of being really tactile and making people want to touch it to work it out

What advice would you offer to artists considering or approaching a residency

I would say just go for it and go with the flow I was quite nervous and worried about doing this residency at the beginning as Irsquod never done one before and I was getting all stressed about whether this idea was going to work or if it would be a disaster But I think I just threw myself into it and yeah there were a few disas-ters and a lot of creative problem solving to deal with but it kind of made it more exciting and rewarding So I donrsquot really have much advice other than yoursquoll get back what you put in

Any tips for the next artist(s) in residence at Degree-Art Gallery

Eeerm try not to get too much paint on the floor itrsquoll take you a day to scrub it off ʻ I think as a collective the next artists in residence will use the space really well and they donrsquot need any tips

What do you think you will you work on next

Next I want to explore this collage in the paint idea and also experiment with the paint pattern back-grounds I started using in some of the last tribe members I also want to re-visit some ideas I started during my MA that I donrsquot feel I got to grips with fully like painting over other objects such as taxidermy I think the paintingphotography element of the work will always be of interest to me so I have some ideas surrounding that too that I want to work on Doing the residency has really re-ignited my motivation and inspiration

AR

IER

A A

UR

IS P

UEL

LA (B

anan

a Ea

r G

irl)

201

2 D

igita

l pri

nt w

ith o

verl

ying

oil

pain

t and

col

lage

133

x 1

00 x

03

cm

pound2

800

00

Doing the residency has really re-ignited my motivation and inspiration

BANANA EAR GIRL

DegreeART inFOCUS

SOPHIA MOSELEYINTERVIEWSCARRIE MAY

To begin could you comment on the starting point of your career as an artist such as where you studied if you took a lot away from your course After completing my foundation course I studied Illustration at Brighton I look back on those three years fondly as it was for me an enlightening time finding my feet broadening my language and having my eyes opened wide to a whole host of possibilities The course at Brighton not only permitted but encouraged a broad range of media and experimentation that could still sit under the umbrella of Illustration because the focus was on communication I left Brighton to study for an MA at The Royal College of Art which allowed me the time to harness my way of working and the good fortune to be part of such a unique establishment

I really appreciate the collage effect your illustrations take it reminds me of illustrations from childrenrsquos books I would read as a little girl the depth of the almost real life appearance and the contrasting textures makes for a engaging body of works Did you have this in mind when creating the illustrations taking inspiration from earlier book illustrations If not where do you draw your inspiration I believe it is just what I am drawn too rather than making a conscious effort to create nostalgia I have a penchant for finding old paper and a love for texture and in particular colours I bring these into my creations because I appreciate their quality and authenticity I take inspiration from many areas early book illustrations included but also old maps posters playing cards record

CM1010 OFF

TREE OF HEARTS 2013 Limited Edition Print42 x 29 x 05 cmpound8500

TORTOISE FRIEND 2012 Limited Edition Print42 x 29 x 05 cmpound8500

PEACOCK MAJESTY 2012 Limited Edition Print42 x 29 x 05 cmpound8500

NEW

sleeves stamp albums wallpaper it can be any-thing but itrsquos the textures and colours that attract me How do you source your materials From everywhere and anywhere really second hand bookshops flea markets eBay even Irsquom a bit of a rustic magpie with a built in aged papers spotting device How do you make your prints do you incorporate a lot of digital applications and how do you start them I always start the old fashioned way with my box of old papers and a good old pencil and paper It de-pends on what I am setting out to do but I will hold off until I need to call upon the wonders of Photoshop Sometimes I will need to move things around and enhance the vibrancy change the colours and so on so piecing elements together in Photoshop means I can be a lot more flexible it also preserves my paper archive What would you say are your proudest achieve-ments could you tell me a little about them and why you are so proud of them Goodness I had to come back to this question I think probably making the leap to move to London and completely devoting myself to my Illustration with not much of a plan B makes me feel proud Also my first book jacket commission was a proud moment What have your favourite commissions been I was very happy to be asked to do a couple of covers for Waitrose as well as when I was asked to do some Illustrations for Strutt amp Parker I also loved doing the card ranges for Lagom a Boutique Design amp Stationery company to get to see them on the shelves of certain shops every now and again is a rewarding feeling

CM1010 OFF

BEACH HUTS 2012 Limited Edition Print29 x 42 x 05 cmpound8500

CITY VIEW 2010 Limited Edition Print21 x 295 x 05 cmpound5500

TOUCAN TOO 2012 Limited Edition Print29 x 42 x 05 cmpound8500

CM1010 OFF

TEA PARTY 2012 Limited Edition Print42 x 297 x 05 cmpound8500

For the benefit of young and emerging artists could you expand on how you achieved them and if you have any advice to offer artists approaching a commission Make work that is true to you first and foremost Work hard keep working hard and show your work Seek out the people you want to show your work to and be polite and persistent in your approach How do you personally work to commission do you find that you ever have to compromise your work to secure a commission for the sake of financial purposes I donrsquot feel like Irsquove ever really compromised my work Maybe on occasion I might have preferred the other version that had a bit more red or where the trees are darker or something a minute detail but not to the extent that I am disgruntled no never I think working to a commission is a part-nership between the Illustrator and Art Director or Designer and at times I have appreciated how they have led my work down an avenue that perhaps I wouldnrsquot have explored ordinarily thatrsquos one of the interesting aspects

Your painting work has a very different style and feel to that of your illustrations is there a reason for this

No I still think both are concerned with colour and texture and perhaps its how I relate to the different mediums Do you enjoy working in two separate mediums and do you have a favourite

I enjoy both for different reasons and actually I am keen to explore the combining of the two so per-haps they wont always be so separate Could you tell me about your involvement in Nick That Charity Yes absolutely Late last year I was commissioned by the NickThat Charity through DegreeArtcom Nick That is an online company that partners with various restaurants around London and presents various offers Their revenue depends on if these offers are used when shoppers dine and use the coupons and if they bring enough customers to the restaurants I was asked to create an Illustra-tion with the main concept being that lsquofood unites

RUGGED EARTH 2012 Limited Edition Print292 x 292 x 5 cmpound40000

SEASCAPE 2011 Limited Edition Print508 x 508 x 25 cmpound65000

us allrsquo I was asked if the piece could illustrate the fact that food is a common denominator in this world and binds us together regardless So the idea was to promote the concept of the charity and how it operates It was a fun piece to do and was exhibited at the Digital Dining event held at DegreeArtcom Finally do you have any plans for new pieces you would like to share I have a few works in progress at the moment and you may see more paintings before long but they will draw more on my Illustrative approach so it will be exciting new ground

SHIP TO SEA 2013 Limited Edition Print29 x 42 x 05 cmpound8500

NEW

DegreeART inFOCUS

INTERVIEW WITHUNIT 3 ARTISTS

Can you tell us a bit more about Unit 3 projects Unit 3 is an old printing works in Bow When we first moved in our studio floors needed to be scrubbed free of gunk before we could start work and this got us all talking Within a year we had collaborated together on a really successful open studio event and had a few BBQrsquos in the car park as the cement lorries thundered past Several collaborations grew out of this energy and ASC provided us with the Unit 3 project space because they believed we had the collaborative energy to organise and use the space well It is this joint energy that we bring to the Degree Art residency It will be exciting to see the positive and negative energy moving between us and our different ways of working - PC

