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Catalogue for Newcastle University Fine Art degree show 2011. The first and last pages are the patterns for clear spot UV on an all white background. For more info about the show and artists: http://newcastledegreeshow.org [email protected] (+44) 7814005640 Design and layout by Christopher Minchin http://chrisminchin.com [email protected] (+44) 7792267223
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catalogue design and layout by christopher Minchin (p.78) chrisMinchin.coM
Fine Art DepartmentSchool of Arts and Cultures
The QuadrangleNewcastle University
NE1 7RU
+44 191 222 [email protected]
380 Old StreetLondon
EC1V 9LT
+44 20 7739 [email protected]
LONDONSHOREDITCH TOWN HALL
6-9TH JULY
NEWCASTLEHATTON GALLERY3-17TH JUNE
poster design by adaM shield (p.92) drawingisgood.coM
ACkNOWLEDGEmENTSThe final year students of BA Fine Art at Newcastle University would like to thank the following individuals, groups, and companies. Without you we would never have achieved this.
The Bartlett Endowment Fund
The NewBridge Project
Andrew BurtonDavid Butler
katie CuddonNick Fox
matt HearnNadia Hebson
Chris JonesBridget kennedyUta kogelsberger
Vee PollockGavin RobsonTracey TofieldAlan Turnbull
mick HedleySteve Rowarth
Joe SallisErika Servin
Nigel VillalardRay Sydenham
Lise AutogenaNeil BromwichIrene Brown
Stephanie Brown
FOREWORD
I share a special bond with this student cohort; back in 2007 I came from Wolverhampton University to take up a post as full-time lecturer at Newcastle and my initial role was teaching the first Year; the very students now graduating in 2011.
This is my twenty-fifth undergraduate degree show. You may think this would make the experience a little jaded, but this is absolutely not the case; every year I feel the anticipation and excitement build in the months prior to opening night. (And every year I have the same anxiety dream during hanging week – I am a student, I must have my degree show up by the end of the day, but I have no work!)
What maintains my interest are the students themselves, every year is never the same; each student is a unique creative individual who brings energy and ideas to the mix, and each year has its own chemistry and character. This was very much the case when I met this year’s graduates for the first time; they kept me on my toes and have continued to engage me with intelligence, vitality, ambition and dedication throughout the four years I have known them.
This exhibition is a testament to the hard work and commitment of each student. It reveals how well they have developed their own distinctive visual language, engaged with detailed research, rigorous experimentation, risk taking, and invention. They have faced regular scrutiny and critique from
a wide range of practicing artists and their peers, attempting to locate their practice within the constantly shifting contemporary art world, testing boundaries that define fine art practice.
Fine Art differs from most other undergraduate subjects by expecting its final-level students to produce unique new outcomes. This in turn creates a distinctive type of student, one used to being responsible for their own direction, independently motivated, a lateral thinker and creative problem solver. All are particularly useful qualities for the graduate entering the current unstable employment market.
Four years of extensive preparation has resulted in an exhibition that reflects the vitality and commitment of an exceptional year. It is a complex and exciting show, one in which you the viewer will find yourself exposed to a range of strong new work; you may find your path arrested by something beautiful, disturbing, poetic, funny, or you may even find yourself ‘within the work’.
I would like to take this opportunity to congratulate this year’s Fine Art Graduates and extend our thanks to their families and friends for supporting them over the last four years. Whilst we celebrate their achievement, it is a sad fact that we also say goodbye. However it is with a great sense of anticipation that we look to their future.
