View the official FloatArt London 2015 Show Catalog

Map: Courtesy of CSCB
Bargehouse
Oxo Tower Wharf
Bargehouse Street
South Bank
London SE1 9PH
next to the Oxo Tower
Nearest stations: Waterloo, Southwark or Blackfriars
7 - 11 October 2015 11 am - 6 pm
Admission free
The FloatArt London 2015 trophy will be awarded on
the final day of the exhibition, Sunday 11 October, at 5pm.
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The FloatArt London 2015 exhibition showcases the work of over 60 new art graduates from
universities and art colleges from across the country. The work on show has been selected
from a wide range of disciplines, from painting, sculpture, photography, installation to film and
performance art.
FloatArt London was founded in 2013 by Davide Mengoli and Dr Anand Saggar. Both sharing a
passion for supporting arts graduates, they formed the platform to showcase graduate work
and to assist in the creative and professional development of new emerging artists. With the
debut edition held on the Dixie Queen Paddleboat Steamer on the River Thames, in 2014 the
FloatArt London is an educational platform for graduate artists and is reliant on direct support and
charitable donations through The National Funding Scheme, who considers us to have worthy
charitable purpose pending our own charity application. FloatArt London provides emerging
artists not only with the opportunity to showcase their work but also with valuable advice about
continuing a successful career in art.
second edition took place at Bargehouse, Oxo Tower Wharf, South Bank. Support for FloatArt
London has been remarkable, with over 3500 visitors attending in 2014. The third edition returns
to Bargehouse with a further 60+ graduates in what is set to be another fantastic event.
Davide Mengoli established GX Gallery, with its focus on both established and emerging artists,
in 2001. For nine years, Davide has worked closely with London Art Colleges, giving selected
We bridge the gap between Art College and the professional art world, providing a much needed
network for support and learning for these artists just after they leave university.
Through a programme of talks and seminars delivered by experienced artists and successful
business people throughout the five-day event, the artists receive a rounded learning experience
both prior to and throughout the process.
graduates the opportunity to showcase and sell their work in a commercial setting often for the
first time. Davide, having now stepped away from the gallery, is focusing on the development of
FloatArt London.
Dr Anand Saggar is a clinical genetics specialist at St George’s Hospital and Chair of the Arts
Committee there. Anand is a long-term art collector and has been at the forefront of developing
arts programmes for hospitals; collaborating with painters, students and artists in residence. In
With the exhibition of their works, which is free and open to the public, these emerging artists
receive a huge amount of promotion and exposure at the very beginning of their careers.
The featured artists will be eligible to win the FloatArt London prize, which is partly decided
through a public vote. The winner receives the FloatArt London 2015 award and £3000 towards
the last year, he has taken over as the Director of GX Gallery. He continues the gallery’s work to
support emerging artists, holding an annual exhibition for selected graduates to showcase their
work in a selling exhibition, Flock.
The founders and sponsors would like to warmly welcome you to FloatArt London 2015!
their future career.
This year we are also part of the BBC Arts Get Creative Campaign. By being part of the campaign,
we are showing our support for and involvement in enriching creativity and culture within the UK.
Supporting
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FloatArt London, as an organization dedicated to enriching culture and supporting artistic talent, has
this year been appointed as a cultural ambassador for the charity, The National Funding Scheme.
The National Funding Scheme considers FloatArt London to have worthy charitable purpose pending
our own charity application and helps us we raise the funds, which we rely upon to continue supporting
new emerging artists each year. The arts industry has few networks of support for new artists and
FloatArt London provides a much-needed bridge between leaving Art College and entering the
professional art world. This cannot be achieved without your support. We need your help to carry
FloatArt London 2015 Award
on providing this support to ensure that emerging talent is not lost. Please take the time to make a
contribution to our cause. Thank you.
All visitors to FloatArt London 2015 are invited to
vote for their favourite artist. The winner will be
presented with the FloatArt London 2015 award and
£3000 towards their future career. The glass trophy
is designed and made by Amy Cushing, a bespoke
glass artist.
The winner will receive the trophy on the last day of
the exhibition.
* FloatArt London needs to raise funds for this and for other charitable purposes. Your donation will be processed
and administered by the National Funding Scheme, operating as DONATE, a charity registered in England and
Wales (1149800) and Scotland (SC045106). In addition to any text donation, you will incur your standard network
message charge (based on your service provider rates).