What projects have you previously worked on within the Unit 3 project space

Earlier this year Samuel and I did a show together where we simply planned to use it as an oppor-tunity to exhibit some of our recent work but one conversation lead to another and before we knew it we had drawn parallels between lots of our ideas At the time I was painting from video footage of explosions reinventing that energetic imagery in painting and Samuel had been draw-ing from live dancers documenting movement

through mark making We felt we were both work-ing with translating one sort of gesture into an-other and decided to curate the exhibition so that it put emphasis on some of those ideas One of the biggest reasons that the Unit 3 Project Space is important to us is that it is something we run together and itrsquos encouraging in terms of getting us to consider taking on things like joint projects The whole experience in collaborating took us both in some unexpected directions in fact that is where the title has come from lsquoIn All Directionsrsquo - AB

lsquoA beaten path torsquo which was an interactive installation 4m long Earth for the path was collected from Bethnal Green and Bow and the pathway was made from the vegetable and fruit trays which are sent to the East End markets from around the world By walking this path people joined the subtle traces of their energy and inten-tion with other peoplersquos and lsquoA Beaten Path torsquo

DegreeArt interview Unit 3 Project artists Flavius Alagrius John Appleton Abigail Box Henry Byrne Pamela Carr Jennifer Farmer Silvia Krupinska Hor-mazd Narielwalla Samuel Overington and Luis Ignacio Rodriguez To find out more about their current residency lsquoIn All Directionsrsquo and how creativity thrives from community

was formed Then Jennifer Farmer and I collabo-rated on a short film terra firma lsquoA beaten path torsquo formed the background for this split screen real-time film exploring the point when innocence becomes knowledge and every experience leads to a new unknown - PC

I am yet to do my project in the Unit 3 Projects which is conveniently planned straight after our lsquoIn All Directionsrsquo residency Irsquove four weeks of making and experimenting planned for Unit 3 space which Irsquom very pleased about as I believe it will flow nicely from residency to project I can link up my work produced and take it even further At the same time Irsquove another series of sculptures and 2D works Irsquom working on for an exhibition in Slovakia Irsquom planning to put on an event to share my making of course all are welcome - SK

Your exhibition seems very much concerned with the dynamics and possibilities that occur on

the periphery of working collaboratively What do you think will occur from this conversation And what do you hope to achieve though out the residency

Never has there been a time like now where hybrid practices have been able to creatively speak to each other The boundaries are slowly diminishing between strict constructed mediums Irsquom primarily a collage artist but Irsquom making a sculptural piece for this exhibition challenging the norms of traditional sense of collage ndash I guess what Irsquom trying to say is that projects like Unit 3 encourage me to start thinking outside the box by seeing the methodologies and process of other practitioners This is a great opportunity to step outside a comfort zone - HN

I think itrsquos partly the not knowing which is most exciting Wersquore all curious as to what will come from working in the space together - how much

DegreeART inFOCUS

the conversation surrounding the work that we are planning on making will collide and inspire us towards unexpected work that we might begin to make because of that collaborative atmosphere - AB

Exciting part for me is that we will be having this conversation Things are done and said artists exchange ideas and thoughts I find this action itself rewarding and thought provoking each time Irsquom confident that sharing of the Execution Room between us (virtually and physically) while wersquore making will enrich and inspire us all - SK

I hope to form a new selection of art making pro-cessrsquos from this experience working alongside and around each other Letting each artist infiltrate my production and the outcome to be revealed-JA

Your practices are very diverse Can you give us an idea of your individual practices and how each of you will intend to approach the central theme of the residency lsquoGesturersquo

My work is about the subtle energies of the inter-mediate space the space between the foot and the ground the space between the need and the fulfilment Energies that are only seen out of ther corner of the eye how they form and reform con-tinually Gesture is about energy and intent which are central to my work - PC

Irsquom planning to explore two different pathways during my residency with the theme of lsquoGesturersquo written all over them First one based on exploring (revisiting) of my identity and my roots Irsquoll be using maps and working with those as shapes appear Furthermore Irsquoll be setting in in the mapped out shapes to me precious (but crushed) recycled Abalone shells with their strong gestures behind them Secondly Irsquoll be reconnect-ing with the nature revisiting some of the Margate beaches where Irsquod done a number of installations before Irsquoll make a series of photographs including some of my From the Bottom of the Sea sculp-tures all set in tune with their surroundings But one never knows how ideas progress when the conversation of our residency begins Follow us on the social media or pop by in the gallery and yoursquoll be first to know ndash SK

I make collages out of bespoke Savile Row tailoring patterns of customers now deceased I divorce them from their tailoring context and view them as abstracted shapes of humans which become the primary source material and canvas in my artworks The circles of life and death procreation and sex are core raw ac-tions ndash gestures that make us humans This is the primary notion that I will be working on The catacombs of Europe the preservation and reminder of death are the inspiration of a sculp-ture I will work on where I will make skulls out of the brown paper patterns On the flip the act of procreation will be depicted through the cut and paste of the tailors patterns to make impressions of female and male anatomy - HN

Irsquom currently interested in how our understand-ing of one thing might affect the way that we see or perceive another Transcending between ges-tures Irsquom so often on a computer that I feel as though I should be able to perform actions like lsquocopy and pastersquo in life outside of the screen On

Photoshop I am able to easily stretch and contort imagery into impossible directions and I go into auto drive when working with multiple layers The new craze for making gifs is a whole new mind set in terms of how I think about constructing the images that I paint from Irsquod like to explore the possibilityimpossibly of making those gestures in making paintings looking at painting as both a surface and as an limitlessly inventive space - AB

I am engrossed in the techniques and influences of Old master painting juxtaposed with contemporary backdrops The anamorphic and the Gothic are very relative to the concepts and compostions I make My idea of gesture is interpreted as a rhetorical stance something inferred but not explained- JA

How will the artists who are working offsite and externally from the DegreeArt space contribute to the residency

I will remain in the mother battleship ndash our stu-dios in Bow The important aspect of this residency is to nurture a conversation through which work evolves This conversation doesnrsquot need to be face-to-face or in close intimate contact It can be had

through various other ways ndash the internet and so-cial media along with visiting the space We also plan to update each other on new discoveries and things we might uncover ndash HN

Working in the studio at the Unit 3 Spaces will give a reflective response to the works made through-out the residency Instead of working directly alongside someone in a shared space I can flit in and out taking cues from the works creating going back then to the studio and reassembling the ideas and information Hopefully this process will show a common thread through the works made in the degree art space -JA

Would you say that this residency is a celebration of the possibilities and ways of working for art-ists

When Isobel and Chantelle first suggested to us the idea of doing a group residency I straight away thought back to how much I had enjoyed painting in the project space with Samuel in the lead up to our joint exhibition Despite all working in the same building we mostly work in our own individu-

als studios by ourselves and it can be very solitary It was a nice change to work with someone else in the room especially late at night when the studios are very calm We worked with the radio on quietly focusing on our own pieces and having a chat every so often about what we were thinking That kind of atmosphere would be a nice thing to share with anyone interested in not just art but the business of making it and what itrsquos like to practice at being an artist - AB

What can the public and community get involved with Can you tell us more about the array of events workshops you have planned across the residency

Irsquom excited for the discussion titled lsquoBut What Kind Of Artrsquo (4 May) I think this is going to be very rel-evant in terms of what the exhibition title lsquoIn All Directionsrsquo stands for Wersquore going to be asking questions about what it means to practice between genres and consider the interesting things can come out of blurring the lines between creating paintings and writing scripts - AB

What is next for Unit 3

I think wersquore planning an Open Studios weekend for in September So that will be a chance for people to come see our usual studio spaces hellipand the Jimrsquoll Mix It cement lorries - AB

CONTACT IMPROVISATION by Samuel Overington 2013 Drawing 60 x 84 x 3 cm pound22000

