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Leeds Metropolitan University Fine Art Publication 2010

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An experimental publication produced for the 2010 Leeds Metropolitan University Fine Art Degree show. From inception to print in a week, the text and visuals were co-ordinated and edited by six of the exhibiting artists; Huw Andrews, Kay Herbert, Matthew Merrick, Jasmin Patel, John Slemensek & Tom Williamson.

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Page 1: Leeds Metropolitan University Fine Art Publication 2010
Page 2: Leeds Metropolitan University Fine Art Publication 2010

FINE RAT

SCHOOL OF CONTEMPORARY ART & GRAPHIC DESIGN

LEEDS METROPOLITAN UNIVERSITY 2010

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Page 3: Leeds Metropolitan University Fine Art Publication 2010

‘Rory Macbeth’s practice probes the gap between ideals and their realisation, between what is presented to us and what

we actually get. That’s magic!’

- Rory MacBeth - tutor.

Edited & designed by: Huw Andrews, Kay Herbert, Matthew Merrick, Jasmin Patel,

John Slemensek & Tom Williamson.

Cover by: Huw Andrews.

Special thanks to: Sarah du Feu & Andy Edwards.

And finally: a big thank you to all the Fine Art staff.

A large amount of artists in an area could be the key for A degree in Fine Art does not necessarily leave one well

prepared for facing disaster, however as this odd collection of people disbands society in the typical sense, I can’t

help but feel a sadness to see everyone go. and it can be difficult to define what one actually learns, and what skills one

gains, during the course. For me and I’m sure a lot of us, these three years more than anything else, will have seen

an incredible change in character, and has been gone through together. Welding, programming a laser cutter and

building free standing walls, to name a few, are unconventional skills and it is hard to imagine a particular situation when

they become appropriate.

A great man once surmised that However, as well as the broad and perhaps sporadic range of skills acquired, perhaps

most importantly one learns the skill of initiative. on an art course we essentially spend three years being completely

open with our thoughts and feelings to not just each other, but also to people we have never met before. We have

the ability to be both aspiring and proficient, to realise ambitious ideas and take on much more than the traditional role of

the artist. We will enter the world and be the educators, the carers and the entertainers. Maybe some of us will

make art too. As an artist It is often underestimated the amount one embraces and even relishes uncertainty of work

that goes into an art course, but many sleepless nights, and doubt as we continuously question what we observe. the

constant see-sawing of loving and hating yourself and Art becomes a fluid concept, your work, a way of living; and

far too much money spent at Neville’s says differently.

even during the course We attempt to create something entirely new in the world, and along the way, there is a vast

blurring between art, education and life, we are simply pursuing what we do naturally. we change too.

- Jasmin John Patel Slemensek.

Page 4: Leeds Metropolitan University Fine Art Publication 2010

Separating the portrait into a grid highlights every area of the face

and gives equal significance to every feature and skin imperfection,

implying that the portrait is a surface. The slippage between the

assembled units is a visual product of my frustrations towards

adopting the grid method when drawing portraits. In isolating small

portions of the image I deny myself the view of the completed

portrait until the last unit is assembled.

‘Today, there are no longer images that are beautiful, there are chains of images.’ - Philippe Parreno.

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Page 5: Leeds Metropolitan University Fine Art Publication 2010

Simeon Barclay’s practice mines the expanded field of avant–gardism and

high design to create sculptural assemblages that, whilst paying reverence

to modernist paradigms, seek to undermine their significance as barometers

of cultural refinement. Exploring ideas around the conformity of consumption,

Barclay views the seduction of fetishised objects as a means to indulge

internalised emotions that exist in contradiction to a coerced social idealism.

Barclay’s formations although sometimes appearing ad hoc, are the result of

a playful, discursive involvement with materials, allowing him to establish an

object that hovers ambiguously between function and formality.

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Page 6: Leeds Metropolitan University Fine Art Publication 2010

‘Does this go towards your course then?’

‘So what skills have they actually taught you?’

‘So how is this going to make you any money?’

- Mum.