Irene BrownHead of Fine Art,
Newcastle University
Henry Anderson-BrownSarah Anderson
Bryony BainbridgeAndrew Barker
Joseph BatemanStephanie Beaulieu
Freddy BlackmanAimee Brady
Anna Brass Ilona BraunAlex Byrne
Paul DiamondJacob Dwyermichael Fern
Paul FennerPurdey Fitzherbert
Emily Forrest Adrianne Godfrey
John GrayTeal Griffin
Abigail HastonHarriet Haynes
Rebecca HugganPaul martin Hughes
Ella JamesHelen Grace keen
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kate kennedyBibi khamimah-RusliFaye LeydonRobin Livsey Victoria martinCatherine mcDermottDavid mcDonaldHenri James meadowsChristopher minchinSara morrisVictoria moorekate NasmythHolly NaylorLauren ParkinHelen Russel-HughesAdam ShieldSusanna SimpsonRosanna SkettEleanor StimpsonCharlotte Stubbsmichelle SwannRebecca Traviskeeley TweedyLiam WitterLucy Woodacre
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16
BRYO
NY
BAIN
BRID
GE By slowing time and disengaging with the frantic, we can find
a quiet space, a nurturing environment. Through captured moments of the stillness which photography contains and preserves as a window, it is an invitation to look. In calming the pace of the eye my hope is to allow others to re-engage with the world around them in order to re-fresh the conscious experience.
. Tangible . . Sensation . . Temperature .
Untitled, 2010Silver Gelatin print;
35mm Black and White Film 20x 24”
18
AN
DRE
W B
ARk
ER
Tension is intrinsic. We all experience it.It ebbs and flows but it is always there.Emotional, physical, moral, spiritual...
my work explores the nature of these immaterial tensions by creating very real tensions between the materials I use. These expressions, often routed in my own experiences, are held at breaking point, some snap, some persevere and all are submitted to increasing strain. These immense forces form delicate cracks, hair line imperfections and broken surfaces, simultaneously destroying and creating.
Stumbling Block, 2011Steel frame, Teak, Canvas and Plaster 70cm x 70cm x 5cm
07986951399
20
JOSE
PH B
ATE
mEN Perhaps I seek certain utopian things, space for human honour
and respect, landscapes not abused, dreamed landscapes. But the world needs these sorts of dreams, if we do not have them we may as well be cows in a field.
Wild Plains of the East, 2010(Video stills)
Digital Projection 22 min
22
STEP
HA
NIE
BEA
ULI
EUUntitled, 2011Installation 2 x 3.6 x 5.4m
www.wooloo.org/[email protected]
my work questions our individual role in how others define themselves, but also within the establishment of our peer and social groups. Within an installation-based practice, I try to understand and illustrate human behaviour in an anthropomorphic way. I find intriguing how each and every one of us responds to our needs and wants. We all face similar problems; anxiety, fear of loneliness and needs of achievement but we all react and trace limits between the importance of those needs differently. Like most people of my generation, I have been raised with the strong conviction that ‘everything is possible’, that we can achieve all our desires by ourselves. I think we are wrong. Through the handling of materials that reference the corporeal, my work discusses how we become effectively more individualist, yet we need others in the construction of our own identity and building of self-esteem. By observation and comparison we confirm the correctness of our feelings. This inter-reaction helps us to grow intellectually as well as to understand ourselves. The social grid we are living in and part of can be oppressive and restrictive but has a lot to offer.
24
FRED
DY
BLA
Ckm
AN
Untitled, 2011 Galvanised Steel, Aluminium,
Cast Iron, Neodymium magnets and Ferro Fluid
Thanks to First4magnets for all their help.
“The entire surface of the Earth including life is a self-regulating entity and this is what I mean by Gaia.”
James Lovelock, Gaia: A New Look at Life on Earth
28
AN
NA
BRA
SS
My Secret Routes Through This City, 2011 Still from HD video projection
The 16th century Queen of Spain, Juana of Castile (Juana La Loca) was declared mad by her husband, her father and her son; she was imprisoned at Tordesillas for fifty five years while they ruled in her name.
In relation to this history, My Secret Routes Through This City explores the architecture of the mind. Juana describes a city on a hill: the alcazar and gardens at the top, the streets cut out of the stone, the river at the base of the hill and the subterranean network of labyrinthine rooms and tunnels that run through the rock. The structure of the city is a metaphor for the rhythms and patterns of her anxiety. The film also explores the power that we project onto objects, and the parallels between obsessive compulsive routines and religious rituals.
With thanks to English Heritage for allowing me to film at Belsay Hall.
30
When the human body faces adversity you have to choose; to control the adversity or let the adversity control you.The struggle seems endless, isolated and suspended in time.