NEWART2013pound15 OFF

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

DIPS amp HOLLOWS DARK SEPIA RED WITH ORANGE FLASH by Pamela Car 2013 Painting125 x 110 x 3 cmpound150000

THE BIG BLUE by Henry Byrne 2012Painting 100 x 100 x 0 cmpound200000

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNIT 3 ARTWORKS

DegreeART inFOCUS

the conversation surrounding the work that we are planning on making will collide and inspire us towards unexpected work that we might begin to make because of that collaborative atmosphere - AB

Exciting part for me is that we will be having this conversation Things are done and said artists exchange ideas and thoughts I find this action itself rewarding and thought provoking each time Irsquom confident that sharing of the Execution Room between us (virtually and physically) while wersquore making will enrich and inspire us all - SK

I hope to form a new selection of art making pro-cessrsquos from this experience working alongside and around each other Letting each artist infiltrate my production and the outcome to be revealed-JA

Your practices are very diverse Can you give us an idea of your individual practices and how each of you will intend to approach the central theme of the residency lsquoGesturersquo

My work is about the subtle energies of the inter-mediate space the space between the foot and the ground the space between the need and the fulfilment Energies that are only seen out of ther corner of the eye how they form and reform con-tinually Gesture is about energy and intent which are central to my work - PC

Irsquom planning to explore two different pathways during my residency with the theme of lsquoGesturersquo written all over them First one based on exploring (revisiting) of my identity and my roots Irsquoll be using maps and working with those as shapes appear Furthermore Irsquoll be setting in in the mapped out shapes to me precious (but crushed) recycled Abalone shells with their strong gestures behind them Secondly Irsquoll be reconnect-ing with the nature revisiting some of the Margate beaches where Irsquod done a number of installations before Irsquoll make a series of photographs including some of my From the Bottom of the Sea sculp-tures all set in tune with their surroundings But one never knows how ideas progress when the conversation of our residency begins Follow us on the social media or pop by in the gallery and yoursquoll be first to know ndash SK

I make collages out of bespoke Savile Row tailoring patterns of customers now deceased I divorce them from their tailoring context and view them as abstracted shapes of humans which become the primary source material and canvas in my artworks The circles of life and death procreation and sex are core raw ac-tions ndash gestures that make us humans This is the primary notion that I will be working on The catacombs of Europe the preservation and reminder of death are the inspiration of a sculp-ture I will work on where I will make skulls out of the brown paper patterns On the flip the act of procreation will be depicted through the cut and paste of the tailors patterns to make impressions of female and male anatomy - HN

Irsquom currently interested in how our understand-ing of one thing might affect the way that we see or perceive another Transcending between ges-tures Irsquom so often on a computer that I feel as though I should be able to perform actions like lsquocopy and pastersquo in life outside of the screen On

Photoshop I am able to easily stretch and contort imagery into impossible directions and I go into auto drive when working with multiple layers The new craze for making gifs is a whole new mind set in terms of how I think about constructing the images that I paint from Irsquod like to explore the possibilityimpossibly of making those gestures in making paintings looking at painting as both a surface and as an limitlessly inventive space - AB

I am engrossed in the techniques and influences of Old master painting juxtaposed with contemporary backdrops The anamorphic and the Gothic are very relative to the concepts and compostions I make My idea of gesture is interpreted as a rhetorical stance something inferred but not explained- JA

How will the artists who are working offsite and externally from the DegreeArt space contribute to the residency

I will remain in the mother battleship ndash our stu-dios in Bow The important aspect of this residency is to nurture a conversation through which work evolves This conversation doesnrsquot need to be face-to-face or in close intimate contact It can be had

through various other ways ndash the internet and so-cial media along with visiting the space We also plan to update each other on new discoveries and things we might uncover ndash HN

Working in the studio at the Unit 3 Spaces will give a reflective response to the works made through-out the residency Instead of working directly alongside someone in a shared space I can flit in and out taking cues from the works creating going back then to the studio and reassembling the ideas and information Hopefully this process will show a common thread through the works made in the degree art space -JA

Would you say that this residency is a celebration of the possibilities and ways of working for art-ists

When Isobel and Chantelle first suggested to us the idea of doing a group residency I straight away thought back to how much I had enjoyed painting in the project space with Samuel in the lead up to our joint exhibition Despite all working in the same building we mostly work in our own individu-

als studios by ourselves and it can be very solitary It was a nice change to work with someone else in the room especially late at night when the studios are very calm We worked with the radio on quietly focusing on our own pieces and having a chat every so often about what we were thinking That kind of atmosphere would be a nice thing to share with anyone interested in not just art but the business of making it and what itrsquos like to practice at being an artist - AB

What can the public and community get involved with Can you tell us more about the array of events workshops you have planned across the residency

Irsquom excited for the discussion titled lsquoBut What Kind Of Artrsquo (4 May) I think this is going to be very rel-evant in terms of what the exhibition title lsquoIn All Directionsrsquo stands for Wersquore going to be asking questions about what it means to practice between genres and consider the interesting things can come out of blurring the lines between creating paintings and writing scripts - AB

What is next for Unit 3

I think wersquore planning an Open Studios weekend for in September So that will be a chance for people to come see our usual studio spaces hellipand the Jimrsquoll Mix It cement lorries - AB

CONTACT IMPROVISATION by Samuel Overington 2013 Drawing 60 x 84 x 3 cm pound22000

NEWART2013pound15 OFF

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

DIPS amp HOLLOWS DARK SEPIA RED WITH ORANGE FLASH by Pamela Car 2013 Painting125 x 110 x 3 cmpound150000

THE BIG BLUE by Henry Byrne 2012Painting 100 x 100 x 0 cmpound200000

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNIT 3 ARTWORKS

Photoshop I am able to easily stretch and contort imagery into impossible directions and I go into auto drive when working with multiple layers The new craze for making gifs is a whole new mind set in terms of how I think about constructing the images that I paint from Irsquod like to explore the possibilityimpossibly of making those gestures in making paintings looking at painting as both a surface and as an limitlessly inventive space - AB

I am engrossed in the techniques and influences of Old master painting juxtaposed with contemporary backdrops The anamorphic and the Gothic are very relative to the concepts and compostions I make My idea of gesture is interpreted as a rhetorical stance something inferred but not explained- JA

How will the artists who are working offsite and externally from the DegreeArt space contribute to the residency

I will remain in the mother battleship ndash our stu-dios in Bow The important aspect of this residency is to nurture a conversation through which work evolves This conversation doesnrsquot need to be face-to-face or in close intimate contact It can be had

through various other ways ndash the internet and so-cial media along with visiting the space We also plan to update each other on new discoveries and things we might uncover ndash HN

Working in the studio at the Unit 3 Spaces will give a reflective response to the works made through-out the residency Instead of working directly alongside someone in a shared space I can flit in and out taking cues from the works creating going back then to the studio and reassembling the ideas and information Hopefully this process will show a common thread through the works made in the degree art space -JA

Would you say that this residency is a celebration of the possibilities and ways of working for art-ists

When Isobel and Chantelle first suggested to us the idea of doing a group residency I straight away thought back to how much I had enjoyed painting in the project space with Samuel in the lead up to our joint exhibition Despite all working in the same building we mostly work in our own individu-

als studios by ourselves and it can be very solitary It was a nice change to work with someone else in the room especially late at night when the studios are very calm We worked with the radio on quietly focusing on our own pieces and having a chat every so often about what we were thinking That kind of atmosphere would be a nice thing to share with anyone interested in not just art but the business of making it and what itrsquos like to practice at being an artist - AB

What can the public and community get involved with Can you tell us more about the array of events workshops you have planned across the residency