‘No animal confirms man, either positively or negatively. The

animal can be killed and eaten so that its energy is added to

that which the hunter already possesses. The animal can

be tamed so that it supplies and works for the peasant. But

always its lack of common language, its silence, guarantees

its distance, its distinctness, its exclusion, from and of

man.’

- John Berger

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Page 7: Leeds Metropolitan University Fine Art Publication 2010

In contemporary western society we often find the values of materialism and consumerism forced upon us and are encouraged to believe

that they are the key to finding fulfilment and happiness in life. The idea that money cannot buy happiness is a piece of folk knowledge

that we are all familiar with and yet seem reluctant to act upon. Change in our approach to life, if it occurs, needs to come consciously

and collectively from the individuals that make up our society, and the recognition that a self-serving individualist approach to life cannot

constitute the building blocks of a healthy society.

Patel creates a space for a cry for individuality, freedom and personal expression; she does not present us with an alternative and idealised

life model to follow, we are left to investigate this idea freely and independently. Her work is a starting point for inquisitive thought, a

gesture towards a destination rather than the destination itself. What it does offer, however, is the realisation that a rejection of the given

structures and systems of our society is possible.

‘You have the right to action only, never to its results; never to the results of your actions; but don’t take to inaction also.’ - Gita (2.47) from the book of Hinduism.

The

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ic e

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nge

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eing

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ing

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oth

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Page 8: Leeds Metropolitan University Fine Art Publication 2010

Art is a great gateway, providing the viewer with knowledge

and information that can in turn inspire them to act in a

positive way.

We

shou

ld r

euse

eve

ryth

ing

we

have

cre

ated

. I

don’

t kn

ow if

thi

s is

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stat

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t or

just

a p

erso

nal b

elie

f.

In examining aspects of buildings such

as Chamberlain, Powell and Bon’s

sixties extension to Leeds University I

hope to portray my love and passion for

Brutalist architecture and the material

of concrete. By pulling out a sculptural

quote from elements of the era I

exploit the simplicity and strength of

concrete, and reveal beauty that is often

dismissed.

A series of elements are set up in a situation which

is then given over to chance.

The audience plays a vital role in the success or failure of

an artwork and it is the continuous permutation of power

and control that interests me; I strive to communicate the

complex relationship between viewer and artist, using the

work as a means to expose and represent this process.‘When a part of self is given away, community appears’- Lewis Hyde

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5

30

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5 27

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I am seldom established permanently in one physical place; my email address has

more permanence than my street name or number, and so I carry my corner of the

world with me wherever I go.

The space depicted may appear to

be within reach but for the viewer it

remains inaccessible. They are outside,

looking in, unable to fully engage with

the place that is portrayed.

‘When a part of self is given away, community appears’- Lewis Hyde 13

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29 14 15 22

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Page 10: Leeds Metropolitan University Fine Art Publication 2010

> OK riders sit back hold on tight.

> Ay, you’re riding the Twister baby n-n-n-number one, let’s have some crazy fun.

> Come on baby, move it.

> Hands up.

> Come on girls and boys let’s make some noise.

> Twa-twa-twa-twister.

> Feel the breeze, don’t open your knees.

> Hahahahaa.

> Let me hear you scream, come on boys scream.

> Oggi oggi oggi.

> Oggi.

> Oggi.

> Oggi oggi oggi.

> Hahahahaa.

> Slide to the end and squash your fat friend.

> OK let’s ride lets go.

> Pedal to the metal baby yeah.

> More speed more power, yeah baby yeah.

> Let’s turn it up, come on.

> Get those hands in the air.

> Rock your body baby yeah.

> OK last spin, let’s turn this baby up.

> Let me hear you scream.

> I can’t hear you, scream.

> Hahahahaa.

> All good things must come to an end, we’re slowing you down.

> Let’s ride face to face, let’s hit the brakes, let’s end this race.

> Want more?

> Come join me.45

Page 11: Leeds Metropolitan University Fine Art Publication 2010

> OK riders sit back hold on tight.

> Ay, you’re riding the Twister baby n-n-n-number one, let’s have some crazy fun.

> Come on baby, move it.

> Hands up.

> Come on girls and boys let’s make some noise.

> Twa-twa-twa-twister.

> Feel the breeze, don’t open your knees.

> Hahahahaa.