For Terms & Conditions, see www.easydonate.org
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A few messages:
The National Funding Scheme: DONATE
The National Funding Scheme (NFS) is a registered charity set up in March 2013 with a clear
objective - to enable any organisation with a charitable purpose to fundraise using digital
technology. The NFS has developed a national tool of mobile giving - DONATE - which any
organisation can adopt, thereby totally transforming the way the public can give to charitable
causes. DONATE was originally launched across the arts sector and has over 350 partners in museums,
galleries, heritage sites, theatres and performance centers. The NFS now supports charities from
all sectors be it a school, church group, hospital, voluntary organisation or football team. If you’re a charity or an organisation with a charitable purpose, you can join the hundreds of
organisations who’ve already chosen to adopt DONATE by registering here today.
What is DONATE?
DONATE is the mobile platform and the public-facing brand of the NFS. Wherever people see
the DONATE sign, asking them to support a particular campaign, they can easily make a donation
through digital channels using their mobile device (phone or tablet). DONATE combines SMS
texting, Near Field Communication, QR code and web apps into one simple platform meaning
people can donate through one recognised brand via multiple channels.
Gift Aid
DONATE reclaims the Gift Aid on donations from UK tax payers, which is then passed on to the
institution, adding as much as 25 per cent to the value of the gift. If you are a UK higher rate
taxpayer, you can claim back up to 31.25% of your gift through a personal tax reclaim. To do this
you must register for Gift Aid but you only need to do this once for your registration to work for
To the universities and colleges...We want to work with you.
FloatArt London would like to continue working with Universities and Art Colleges to nurture the potential
shown by promising arts students by providing a bridge between university, college, the public and the
professional art world.
We would be delighted to hear from universities and art colleges across the UK if they would like to work
with FloatArt London to ensure that their students have the opportunity to be “floated” out into the current
art scene with the help and guidance of a platform designed to make this transition easier.
To the sponsors...We need your support and sponsorship.
We would like to thank our existing sponsors for the continued support for FloatArt London.
We are applying to convert FloatArt London in to a registered educational charity by 2016, but in the
meantime we need new sponsors to come on board to help us reach our target. By providing your financial
aid, you would be supporting the arts and new talent. It is special opportunity to support a project with
an international audience and a newly qualified class of artists. If you would be interested in offering your
support, we would be delighted to hear from you.
Finally to our audience...Don’t forget to vote!
Please take your time to discover the fantastic works we have on show and to enjoy the space. Bargehouse
is an unusual and interesting building with a unique character – make sure you don’t miss the attic! Please
follow the directions so you don’t miss any of the artwork.
The artists will be in attendance, so please feel free to ask any questions you might have about their work.
Finally, please vote for the artist you believe should win the FloatArt London 2015 award and £3000 towards
their future career. Voting slips are available on the ground floor as you enter the exhibition.
Enjoy and don’t forget to tweet your thoughts and experience.
all donations made through DONATE. You can log in to your account and see how much you’ve
given - and how much you might be able to reclaim. For more on Gift Aid, please visit the HMRC
website.
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@floatart
www.floatart.co.uk
[email protected]
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FloatArt London 2015 Artists
page
Hopeless
FloatArt London 2014 Winner
Jesmonite and hessian Life-size
Grace Erskine Crum
Grace Erskine Crum will be returning to Bargehouse for
this year’s event to showcase a collection of her new
works in a special section of the exhibition.
We would like to congratulate Grace once again for
being chosen as the winner of last year’s show.
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2015
‘Since winning Float Art 2014 I have set myself up in a
studio in North London, which would not have been
possible without the help from Float Art. There, I have
been developing my art, making many sculptures
and drawings. I cannot thank Float Art enough for the
amazing opportunity, it has truly boosted my career
beyond imagination’. – Grace Erskine Crum
Maria Abbott
Jessica Abrahall
Badr Ali
Matt Antoniak
Madhava Bence Kalmar
Bakhtiyar Berkin
Molly Blunt
Phillip Bonney
Julian Bose
Faye Bowden
Jonas Brinker
Michael Bryan
Charlie Carr-Gomm
James Clow
Mihaela Colibasu
Richard Cook
Benjamin Cooper Walker
Alice Cramer
Sarah Crew
Ricardo Di Ceglia
Esme Dollow
Harriett Evans
Kate Fahey
Maria Fernanda Calderon
Jo Gifford
Gabriela Giroletti
Lauren Goldie
Elitsa Harbov
Jonathan Harris
James Johns
Julia Keenan
Sultan Kinns
Kristen Lokka Kong
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Max Leach
Molly Lemon
Catherine Leon
Elizabeth Lowe
Emily Lucas
Karim Mahmoud
Marie-Pier Malouin
Goia Mujalli
Cătălin Munteanu
Sian Murphy
Alex Norwood
Andrea Papafrangou
Ella Phillips
Holly Pickersgill Fennell
Ryan Prince
Natalie Ramus
Holly Rees
Aindreas Scholz
Ellie Seymour
Francesca Ruth Smith
Joy Smith
Jazz Szu-Ying Chen
Kiran Tasneem
Kyle Theo
Danielle Tong
Poppy Tongeman
Dennis Vanderbroeck
Lily Vougiouklis
Daniel Warnecke
Hyeji Woo
Qinrun Yu
Adam Zelig
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Newcastle University BA (Hons)
Maria Abbott
Maria Abbot’s work is a critique of the
Western world’s unbtainable vision
of beauty, that harnesses fear and
insecurity to sell products to women.