Irsquom excited for the discussion titled lsquoBut What Kind Of Artrsquo (4 May) I think this is going to be very rel-evant in terms of what the exhibition title lsquoIn All Directionsrsquo stands for Wersquore going to be asking questions about what it means to practice between genres and consider the interesting things can come out of blurring the lines between creating paintings and writing scripts - AB

What is next for Unit 3

I think wersquore planning an Open Studios weekend for in September So that will be a chance for people to come see our usual studio spaces hellipand the Jimrsquoll Mix It cement lorries - AB

CONTACT IMPROVISATION by Samuel Overington 2013 Drawing 60 x 84 x 3 cm pound22000

NEWART2013pound15 OFF

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

DIPS amp HOLLOWS DARK SEPIA RED WITH ORANGE FLASH by Pamela Car 2013 Painting125 x 110 x 3 cmpound150000

THE BIG BLUE by Henry Byrne 2012Painting 100 x 100 x 0 cmpound200000

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNIT 3 ARTWORKS

als studios by ourselves and it can be very solitary It was a nice change to work with someone else in the room especially late at night when the studios are very calm We worked with the radio on quietly focusing on our own pieces and having a chat every so often about what we were thinking That kind of atmosphere would be a nice thing to share with anyone interested in not just art but the business of making it and what itrsquos like to practice at being an artist - AB

What can the public and community get involved with Can you tell us more about the array of events workshops you have planned across the residency

Irsquom excited for the discussion titled lsquoBut What Kind Of Artrsquo (4 May) I think this is going to be very rel-evant in terms of what the exhibition title lsquoIn All Directionsrsquo stands for Wersquore going to be asking questions about what it means to practice between genres and consider the interesting things can come out of blurring the lines between creating paintings and writing scripts - AB

What is next for Unit 3

I think wersquore planning an Open Studios weekend for in September So that will be a chance for people to come see our usual studio spaces hellipand the Jimrsquoll Mix It cement lorries - AB

CONTACT IMPROVISATION by Samuel Overington 2013 Drawing 60 x 84 x 3 cm pound22000

NEWART2013pound15 OFF

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

DIPS amp HOLLOWS DARK SEPIA RED WITH ORANGE FLASH by Pamela Car 2013 Painting125 x 110 x 3 cmpound150000

THE BIG BLUE by Henry Byrne 2012Painting 100 x 100 x 0 cmpound200000

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNIT 3 ARTWORKS

CONTACT IMPROVISATION by Samuel Overington 2013 Drawing 60 x 84 x 3 cm pound22000

NEWART2013pound15 OFF

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

DIPS amp HOLLOWS DARK SEPIA RED WITH ORANGE FLASH by Pamela Car 2013 Painting125 x 110 x 3 cmpound150000

THE BIG BLUE by Henry Byrne 2012Painting 100 x 100 x 0 cmpound200000

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNIT 3 ARTWORKS

LOUD LIGHT by Abigail Box2013 Painting 152 x 109 x 3 cmpound345000

PLAYING TO THE CROWD - from the LOVE NEST series - By Hormazd Narielwalla2013 Limited Edition Print297 x 21 x 01 cmpound8500

38TH INCHES from the LOVE NEST series By Hormazd Narielwalla 2013 Limited Edition Print 297 x 21 x 01 cmpound8500

Green Origins by Silvia Krupinska2010 Sculpture 56 x 58 x 35 cmpound36500

ORIGINS by Silvia Krupinska2010 Sculpture 23 x 18 x 14 cmpound32500

NECROMANCER 1 by John Appleton 2013 Painting 76 x 76 x 25 cm pound115000

ORANGE - By Luis Ignacio Rodriguez2013 Sculpture 22 x 25 x 22 cmpound479

GIF by Abigail Box2013 Painting 162 x 125 x 3 cmpound345000

THE LITTLE RED by Henry Byrne2013 Painting 100 x 100 x 3 cmpound200000

OH DEER by John Appleton 2012 Painting 18 x 21 x 2 cm pound45000

UNIT 3 ARTWORKS

DEAD MANS PATTERNS MEMENTO MORI SKULL By Hormazd Narielwalla2012 Sculpture 20 x 16 x 15 cmpound69500

NEWART2013pound15 OFF

ANGELS EGG by John Appleton2013 Painting 40 x 29 x 2 cmpound100000

OH DEER by John Appleton 2012 Painting 18 x 21 x 2 cm pound45000 SHOTGUN by Abigail Box 2013 Painting 114 x 165 x 35 cm pound395000

UNIT 3 PROJECTS DOCUMENTARY SERIES

SAMUEL OVERINGTON HORMAZD NARIELWALLA

JOHN APPLETONSILVIA KRUPINSKA

HENRY BYRNE

UNIT 3 PROJECTS DOCUMENTARY SERIES

HORMAZD NARIELWALLA ABIGAIL BOX

PAMELA CARRJENNIFER FARMER

LUIS IGNACIO RODRIGUEZJOHN APPLETON

THE LITTLE RED by Henry Byrne 2013 Painting 100 x 100 x 3 cm pound200000

DegreeART inFOCUS

EXQUISITE CORPSE

TEN ARTISTS IN COVERSATION ON lsquoGESTURErsquo

The technique invented by Surrealists is similar to the old parlour game called Consequences in which players write in turn on a sheet of paper fold it to conceal part of the writing and then pass it to the next player for a further contribu-tion

Each of the ten artists were asked to respond to the word lsquoGesturersquo by looking at the previous participants image only each artist had to re-spond with an image and text and pass the im-age onto the next player in the sequence The following pages are a collective assemble of words and images captured within a sequential relay of ideas surrounding the residency lsquoIn All Directionsrsquo

DegreeArt invited Unit 3 Projects to take part in an Exquisite Corpse also known as lsquoexquisite cadaverrsquo

ARTISTS IN ORDER OF PARTICIPATING1 Abigail Box2 Pamela Carr3 Jennifer Farmer4 Silvia Kuprinska5 Hormazd Nariella6 Luis Rodriguez Ignacio7 Samuel Overington8 Flavius Alagrius9 John Appleton10 Henry Bryne

TEN ARTISTS IN COVERSATION ON lsquoGESTURErsquo

The technique invented by Surrealists is similar to the old parlour game called Consequences in which players write in turn on a sheet of paper fold it to conceal part of the writing and then pass it to the next player for a further contribu-tion

Each of the ten artists were asked to respond to the word lsquoGesturersquo by looking at the previous participants image only each artist had to re-spond with an image and text and pass the im-age onto the next player in the sequence The following pages are a collective assemble of words and images captured within a sequential relay of ideas surrounding the residency lsquoIn All Directionsrsquo

DegreeArt invited Unit 3 Projects to take part in an Exquisite Corpse also known as lsquoexquisite cadaverrsquo

ARTISTS IN ORDER OF PARTICIPATING1 Abigail Box2 Pamela Carr3 Jennifer Farmer4 Silvia Kuprinska5 Hormazd Nariella6 Luis Rodriguez Ignacio7 Samuel Overington8 Flavius Alagrius9 John Appleton10 Henry Bryne