> Let me hear you scream, come on boys scream.

> Oggi oggi oggi.

> Oggi.

> Oggi.

> Oggi oggi oggi.

> Hahahahaa.

> Slide to the end and squash your fat friend.

> OK let’s ride lets go.

> Pedal to the metal baby yeah.

> More speed more power, yeah baby yeah.

> Let’s turn it up, come on.

> Get those hands in the air.

> Rock your body baby yeah.

> OK last spin, let’s turn this baby up.

> Let me hear you scream.

> I can’t hear you, scream.

> Hahahahaa.

> All good things must come to an end, we’re slowing you down.

> Let’s ride face to face, let’s hit the brakes, let’s end this race.

> Want more?

> Come join me.

Page 12: Leeds Metropolitan University Fine Art Publication 2010

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Page 13: Leeds Metropolitan University Fine Art Publication 2010

Photography captures and preserves moments passed. Every photograph is unique, as is every

interpretation from each of its viewers.

Photography is addictive; chasing the perfect image, the greater high.

The best photographs always appear when I have forgotten my film or camera. Equally, I can

miss other moments by a split second, or even lose shots whilst processing the film. Funnily

enough, these are the ones that I remember most.

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Page 14: Leeds Metropolitan University Fine Art Publication 2010

I have an idealist notion that human life can be sustained

by four basic necessities; food, warmth, shelter and

creativity. Creativity not only gives us the initiative to

attain the first three necessities, but also the ability to

emotionally understand, appreciate and enjoy them.

While the concept is romantic and optimistic it is my

suggestion that living the good life is not beyond an

individual’s reach in the contemporary era.

The alteration of household objects obliquely references the woman’s

stereotypical role as housekeeper. These adapted forms speak gently

about contrast and tension of matter through fundamental elements of

structure, texture, space and light. There is a juxtaposition of hard with

soft, light with dark and open with closed.

Filling these objects with plaster, or penetrating them with nails

imposes an assertive and less forgiving force upon them – a masculine

force which creates a strange opposition.

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‘Unfortunately, it is

often the artist who

becomes invisible’

- Kirsten Little

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‘The wolf is a carnivore incarnate and he’s as cunning as he is ferocious; once he’d

had a taste of flesh, then nothing else will do.’

- Angela Carter

In creating small aesthetic values which have no musical

notation I can enjoy and interpret music as another form;

the limits to sound have no boundaries.

Leeds has a great acoustic environment, I use a lot of

field recordings in my work as well as real world sounds

and recordings. I place them together and compose my

work using my own unique recording method whereby

an artificial soundscape is created.

I’ve only met form and content once on a cold day

in the Angel pub in Leeds. They were both on cask

which, at the time, was £1.46 a pint but has recently

gone up to £1.50, I think because of a VAT or tax

increase, same thing I guess, but it’s still one of the

cheapest pints of cask in Leeds and there’s always

good conversation to be found. Anyway, I digress.

‘Ah; this terrible gibberish… No solace for refugees, no point in looking back. The question, as always, is now…?’ - Hunter S. Thompson

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I am lonely and my inventions are my friends. I am like a mad scientist. I enjoy performing,

I entertain people directly.

If I was the last man on earth, I would still make art; if it can be called art that is. In

reference to a quote by Marcel Duchamp - ‘Society takes what it wants. The artist himself

does not count, because there is no actual existence for the work of art. The work of art is

always based on the two poles of the onlooker and the maker, and the spark that comes

from the bipolar action gives the birth to something - like electricity. But the onlooker has

the last word, and it is always posterity that makes the masterpiece. The artist should not

concern himself with this, because it has nothing to do with him.’

My inventions only become art when I give them an audience to interact with, so in the

case that mankind was obliterated perhaps there would be no such thing as art. But I

would continue to make my kinetic sculptures, I think they would help keep me sane.

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Page 18: Leeds Metropolitan University Fine Art Publication 2010

enjoyenjoy our show to a certain degree

opening tuesday 8th june 7-10pmwednesday 9th-12th june 12-6pm

unit 22, mabgate, leeds, ls9 7dz

Taking responsibility for the curation of their own exhibition the enjoy collective have formed an independent response to their degree show. This marks the opening of their new artist run studio and events space.

