11.06.2014 – 21.06.2014
Studio 5: Image-Object, Object-Image
Black and white digital print, 2014
A hallucinogenic evocation of a disco ball performed to camera by a woman with mirror tiles stuck to her face. A solid paint cast of the Venus De Milo on a palette. Animated collaged piles of abstract corpulent flesh passing through a meat grinder to the jaunty beat of Super Mario. There are sustained painterly explorations of material limits, photographic reproduction, systems of semiosis, and dystopian cityscapes dissolving into a blurry puddle of graffiti. A slew of taxidermied mice baubles went up at Christmas, but came down with the tree.
The studio set out to explore and celebrate the intense subjectivity and skewed focus of the artist’s eye as a transformative agent. Galloping through a study of practices that range in their affect from the political to the wilfully dumb, we’ve identified as a studio what it is that artists offer in the way of a revelatory experience to their audiences in the competitive babble of contemporary cultural life.
Beginning with an exploration of the blurred formal boundaries between drawing, painting and sculptural practices, the faulty mechanics by which objects are accorded cultural and historical value were considered. Simultaneously, the alluring gaudy trash of ‘low’ culture exerts a strong pull for students working at the edges of taste and respectability, treading the line between complicity and critique. The work emerging considers the charged potential of manipulating these tropes in film, installation, performance and photography.
Collaging corpulent flesh with industrial objects and household items, Wallace creates grotesque and humorous paintings and animations in an exploration of consumption.
Post-psychedelic dystopian cityscapes dissolving into whorls of semi-abstract grafitti-inspired painterly mark-making in Cavill’s series of epically scaled canvases.
Jacopo Dal Bello aims to unpack the ontology of painting in linguistic and semiotic terms, appropriating a broad range of popular and ‘high’ cultural symbols, icons and forms.
Creating acrylic skins tailored to fit unconventional stretchers and overlooked but recognisable objects, James Tailor challenges the perception of what a painting is.
Smithson’s collaged filmic essays are an elegiac paean to the day-to-day mundane realities of individual human lives.
Brown is interested in art’s role within psychology, and aims to explore the possibility for art.
Quinn constructs gawdy immersive installations incorporating stacks of broken down TV monitors to explore means of escape, whether psychological, philosophical or psychopharmacological.
Max Heale uses collage, drawing and painting to pursue a deep interest in Aesthetics, psychology and visual sensation.
Bhula’s practice explores the politics of racial identity and themes of cultural displacement, whilst examining the dialogue sandwiched between differing cultures and faiths.
11 Monika is interested in the visual language of communication: body language, objects, symbols and images to open up the relationship between the artist and audience.
Campbell-Peddie’s abstract paintings explore culture, women, identity, leadership, empowerment and equality.
Martha B Dolak is a performance artist whose work also includes photography work and installation as well as sculpture.
Tahir Khan paints local street scenes that mutate surreally.
Amber’s main subject is identity and how objects, fears and desires morph.
Katie paints mostly from family photos: her subject is identity.
Julia’s work is process-based: putting strategies in place to remove control of the artwork, to explore material tendencies which introduce uncertainty and separation.
Webster's art practice seeks to recreate the experience of space and its architectural structures as contemporary ruins, in all media.
MONIKA BANCYR DE ANGELI
JACOPO DAL BELLO
DIDAR UDDIN AHMED