ILO
NA
BRA
UN
Adversity, 2011Steel, treacle and lead
07963596764
32
“During the First World War a carrier pigeon called Cher Ami managed to deliver a message that saved the lives of 194 soldiers despite being shot at by the Germans. The bird arrived at HQ blinded in one eye, with bullets in his breast and one leg hanging on by a tendon”
ALE
X R
BYRN
E
Untitled, 2011
34
PAU
L D
IAm
ON
D
Here There, 2011mDF, Paint, Balsa and fablonDimensions Variable
36
“I fiddled around in my pocket for something or other and ended up pulling out a 1000 Kenyan shilling note. Kenyatta’s beard was recreated in such detail. I read somewhere that if you put it up to a map of Kenya it traces every river and estuary in the country.”
The River of Mud (2011)
The River of mud is an investigation as to why, in 2010, the kenyan cyclist, Zakayo Nderi, got off his bike and jumped into the river Garonne just before he was about to win stage 18 of the Tour de France. I connect my experiences of muddy rivers over the last 30 years to come to a conclusion.
my films remap history. By poetically sifting, selecting and assembling public and personal events from the past, I question the stability of the term “history”. I do this not to deny the events of the past, but to renounce the dominant threads that contextualize them. This new history is not necessarily the right one; it simply negates the stability of our vision of history in the present. Through all of this emerges a portrait of the narrator.
JAC
OB
DW
YER
Top: The River of Mud, 2011Still from single screen
digital projection 15 minutes
Bottom: Salmon, 2011
Still from single screen digital projection
15 minutes
38
my work is an adaptation of the Oliver Sacks short story, The Case of the Colour-blind Painter.
mIC
HA
EL F
ERN
42
PURD
EY F
ITZH
ERBE
RT
my work has become an investigation into perception: specifically what one sees, and how one experiences the act of seeing. I have been recording colour and light, and their fleeting playfulness. I am intrigued by the way they can appear but also dissolve from our vision. It is these delicate, transient experiences that I am seeking to capture.
my experiments are with the ungraspable: with perceptual colours, after-images, marks, flickers and glows which materialize with vivacity, but immediately vanish again as conditions change, or when looked upon from a different angle. I am attempting to embody these fleeting, ephemeral moments and phenomena (which often pass unnoticed) in the painting’s material surface.
In essence, I want to make paintings which trigger and stimulate some of these qualities of optical perception; paintings which respond to, and play with, the characteristics of light as seen through a human eye, rather than through a camera lens.
Untitledmixed media425 x 290 mm
44
EmIL
Y FO
RRES
T This drawing is from a selection of works and installations that explore the scientific ideals of classification and our need to create order and structure. These works also touch upon utopian ideas, containing both natural and supernatural associations.
Untitled, 2011Pencil, Watercolour on Paper,
120 x 180cm
48
I have developed a collection of work that explores the process of painting from unseen drawings and shapes that are personal to me. my paintings are about expressing the different textures and shapes I see in a controlled method but they have an element of freedom that only comes from painting.
JOH
N G
RAY
Untitled (XIII), 2010Oil on Board
29 x 29cm
50
“A sombrero fell out of the sky and landed on the main Street of town in front of the mayor, his cousin and a person out of work. The day was scrubbed clean by the desert air. The sky was blue. It was the blue of human eyes, waiting for something to happen. There was no reason for a sombrero to fall out of the sky.”
Richard Brautigan, Sombrero Fallout
TEA
L G
RIFF
INLeft:Demolished!, 2010Four-piece photographic print assemblage40 x 15 cm
Right:Tower, 2011 Digital Print Dimensions variable
52
Escape is an avoidance of reality into a terminal period, a state of uncertainty.
Twilight is the time between dawn and sunrise, and between sunset and dusk. Sunlight scattered in the upper atmosphere illuminates the lower atmosphere, and the surface of the earth is neither completely lit, nor completely dark. The sun itself is not actually visible as it is below the horizon, owing to the quality of the ambient light.
“The city’s monuments, cafe’s, dance halls, streets, and people become psychologically charged “found objects”, and reveal the hidden secrets of these commonplace things. Unconscious desires emerge in poetic and mysterious depictions of the sensual material reality of the city.”