DegreeART inFOCUS

MISTRANSLATION AND INTUITION INTERRUPTING

ACCURACY AND BEING VISUALLY

INVENTIVE

DegreeART inFOCUS

1 ABIGAIL BOX

DegreeART inFOCUS

LALE TULIP 2012 sculpture 14 x 8 x 8 cm pound7200

DegreeART inFOCUS

LALE TULIP 2012 sculpture 14 x 8 x 8 cm pound7200

2 PAMILA CARR

MOVEMENT - ENERGY

DegreeART inFOCUS

SETTING A MOMENT INTO MOTION

A MOMENT FOR SAYING lsquoYESrsquo SAYING lsquoNOrsquo

SAYING SOMETHING

3 JENNIFER FARMER

DegreeART inFOCUS

DegreeART inFOCUS

SETTING A MOMENT INTO MOTION

A MOMENT FOR SAYING lsquoYESrsquo SAYING lsquoNOrsquo

SAYING SOMETHING

3 JENNIFER FARMER

DegreeART inFOCUS

FEEL FREE AND ALIVE

4 SILVIA KRUPINSKA

DegreeART inFOCUS

DREAM

5 HORMAZD NARIELLA

DegreeART inFOCUS

REALLY I GUESS WErsquoLL NEVER KNOW

SUCH FUN

6 LUIS RODRIGUEZ IGNACIO

RIP7 SAMUEL OVERINGTON6 LUIS RODRIGUEZ IGNACIO

DegreeART inFOCUS

DREAM

5 HORMAZD NARIELLA

DegreeART inFOCUS

REALLY I GUESS WErsquoLL NEVER KNOW

SUCH FUN

6 LUIS RODRIGUEZ IGNACIO

RIP7 SAMUEL OVERINGTON6 LUIS RODRIGUEZ IGNACIO

5 HORMAZD NARIELLA

DegreeART inFOCUS

REALLY I GUESS WErsquoLL NEVER KNOW

SUCH FUN

6 LUIS RODRIGUEZ IGNACIO

RIP7 SAMUEL OVERINGTON6 LUIS RODRIGUEZ IGNACIO

DegreeART inFOCUS

REALLY I GUESS WErsquoLL NEVER KNOW

SUCH FUN

6 LUIS RODRIGUEZ IGNACIO

RIP7 SAMUEL OVERINGTON6 LUIS RODRIGUEZ IGNACIO

RIP7 SAMUEL OVERINGTON6 LUIS RODRIGUEZ IGNACIO

DegreeART inFOCUS

8 FLAVIUS ALAGRIUS

DegreeART inFOCUS

NECROMANCER

9 JOHN APPLETON

9 JOHN APPLETON

I JUST WISH THE WORLD WAS

TWICE AS BIG AND HALF OF IT

WAS STILL UNEXPOLRED

DAVID ATTENBOROUGH

10 HENRY BYRNE

8 FLAVIUS ALAGRIUS

DegreeART inFOCUS

NECROMANCER

9 JOHN APPLETON

9 JOHN APPLETON

I JUST WISH THE WORLD WAS

TWICE AS BIG AND HALF OF IT

WAS STILL UNEXPOLRED

DAVID ATTENBOROUGH

10 HENRY BYRNE

DegreeART inFOCUS

NECROMANCER

9 JOHN APPLETON

9 JOHN APPLETON

I JUST WISH THE WORLD WAS

TWICE AS BIG AND HALF OF IT

WAS STILL UNEXPOLRED

DAVID ATTENBOROUGH

10 HENRY BYRNE

9 JOHN APPLETON

I JUST WISH THE WORLD WAS

TWICE AS BIG AND HALF OF IT

WAS STILL UNEXPOLRED

DAVID ATTENBOROUGH

10 HENRY BYRNE

NEW ART WE PRESENT NEW ARTIST AND NEW ARTWORK HANDPICKED BY ISOBEL BEAUCHAMP amp ELINOR OLISA

BLUES AND ROYALS by Carolina Piteira2012 Painting 125 x 170 x 2 cmpound600000

DegreeART NEW ART

NEW ARTISTSMEET THE RECENTLY JOINED NEW ARTISTS ANNA ELIZABETH BEN BUCKLEY DAVID CHARLES WILLIAMS EIRINI GEORGOPOULOU EVE POWER JENNIFER MAIDMENT JO SCALES LEE HERRING LOUISE HOWARD MAREK HOSPODARSKYMATHEW VIEIRA MERLIN RAMOS MICHAEL LEE amp PAZ PERLMAN

EVE POWER

MY PLANET by Marek Hospodarsky 2013 Paintng 95 x 95 x 2 cm pound85000

SIDE OF THE TRACKSby Merlin Ramos2012 Painting 100 x 100 x 8 cmpound180000

LIGHT amp GEOMETRY I by Jo Scales 2013 Photography 15 x 20 x 01 cm pound11500

UNTITLED 2 by Eirini Georgopoulou 2012 Installation 100 x 100 x 3 cm pound600000

DegreeART NEW ART

UNTITLED 2 by Michael Lee 2012 Painting 53 x 80 x 28 cmpound80000

AFTER CAMELOT by Jennifer Maidment2013 Painting 68 x 122 x 05 cmpound140000

DYPTICH by Louise Howard 2012Painting 122 x 153 x 4 cmpound240000

APPLEPIE lsquo09 by Eve Power2012 Photography 4191 x 594 x 2 cmpound65000

CHAMBERS by Paz Perlman 2011Iron resin 135 x 56 x 57 cmpound325000

BAND OF WOLVES by Ben Buckley 2012 Limited Edition Print 42 x 297 x 0 cmpound2000

AKIRA by Anna Elizabeth2012 Painting 915 x 61 x 1 cmpound55000

ANDRE WATCHING YOUTUBEby Mathew Vieira2011 Painting 50 x 30 x 5 cmpound30000

DARK HILL TOPS by Lee Herring2012 Painting 6 x 60 x 60 cmpound40000

DegreeART NEW ART

FAR LEFT CENTRED PAINTING lsquoNow Now Foreverrsquo by David Charles Williams 2012 Paintng 110 x 110 x 6 cm pound150000

DegreeART NEW ART

NEW ART

OLYMPIA AS COLOMBINE by Zoe Bergerac2012 Limited Edition Print 32 x 38 x 0 cmpound3900

LINDSEY WIXON by Jennifer Maidment2013 Painting 25 x 20 x 05 cmpound40000

SPACEMAN by Andrew Newton 2012 Painting 78 x 100 x 2 cm pound125000

TOTEMS V by Natalie Tkachuk2012 Limited Edition Print 594 x 42 cmpound40000

DegreeART NEW ART

LE SUE MANI by Giulia Quaresima2007 Painting 80 x 80 x 4 cmpound120000

THE ASSUMPTION OF POPE PIUS III by Helen Gorrill2013 Limited Edition Print 80 x 50 x 0 cmpound25000

ENOUGH by Marek Hospodarsky 2013Painting100 x 70 x 2 cmpound90000

DegreeART NEW ART

1 THE WATER PARKby Jennifer Maidment2013Painting68 x 80 x 05 cmpound120000

2 GIRLS IN TAXIby Andrew Newton2013 Painting100 x 120 x 4 cmpound200000

3 RESIN DEERby Dan Pearce2013 Painting70 x 100 x 4 cmpound30000

4 JUPITERby Zoe Bergerac2010 Limited Edition Print31 x 40 x 0 cmpound3900

1

3

2

4

DegreeART CURATED

CURATEDWRITER NORMAN MILLERSELECTS FROM DEGREEARTIN THIS COLLECTION WRITER NORMAN MILLER SELECTS SOME OF HIS FAVOURITE ART PIECES FROM DEGREEART

UNTITLED00310 by Peter Matyasi2011 Painting 84 x 119 x 2 cmpound120000

Norman Miller is a writer and photographer based in UK covering travel food amp drink arts amp design property amp interiors plus health amp science His work has appeared in a wide range of major British titles

Newspapers include The Times and Sunday Times The Guardian Daily Telegraph and Sunday Telegraph Independent Daily Mail and Mail On Sunday Daily Express and Sunday Express Evening Standard The