Kirsty MacDonaldJane McGeeneyKayleigh MorrisSophie PeelRian TreanorBen WalkerSara Wolfson

contact us at: [email protected]

Page 19: Leeds Metropolitan University Fine Art Publication 2010

Victoria Alexander 07527 177251

[email protected]

Huw Andrews07723 627047

[email protected] www.huwandrews.com

Simeon Barclay07773 376542

[email protected]

Paul Barugh 07927 342725

[email protected]

Jenny Beagley 07906 355223

[email protected]

Louise Burdett07792 194526

[email protected]

Kerry Butcher07981 479102

Lauren Campbell 07919 512978

[email protected]

Oliver Croome07981 411965

[email protected]

Ellie Deakin 07910 836293

[email protected]

Jonty Donebauer07508 502141

[email protected]

Lisa Dyer 07533 691284

[email protected]

Charlotte Field07875 364048

[email protected]

Fraser Gray 07769 184744

[email protected]

Mel Green 07775 269142

Laura Ellen Gregg 07969 307440

[email protected]

Archie Gullan

[email protected]

Kay Herbert 07762 659429

[email protected]

Nick Hodgkiss 07866 016331

[email protected]

Kyle Horn07894 959527

[email protected]

Stephen Jackson 07547 753441

[email protected] www.stephenjjackson.co.uk

Caroline Jolly 07930 308500

[email protected]

Serafina Kryeziu 07794 719369

[email protected]

Daniel Lawrence 07908 111840

Nikki Lewis-Logie07779 845227

[email protected]

Kirsten Little 07871 005701

[email protected]

Kirsty MacDonald07580 575986

[email protected]

Sophie MacWhannell07886 610750

[email protected]

Hannah Maya 07707 394206

[email protected]

Matthew McCarron-Shipman

07717 034630 [email protected]

www.woolgatherart.co.uk

Jane McGeeney07962 211162

[email protected]

Matthew Merrick 07971 617350

[email protected]

www.matthewmerrick.com

Tom Moore07725 473989

[email protected]

Anthony Morgan 07779 946158

[email protected]

Hannah Morris07904 972899

[email protected]

Kayleigh Morris 07843 927499

[email protected]

Amy Naylor-Morrell 07854 147559

[email protected]

Annie Nelson07746 327308

[email protected] www.annienelson.co.uk

Beth Newton07857 769369

[email protected]

Jess O’Keeffe 07828 154277

[email protected]

Myles Oxton07986 320205

Jasmin Patel 07853 247759

[email protected]

.com

Sophie Peel07877 487951

Prince07725 884426

[email protected]

Betty Savage07805 004160

[email protected]

Jack Piers Scott 07812 715626

[email protected]

John Slemensek 077467 522010

[email protected] www.woolgatherart.co.uk

Kelly Speed 07973 378486

[email protected]

Kathryn Stamper 07792 053225

[email protected] www.kathrynstamper

.blogspot.com

Bryony Stockdale07763 853110

[email protected]

Rebecca Strain 07765 179421

[email protected]

Kasia Synowiec 07794 099558

[email protected]

Rian Treanor07853 406135

[email protected]

Benjamin Walker07730 348333

Christopher Wheeler 07525 496663

[email protected] www.myspace.com

/landscapesandlullabies

Tom Williamson 07772 141972

[email protected]

www.woolgatherart.co.uk

Michael Wilson

[email protected]

Sara Wolfson07879 670052

[email protected]

Chris Woodward 07747 801581

[email protected] www.woolgatherart.co.uk

Verity Woolf 07581 682543

[email protected]

That Old Chestnut (Chris Kubiszewski & Elly Robinson) 07837 869091 & 07834 163836

[email protected]

‘If I see another self-portrait I’ll shoot myself in the head.’ - *** *******

J.P.S. - 21 year old male, GSOH, seeks to understand himself and the world around him. WTT in physical/mental space, exploration necessary. Seeks open minds, hopes for better relationships, better society.

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BUT DON’TLOSE THECONFIDENCEAS THEREARE MANYOPPORTUNITIES- 第二十四屆 5 2010