Therese Lichtenstein, Twilight Versions
ABI
GA
IL H
AST
ON
Untitled (06:03am), 2011 Ink, glass paint, acrylic paint
and graphite powder on glass,250 x 200 x 20 mm.
56
REBE
CC
A H
UG
GA
N my work is an exploration of identity and self portraiture mediated through photographic, sculptural and performance approaches. It subverts usual trends by exploring the deconstruction of identity. With themes of repetition, endurance and the representation and subversion of time frame running throughout. The aim is to produce a ‘self portrait’ that says nothing about the subject through a process of obliteration, destruction and mass production.
Untitled (detail), 2011Plaster Headcasts Diameter 900 mm
58
PAU
L m
ART
IN H
UG
HES
07765408344
Our Young Boy (Detail), 2011Etching100 x 150mm
There once was a young boy named Callum, whose future hung in the balance. It was foretold that one day he would become a famous inventor, but that is another story.
His mother was an archaeologist and quite a famous one at that! His father was a plumber and the best plumber in the county, by some distance too.
The relevance of this does not become immediately apparent, however young Callum received his greatest attributes from the both of them Intelligence, Intuition and Integrity.
Their house was the biggest house on the estate with an enormous garden around the back which Callum had the most exciting adventures. One day he could be an astronaut flying through space and the very next a pirate crossing the seven seas, searching for treasure.
However there was just one thing above all that made this nine year old different from all others…
He only dreams of childbirth.
60
my work focuses on the uncanny within our environment, moments which occur in everyday life that make you do a double take. It can be anything from a quality of light to an unexpected composition found within our surroundings. When we become familiar with our surroundings, i believe we stop taking in the details of what we see. I would like to think that my work brings to light what you can find when you force your eye to look beyond what is familiar. EL
LA J
Am
ES
Untitled, 2011Oil on Board
29.5 x 20.5cm
62
“To draw is not only to measure and put down, it is also to receive. Sometimes, when the dialogue is swift, almost instantaneous, it is like something thrown and caught.”
John Berger
HEL
EN G
RAC
E kE
EN
07847189020
Untitled, 2011Fire Drawing and Gouache on Paper
64
As a multimedia artist, I enjoy rediscovering the simple technologies found in ‘looking devices’, Victorian animation and theatrical trickery, including periscopes and kaleidoscopes. By breaking down how such illusions work, I then illustrate these methods and reinvent some features through drawing, animation, sculpture and printmaking. my recent sculptural periscopes are made to deceive the viewer and ask them to reassess the architecture of a space.
Being a keen storyteller I often use dark humour or satire within my art, striving to make a scene appear animated even when static.
From a love of the narrative, I have developed a method of working with children and run my own art and animation workshops in Newcastle-Upon- Tyne.
kATE
kEN
NED
Y
Fallacy Periscope, 2011 Wood, mirror, Paper
1000 x 120 x 200mm
www.katekennedy.art.officelive.com [email protected]
66
my work explores the memories we have and the journeys we take... every door we enter prompts another story... and objects have their own silent histories too, travel their own paths. Once we start to recall our memories they never stop: ceaseless reminders, our continuous past.
BIBI
kH
Am
ImA
H R
USL
IMemories and Journeys, 2011mixed media96 x 68 x 72 inches
70
ROBI
N L
IVSE
Y
my practice begins with the methodology of deconstructing existing imagery through collage. I am drawn to the mysteriousness of collage and its subversive nature of being neither painting or sculpture.
Although the collages can stand up on their own as works they are often used as a strategy to initiate, complicate and deepen a painting process. The emphasis of enquiry is on how the fractured source is transformed during this process to create compelling new languages and new histories. I aim to reinvigorate these neglected images of overlooked history through painting.
Facade, 2011Inkjet Collage
72
Energy is at the heart of my work. Nature’s energy fascinates me, especially the seas energy, the pounding, the relentlessness, the strength.
I am an interdisciplinary land artist painting, printing and making installations all around this coastal focal point. I draw inspiration from this constant movement at the coast, the relentless creation and destruction that comes with the sea.