Scotsman and Scotland On Sunday Magazines include Sunday Times Travel National Geographic Traveller Imbibe Time Out Olive Restaurant The Spectator FRANCE Food amp Travel Discover Britain Wanderlust Geographical and Bella

Norman has also spend several years working on BBC Online covering arts and entertainment subjects plus work for BA Waitrose and Marks amp Spencer

THERE YOU ARENT by William Roberts 2008 Sanded Emulsion Paint on Wood Panel 172 x 120 x 4 cm pound250000

DegreeART CURATED

1 BLACK EYED GEEKby Sophie Derrick2011 Painting 75 x 75 x 03 cmpound110000

2 ATTEMPT TO CAPTUREMOVING PIXELS NO 34by Caroline Hall2010 Painting95 x 114 x 02 cmpound220000

3 PERFORMANCE NUMBER 2by Alice Woods2012 Sculpture50 x 40 x 10 cmpound24500

1

2

3

DegreeART ARTIST INSIGHT

14th January 2013 The drive out of the airport is silent and calm Im on the road at about 700pm I hit the highway and see planes coming and going in the distance Street lights petrol stations hotels and shopping complexes illuminate the night along the corkscrewing overpasses that filter in and out of Palma Airport on the island of Mallorca pulsat-ing a vibrant orange glow that tints the tarmac The warmth and vibrancy contrasts with the bleakness Ive left behind in snowy England The illumina-tion here is pop-art garish almost a parody of the bright primary colours of 80s Hollywood

Soon I leave the highway behind and head towards the Tramuntana mountains that run from the south to Mallorcarsquos northern coast Driving past the mountains at night is an uncanny experience The temperature drops followed by the aroma of fig trees and pine needles wafting on the cool breeze Street lights all but vanish and the full moon re-veals every gnarled detail of the Mediterranean

SANT ANTONI amp FACES OF MALLORCAPHIL DAVIS

countryside making it glow blue-grey and twisting it into shapes of fantastical creatures the rough rocky slopes like the ancient skin of giant sleep-ing dragons Every now and then a neon Coca Cola sign points to a dimly lit roadside bar presumed empty These isolated buildings are relics of a for-gotten era a time before the highways when these roads used to get some action They simultaneous-ly entice and unsettle but hardly anyone sees them anymore Its nocturnal aura is an Edward Hopper painting brought to life

Irsquove come to Mallorca to photograph the annual fes-tival of Sant Antoni which takes place on the 16th and 17th of January It commemorates Saint Anto-ni the patron saint of farm animals and almost all Mallorcan towns hold some kind of celebration In the towns of Muro and Llucmajor local churches bless any animals brought to them typically hors-es sheep dogs ferrets and birds The residents of Arta in the northeast wear a white shirt and red

Copyright of Phil Davis

Copyright of Phil Davis

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

scarf and visit their local church to sing songs In Sa Pobla musicians perform gloses Mallor-cas answer to flamenco singing I have based myself in the northern town of Pollensa and its coastal sister Puerto Pollensa both of which I photographed sparingly back in 2007 There is a sense of unfinished business

Pollensa 16th January Evening sees the begin-ning of the festivities Bonfires and barbecues line the streets People waiting for the fires to be lit grill food bought from market stalls lin-ing the town square mostly black pudding and a local sausage called sobrasada which is soft and heavy on the paprika Stacks of logs ready for the burning ceremony are adorned with elaborate sculptures of devil heads wicker ani-mals and other homemade creations A churro stand peddles bunuellos (donuts) along with ghoul masks and pitchforks A huge bonfire by the main steps of the church features an elabo-rate installation of monstrous creatures sitting at a dinner table At one end stands the figure of a holy man - the figure of Saint Antoni - his hand raised in pious resistance against devil-ish temptation A procession of locals in devil costume performs a symbolic dance before the fires are finally lit They will burn through the night

The 17th of January is the day of the Pujada Del Pi - the Climbing of the Pine Each year people gather by the beach in the village of Formentor to watch as a 20 metre pine tree is cut down stripped tied to a boat and taken back to Puerto Pollensa I make my way to the docks where the wood cutters are binding the tree with ropes and harnesses Reporters stand in front of the crowds and people pose for the cameras cheering blowing kisses and tipping drinks all over each other The boat comes into view and chugs slowly towards the docks Guardia Civil (civil guards) clear the area and heave the tree onto the stern of the boat There is thunder and buckets of rain I zoom off and head back hop-ing to be first in line (or at least near the front) when the boat arrives

Back in Puerto Pollensa the tree is unloaded and Copyright of Phil Davis

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

dragged through the streets to the town square accompanied by xeremiers small groups of mu-sicians playing xeremias (bagpipes) flutes and drums Firecrackers blast left right and centre a necessary boost of adrenaline for any inebri-ated crowd attempting to lug a huge tree all the way across a town Varying grades of gunpow-der are detonated throughout the day inexpli-cably failing to cause serious injury When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church The aim is to climb to the top the winner award-ed a bottle of wine and bragging rights for the week It is an unchoreographed scrum from the start Men and women push past and scramble over each other climbers claw at the trunk slip down and are propped up again by the crowd Reaching the top of a greasy sixty foot pole is self-evidently difficult Of those who attempt it most will not get beyond a third of the way up and it can take hours to crown a winner lead-ing to lulls in the drama which the crowd solves by drinking more mescat a local absinthe-like

concoction only somehow even worse This year the victor is 19 year old Sergi Gomez who also won in 2011 When he reaches the top he rips open a large bag of confetti which floats onto the cheering crowds below With the main event over people head into bars to continue the cel-ebrations While I wait for my drink someone lights a dynamite-sized firecracker and drops it through the bar window a final deafening re-minder of the days drama

In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one In winter resort towns like Puerto Pollensa are quiet and largely empty Chairs are stacked outside shuttered restau-rants old men watch the sea There is less work and consequently much less money An economy based around tourism and agricul-ture doesnt have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests It feels strange and lonely and Hopperesque a neon roadside

Copyright of Phil Davis

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

scarf and visit their local church to sing songs In Sa Pobla musicians perform gloses Mallor-cas answer to flamenco singing I have based myself in the northern town of Pollensa and its coastal sister Puerto Pollensa both of which I photographed sparingly back in 2007 There is a sense of unfinished business

Pollensa 16th January Evening sees the begin-ning of the festivities Bonfires and barbecues line the streets People waiting for the fires to be lit grill food bought from market stalls lin-ing the town square mostly black pudding and a local sausage called sobrasada which is soft and heavy on the paprika Stacks of logs ready for the burning ceremony are adorned with elaborate sculptures of devil heads wicker ani-mals and other homemade creations A churro stand peddles bunuellos (donuts) along with ghoul masks and pitchforks A huge bonfire by the main steps of the church features an elabo-rate installation of monstrous creatures sitting at a dinner table At one end stands the figure of a holy man - the figure of Saint Antoni - his hand raised in pious resistance against devil-ish temptation A procession of locals in devil costume performs a symbolic dance before the fires are finally lit They will burn through the night

The 17th of January is the day of the Pujada Del Pi - the Climbing of the Pine Each year people gather by the beach in the village of Formentor to watch as a 20 metre pine tree is cut down stripped tied to a boat and taken back to Puerto Pollensa I make my way to the docks where the wood cutters are binding the tree with ropes and harnesses Reporters stand in front of the crowds and people pose for the cameras cheering blowing kisses and tipping drinks all over each other The boat comes into view and chugs slowly towards the docks Guardia Civil (civil guards) clear the area and heave the tree onto the stern of the boat There is thunder and buckets of rain I zoom off and head back hop-ing to be first in line (or at least near the front) when the boat arrives