I have made emotional connections with a specific estuary and coastline on the Isle of Anglesey that I like to work with particularly. This interaction between emotional depiction of a place and scientific values of the same place plays an important role in my work. Conversations repeatedly represented in my work are between nature and man and science and emotion.
VIC
TORI
A m
ART
IN
Documentary Photographs of work in the Landscape
2010-11
74
“I don’t believe anything, but I have many suspicions.”
Robert Anton Wilson
Superstition, devotion, and doubt. This work exists in a vortex of uncertainty, exploring the psychic struggle between the rational and religious spheres and the emotional wasteland that can be left for those who inhabit an unclear space between the two. Through the languages of despair, prophesy and poetry, the artist searches for personal catharsis and an antidote to the need for certainty.
The duality of this conflict is made manifest in the formal qualities of the work presented, one part digital, plastic, printed and mass produced, the only distinct evidence of the artist’s hand coming from the composition of these machinations, and the other part organic, physical, hammered and carved into old skin. Every nick, scrape and imperfection is an artifact of touch.
This is the fear of the future, at times indistinguishable from the hysterical desire for a tangible conclusion and to immanentize the eschaton.
CA
THER
INE
mC
DER
mO
TTDesperate Screed #1, 2010Leather4 ft x 2 ft x 5mm
07516485041
76
DA
VID
mC
DO
NA
LD
Too bad she won’t live, but then again, who does? 2011
Photograph series Dimensions variable
www.exitdave.com www.twitter.com/[email protected]
“This ain’t no garden party, brother, this is wrestling, where only the strongest survive; to be the man, you gotta beat the mean, and Sting? I’m the man!I’m a limousine ridin’, jet flyin’, kiss stealin’, wheelin’ dealin’ son of a gun, who kissed all the girls across the world and made ‘em cry...WOOO!”
“One more dance with the Nature Boy? Well we started it years ago and tonight, we’re gonna end it!
So what does the future hold for the Stinger? Well, the only thing for sure about Sting... is nothing’s for
sure....IT’S SHOWTImE FOLkS!”
I would like to thank The Faktory gym for their support.
78
HEN
RI J
Am
ES m
EAD
OW
S
henrijmeadows.wordpress.comeclecticbirdfeeder.wordpress.comhenrijamesmeadows@gmail.com
07944271177
Tor, 2010Digital print
One day action rolling a disused cattle feeder to the summit of Hunter’s Tor on Dartmoor, Uk. Documented in video and pho-tography.
80
I transform and condense imagery from religious references, art-history, and found images, to create work that explores and challenges contemporary religion, and perceptions of our place within reality. I consider issues of sexuality in relation to dichotomies of struggle and grace, earthly and divine.
I would like to thank St James and St Basil’s, Fenham, and Holy Trinity, Jesmond, for their time, resources, and, most of all, the support of their communities.
CH
RIST
OPH
ER m
INC
HIN
Babel, 2011Installation at Holy Trinity,
JesmondWooden ecclesiastical
chairs, plastic electrical ties10 x 10 x 20ft (approx.)
82
my work confronts the banality of everyday life by using the function of common-place objects as a tool for mis-placed character. Each work establishes the appearance of autonomy or wants to develop its own autonomous character; yet in its nature and restricted abilities it is doomed to failure.
SARA
mO
RRIS
Shaki, 2011Fan, hair, ribbonDimensions variable
84
VIC
TORI
A m
OO
RE
It began with the body, my own, as the physical and technical means to leave a trace, to transfer an image of myself to a surface. Now the body has become both canvas on which to paint and the focus of the camera lense. The application of paint onto flesh creates an outer skin, a barrier between myself and the lense: covering up, obscuring, coating. As this ‘other skin’ is gradually peeled, ripped, rubbed or torn away something different happens: the underlying flesh, the ‘real’, becomes exposed, or possibly liberated. This ambiguity of some of the imagery can both seduce the viewer and place them as voyeur: the relationship of the spectator to the work switching from curiosity to unease.
UntitledPhotograph of acrylic, ink
and pva glue on skin
86
my practice is based around a photographic investigation of geometrical architectural spaces around us. I use photography to capture moments of participation within a space.