Back in Puerto Pollensa the tree is unloaded and Copyright of Phil Davis

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

dragged through the streets to the town square accompanied by xeremiers small groups of mu-sicians playing xeremias (bagpipes) flutes and drums Firecrackers blast left right and centre a necessary boost of adrenaline for any inebri-ated crowd attempting to lug a huge tree all the way across a town Varying grades of gunpow-der are detonated throughout the day inexpli-cably failing to cause serious injury When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church The aim is to climb to the top the winner award-ed a bottle of wine and bragging rights for the week It is an unchoreographed scrum from the start Men and women push past and scramble over each other climbers claw at the trunk slip down and are propped up again by the crowd Reaching the top of a greasy sixty foot pole is self-evidently difficult Of those who attempt it most will not get beyond a third of the way up and it can take hours to crown a winner lead-ing to lulls in the drama which the crowd solves by drinking more mescat a local absinthe-like

concoction only somehow even worse This year the victor is 19 year old Sergi Gomez who also won in 2011 When he reaches the top he rips open a large bag of confetti which floats onto the cheering crowds below With the main event over people head into bars to continue the cel-ebrations While I wait for my drink someone lights a dynamite-sized firecracker and drops it through the bar window a final deafening re-minder of the days drama

In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one In winter resort towns like Puerto Pollensa are quiet and largely empty Chairs are stacked outside shuttered restau-rants old men watch the sea There is less work and consequently much less money An economy based around tourism and agricul-ture doesnt have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests It feels strange and lonely and Hopperesque a neon roadside

Copyright of Phil Davis

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

DegreeART ARTIST INSIGHT

scarf and visit their local church to sing songs In Sa Pobla musicians perform gloses Mallor-cas answer to flamenco singing I have based myself in the northern town of Pollensa and its coastal sister Puerto Pollensa both of which I photographed sparingly back in 2007 There is a sense of unfinished business

Pollensa 16th January Evening sees the begin-ning of the festivities Bonfires and barbecues line the streets People waiting for the fires to be lit grill food bought from market stalls lin-ing the town square mostly black pudding and a local sausage called sobrasada which is soft and heavy on the paprika Stacks of logs ready for the burning ceremony are adorned with elaborate sculptures of devil heads wicker ani-mals and other homemade creations A churro stand peddles bunuellos (donuts) along with ghoul masks and pitchforks A huge bonfire by the main steps of the church features an elabo-rate installation of monstrous creatures sitting at a dinner table At one end stands the figure of a holy man - the figure of Saint Antoni - his hand raised in pious resistance against devil-ish temptation A procession of locals in devil costume performs a symbolic dance before the fires are finally lit They will burn through the night

The 17th of January is the day of the Pujada Del Pi - the Climbing of the Pine Each year people gather by the beach in the village of Formentor to watch as a 20 metre pine tree is cut down stripped tied to a boat and taken back to Puerto Pollensa I make my way to the docks where the wood cutters are binding the tree with ropes and harnesses Reporters stand in front of the crowds and people pose for the cameras cheering blowing kisses and tipping drinks all over each other The boat comes into view and chugs slowly towards the docks Guardia Civil (civil guards) clear the area and heave the tree onto the stern of the boat There is thunder and buckets of rain I zoom off and head back hop-ing to be first in line (or at least near the front) when the boat arrives

Back in Puerto Pollensa the tree is unloaded and Copyright of Phil Davis

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

dragged through the streets to the town square accompanied by xeremiers small groups of mu-sicians playing xeremias (bagpipes) flutes and drums Firecrackers blast left right and centre a necessary boost of adrenaline for any inebri-ated crowd attempting to lug a huge tree all the way across a town Varying grades of gunpow-der are detonated throughout the day inexpli-cably failing to cause serious injury When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church The aim is to climb to the top the winner award-ed a bottle of wine and bragging rights for the week It is an unchoreographed scrum from the start Men and women push past and scramble over each other climbers claw at the trunk slip down and are propped up again by the crowd Reaching the top of a greasy sixty foot pole is self-evidently difficult Of those who attempt it most will not get beyond a third of the way up and it can take hours to crown a winner lead-ing to lulls in the drama which the crowd solves by drinking more mescat a local absinthe-like

concoction only somehow even worse This year the victor is 19 year old Sergi Gomez who also won in 2011 When he reaches the top he rips open a large bag of confetti which floats onto the cheering crowds below With the main event over people head into bars to continue the cel-ebrations While I wait for my drink someone lights a dynamite-sized firecracker and drops it through the bar window a final deafening re-minder of the days drama

In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one In winter resort towns like Puerto Pollensa are quiet and largely empty Chairs are stacked outside shuttered restau-rants old men watch the sea There is less work and consequently much less money An economy based around tourism and agricul-ture doesnt have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests It feels strange and lonely and Hopperesque a neon roadside

Copyright of Phil Davis

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

dragged through the streets to the town square accompanied by xeremiers small groups of mu-sicians playing xeremias (bagpipes) flutes and drums Firecrackers blast left right and centre a necessary boost of adrenaline for any inebri-ated crowd attempting to lug a huge tree all the way across a town Varying grades of gunpow-der are detonated throughout the day inexpli-cably failing to cause serious injury When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church The aim is to climb to the top the winner award-ed a bottle of wine and bragging rights for the week It is an unchoreographed scrum from the start Men and women push past and scramble over each other climbers claw at the trunk slip down and are propped up again by the crowd Reaching the top of a greasy sixty foot pole is self-evidently difficult Of those who attempt it most will not get beyond a third of the way up and it can take hours to crown a winner lead-ing to lulls in the drama which the crowd solves by drinking more mescat a local absinthe-like

concoction only somehow even worse This year the victor is 19 year old Sergi Gomez who also won in 2011 When he reaches the top he rips open a large bag of confetti which floats onto the cheering crowds below With the main event over people head into bars to continue the cel-ebrations While I wait for my drink someone lights a dynamite-sized firecracker and drops it through the bar window a final deafening re-minder of the days drama

In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one In winter resort towns like Puerto Pollensa are quiet and largely empty Chairs are stacked outside shuttered restau-rants old men watch the sea There is less work and consequently much less money An economy based around tourism and agricul-ture doesnt have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests It feels strange and lonely and Hopperesque a neon roadside

Copyright of Phil Davis

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

DegreeART ARTIST INSIGHT

dragged through the streets to the town square accompanied by xeremiers small groups of mu-sicians playing xeremias (bagpipes) flutes and drums Firecrackers blast left right and centre a necessary boost of adrenaline for any inebri-ated crowd attempting to lug a huge tree all the way across a town Varying grades of gunpow-der are detonated throughout the day inexpli-cably failing to cause serious injury When the tree finally reaches the square it is rubbed in soap and hoisted into position above the church The aim is to climb to the top the winner award-ed a bottle of wine and bragging rights for the week It is an unchoreographed scrum from the start Men and women push past and scramble over each other climbers claw at the trunk slip down and are propped up again by the crowd Reaching the top of a greasy sixty foot pole is self-evidently difficult Of those who attempt it most will not get beyond a third of the way up and it can take hours to crown a winner lead-ing to lulls in the drama which the crowd solves by drinking more mescat a local absinthe-like

concoction only somehow even worse This year the victor is 19 year old Sergi Gomez who also won in 2011 When he reaches the top he rips open a large bag of confetti which floats onto the cheering crowds below With the main event over people head into bars to continue the cel-ebrations While I wait for my drink someone lights a dynamite-sized firecracker and drops it through the bar window a final deafening re-minder of the days drama

In July and August the population of Mallorca swells to seven million and visitors outnumber locals six-to-one In winter resort towns like Puerto Pollensa are quiet and largely empty Chairs are stacked outside shuttered restau-rants old men watch the sea There is less work and consequently much less money An economy based around tourism and agricul-ture doesnt have much to do in January - it is compelled to wait for warmer weather and the migration of paying guests It feels strange and lonely and Hopperesque a neon roadside

Copyright of Phil Davis

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

Coca Cola sign writ large To outsiders it is a town in hibernation but for locals there is a concentration of old traditions and fes-tivities at this time of which Sant Antoni is only one There is joy and optimism here along with a dignity and community spirit that deserves to be documented People get through the dark and silent months as best they can with parties liquor and fire-crackers and wait for the summer days of plenty to return

Copyright of Phil Davis

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

DegreeART ARTIST INSIGHT

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

Copyright of Phil Davis

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

DegreeART ADVICE

Investing in art has always been considered a realm -

ital era creating more platforms to showcase art and encourage more artist exposure collecting art has now become a more accessible and tangible invest-ment

In 2003 Elinor Olisa and Isobel Beauchamp created

online art galleries the concept behind DegreeArt was to capture emerging artists on the brink of their career and help promote and sell their work online Elinor and Isobel felt there was a gap in the market for students and new graduates who had fabulous art to sell and the potential to become noted talents of the future and therefore the opportunity to create a unique art collecting opportunity

-bel and I were becoming increasingly aware of the vast number of Fine Art students who were holding incredible degree shows that too often became the

careers It seemed obvious to us that the missing link

A CLASSICAL PAINTING FOR THE DIGITAL AGE

was a combination of business training a community of support and marketing This was all something we felt we could offer by harnessing the growing power of the Internetrdquo

Over the past 10 years DegreeArtcom has estab-lished itself as the market leader in UK student and graduate art sales hand picking and promoting the most promising artistic talent with the idea thatcli-ents invest in art that has the potential to become highly valuable

Elinor explains how DegreeArt has grown and changed over the space of a decade ldquoIsobel and I ran DegreeArt single handedly until 2010 when we chose to raise investment to allow us grow the busi-ness further This brought on board three new Direc-tors from varied backgrounds Before this we had run the gallery from a live work space travelling around the UK holding Pop Up exhibitions and then from our

Taking the business from strength to strength De-

an ever growing client base Taking an active inter-

A 21st Century Approach to Art CollectingFirst published in The Money Maker Magazine Issue FebMarch 2013

est in its artists and recruiting new talent DegreeArt has been responsible for hosting the Signature Art Prize which is now in its sixth year has become a staple on the art critics calendar and an aspirational goal for emerging artists

Elinor explains ldquoDegreeArtrsquos mission is to make original art affordable and accessible to all and in doing so securing careers for our artists and viable investments for our clients We recruit from a unique sector of the art market universities and provide a vital platform for these artists to promote them-selves fromrdquo

On the investment potential of art Elinor comments

collector has the power to own original art at afford-able prices Clients of the online gallery have wit-nessed a growth in value of their artwork of an av-erage of 40 but as much as 83 in the past three yearsrdquo

Holding regular exhibitions at their Vyner St gallery DegreeArt also invite clients to visit the gallery for viewings warding off the blindness of buying online

From 1st April 2013 DegreeArt will be launching the Collectorsrsquo Club The Collectorsrsquo Club has been founded to support new emerging artists by enabling their work to be accessible to a new and wider au-dience Through The Collectorsrsquo Club members are able to come together to understand and appreci-ate owning contemporary art As art becomes an in-creasingly popular choice to add to the traditional mix of equities commodities and bonds the Club will be of interest to a variety of art enthusiasts ranging from those who want to start purchasing art and investing in emerging artists to established art collectors

Amongst carrying the most up and coming artwork DegreeArt also provide art and interior design con-sultancy art valuation gallery hire artwork hire art insurance and framing services

Elinor sumarises ldquoWith the assistance of DegreeArtcom becoming an art collector doesnrsquot require in-sider knowledge or luck

By sourcing and working with only the most talented emerging artists DegreeArtcom allows the novice

well as invest in You could discover the next Damien Hirst or Tracy Emin by simply logging onrdquo

wwwdegreeartcom

Inve

st in Art

DegreeART ADVICE

ONES TO WATCHIN THIS ISSUE OF THE MAGAZINE ISOBEL BEAUCHAMP SELECTS THREE ARTISTS TO WATCH SHOWCASING THE BEST IN EMERGING CONTEMPORARY ART

JO SCALESJo Scales- about to graduate Jo Scales is already showing signs of being a leader among her contemporaries by arranging an exhibition post graduation for her and a selection of other graduating artists in her year group Her works are an investi-gation into the relationship between ge-ometry light and scale and how the three can be morphed by technology altering our perceptions of the generated forms The resulting intriguing photographs are intentionally misleading in their repre-sentation and Scalesrsquo use of light and colour provide a striking result that make this artist one of my ones to watch

Alice Woods- a finalist in DegreeArts Signature Art Prize last year with one of her awesome (and heavy) penny sculp-tures Alice Woods has just returned from a term at the Ecole Nationale Su-perieure Des Beaux-Arts in Paris where she created a series of beautiful book sculptures which were an exploration into the remodelling of the book from a transmitter of knowledge to reveal the book also as an object with complex form and structure The final structure is presented in a flexible form which can be

ALICE WOODSURBAN SUBLIME by Jo Scales2013 Photography 20 x 26 x 001 cm pound15000

PERFORMANCE NUMBER 1 by Alice Woods2012 Sculpture 125 x 58 x 30 cm pound24500

displayed in an infinite number of ways Woods other works examine performance In particular her role as a flutist and the visual representation of the sounds she creates while performing these pieces comprise of a series of unique etchings detailing the patterns of her playing Her decisive investigations as a route to her creative processes is fascinating highly skilled and impeccably finished Not yet graduated and al-ready part of a number of collections I dont hesitate in suggesting you keep Alice Woods on your art-dar

HORMAZD NARIELWALLAHormazd Narielwalla revitalises Savile Row tailoring patterns using them as source material for exquisite sculptural collages

His fascination of tailoring archive earned him the only International Rectorrsquos Scholarship from the University of Arts London at London College of Fashion where he is undertaking a phd His research focuses on exploring a new value for the pattern by looking at them as historical documents and beautiful drawings in their own right the British Raj being the context

During his residency at Dege amp Skinner Savile Row he wrote The Savile Row Cutter the tailoring biography of Master Tailor Michael Skinner published by Bene-factum Publishers London 2011 and in 2008 produced a limited edition artist book Dead Manrsquos Patterns a design story inspired by bespoke patterns belonging to deceased customers The book was acquired by several art collec-tions around the world including the Rare British Modern Collection at the British Library

He has exhibited in London Melbourne Stockholm Ath-ens and the eminent Scope Art Fair in New York and is a participating artist one of 11 for Project Space at Col-lect 2013 produced by the Crafts Council England and hosted by Saatchi Gallery London

This is definitely an artist to watch not only is Hormazd skillfully exploring the intricacy of the materials he uses but he also interweaves a historical narrative that stren-thens the context of the work To see his works visit our latest exhibition lsquoIn All Directionsrsquo

DEAD MANS PATTERNS - SKULL TOWERBy Hormazd Narielwalla2013 Sculpture 140 x 46 x 46 cmpound360000

UNTITLED (PERFORMANCE NUMBER 1)by Alice Woods 2012 Etching print 28 x 375 cmpound4000

Totems X - Large Perspex by Natalie Tkachuk 2012 Photography 1016 x 762 x 07 cm pound190000