I use various processes of reproduction, in a bid to re-create an element of three-dimensionality within the flat surface of a photograph. The images are incorporated into different contexts, thereby alienating them from their originals.kA
TE N
ASm
YTH
Untitled, 2011 Silver gelatin hand print50.8 x 60.96cm
88
“memory is a collection of fragmented experiences, fictionalized with traces of the truth.”
Ramona Romlochand
This work is a haunting of space, a half remembered moment, or gesture, made almost real again. The screens are ghostly, ethereal things, false memories handed down through stories, which shape our lives as our secret inheritance, the ones received when, hand pressed to heart, an aging relative exclaims how like her sister you became just then. This work is that moment where those invisible lives overlap with our own. Our personal palimpsests.
Working in darkness, the screens possess a fleetingness, a fragility, their images surrendered but not, intimate but not, personal, but universally familiar. The artist works in light, every thread meticulously drawn and painted into a suspended moment of transition, intertwining with the viewers own perception and memories to create a new instance that lingers with them long after their departure.
HO
LLY
NA
YLO
R
Untitled, 2011UV light, marker on elastic cotton string
2286 x 889 x 38mm
hollynaylor.blogspot.comhollyhollyholly.naylor@gmail.com07821925286
90
“The genius of Einstein leads to Hiroshima”
Pablo Picasso
LAU
REN
PA
RkIN
Untitled (Transcendence IV), 2011 Vinyl tiles, cardboard, aralditeDimensions variable
07539837688
92
my work is concerned with creating pieces that are produced from experimenting with different colours, materials and chemicals. I see my paintings, not as painting but as experiments on the page. These experiments seek to analyse the interactions of these elements; how they mix and repel one another and the imagery discovered.
HEL
EN R
USS
EL-H
UG
HES
Experiment 5, 2011 Ink, Oil Paints, Bitu-
men, Acetone.
94
AD
Am
SH
IELD
07954141087
Marthe in the apartment on the Rue de Douai IV, 2011Watercolour on paper32 x 24cm
96
SUSA
NN
A S
ImPS
ON
Blue with Yellow, 2011Red Cabbage,Yellow Onion Skin and Salt
18” x 27”
Take time to soak in.Witnessing beautiful transformations.
mystified by colour.
98
my current work explores the space between wake and sleep. I make sound and video installations, creating an immersive experience for the viewer.
ROSA
NN
A S
kETT
Untitled, 2010Video Stills
100
ELEA
NO
R ST
ImPS
ON
Surface Tension, 2011Steel, Salt and Water
For 2 weeks 8 x 4.5cm
106
REBE
CC
A T
RAV
ISChiaroscuro (working title), 2011Embossed Tissue Paper, Fishing Wire, Double 35mm Projection, mixed-media 35mm slidesDimensions Variable
[email protected] Practice: rebeccatravis.tumblr.com
Critical Writing: jottingissimplicity.tumblr.com07756 742956
108
A collaborative project exploring the interplay between Fine art and Linguistics, in which one discipline is used to inform the other. As a visual reconstruction of the unique alliterative and metrical form of Old English poetry, the project aims to be allusive to the poetry, rather than illustrative of it. The work also centers on the Anglo-Saxon love of dramatic obscurity in their writings, as well as their latent habit of abstract thought handed down to us in the form of riddles and kennings; a trait still inherent in our language today.
kEEL
EY T
WEE
DY
Untitled (Landwords), 2010 Giclée print on dura-lar
matt acetate297 × 420mm
110
LIA
m W
ITTE
R
‘Small Talk with the Local Wildlife’:
A complementary term that acts as a premise to a practice, one that exists in the encounters of everyday life, following a DIY- individualistic approach to public art & life. Working under the methodology of Exploration/Investigation/Intervention, to produce a dialogue between people and their environment.
smalltalkwithlocalwildlife.blogspot.com/[email protected]
07917675963
Small talk with Local Wildlife, 2011Biro and felt tip on paper
112
“In fairy tales, being lost in the forest symbolizes not a need to be found, but rather that one must find or discover oneself.”
Bruno Bettelheim
LUC
Y W
OO
DA
CRE
Untitled (Detail), 2010 mixed media Installation,
Dimensions variable
2011