She believe the female body becomes
a commodity: one that is endlessly
manipulated,
upgraded,
restyled,
reconstructed to meet prevailing
fashions and cultural values.
The end product is a series of instantly
recognised looks, poses and gesures
that speak a gendered body language.
Be Everyone’s Favourite Girl
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Performance
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Jessica Abrahall
Noise
Badr Ali
Central St Martins BA (Hons)
The World Ends With You
Digital prints on Di-lite sizes 1200 x 900 mm
Jessica Abrahall’s practice anatomizes the themes
of layering, movement and the geological forms of
landscape. In her recent series of landscapes, Abrahall
explores the basic historic context of the landscape
sublime and brutality of nature, employing the
apocalyptic sublime to her work.
Using photography of landscapes she has taken on
location as a starting point, the digital images are ‘overprocessed’ through digital manipulation, resulting in
choppy, saturated and pixelated imagery, with a dreamlike painterly quality.
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De Montfort University BA (Hons)
‘The digital manipulations are an effective way in creating
my response towards the landscape. There is a drive for
them to become somewhat over processed, choppy,
saturated and pixelated, which could be recognized as
a trait in processing the images with a painterly manner...‘
Abrahall is aware of the importance of the sublime
within the history of art and initially produced largescale painting as a means to respond to the landscape.
Despite moving towards a digital process, painting
remains an integral part of her practice, using small
studies to aid her digital processes.
American-born Saudi Arabian painter, Badr Ali paints on
wooden panels creating a series of diptychs that can be
contemplated independently or combined. The work has
been been heavily influenced by the traditional methods
of painting and representational imagery of landscapes
of the 14th to early 18th century. It work derives elements
from the Renaissance period and the Baroque, using
classical painting techniques and translating them into
a contemporary language by means of deconstruction
and abstraction by unorthodox methods.
Mixed Media on Wood 200 x 200 cm
Ali uses industrial paints as the source of pigments,
eliminating the use of paintbrushes but relying instead
on the use of hands, clothes and materials. He taught
himself how to manipulate paint all while pledging to
follow the rules of traditional paintings. The subject matter
revolves around provoking the notion of excessiveness
and the depiction of crisis by means of melodramatic
imagery present within religious representational and
illustrative paintings.
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Matt Antoniak
Newcastle University BA (Hons) Fine Art
Matt Antoniak finds that the intentions
of the drawing are muddied, and that it
refuses to make its intentions entirely
clear.
On the one hand, his work can be seen
as full of hope and aspiration; the young
artist, dressed as Frida Kahlo, emulating
his hero. Yet, the work is also comedic
and pitiful. The costume is rudimentary
and the brow is drawn on with charcoal.
The appearance continuously flits
between serious and childish, and
ambition meets reality head on.
Kahlo
University of Brighton BA (Hons)
Madhava Bence Kalmar
‘The drawers of Isidore’ consists three
pieces of a bigger project entitled ‘The room
of Isidore’. This body of work collects the
belongings of a character and transforms
them into photographic items through
which we can get an insight into the history
of Isidore. Three drawers from the beginning
of the 20th century were enlarged in the
darkroom, using the traditional silver gelatin
process.
The project is taking on the idea of the
readymade and mixes it with photography,
the three drawers were found, after
which images were made considering the
qualities and shape of the material, and then
attached to it. The pictures are depicting
fragments of Isidore’s memory through the
decaying surfaces, merged symbols and
photographs. The images shown here are
of the installation made in the basement
of Brighton’s Circus Street Annexe which
was built in the beginning of the 20th
century and going to be demolished in the
upcoming year.
Charcoal on paper 190 x 150 cm
The drawers of Isidore No.4
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Giclée print 42 x 28 cm
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Bakhtiyar Berkin
Medusa
London College of Communication MA
Photography 100 x 119 cm
Through out his childhood and adolescence, Berkin has
been suffering from recurring sleep paralysis episodes.
During these episodes, he has experienced a state
where he was mentally awake with his body paralyzed in
the sleep state. Those episodes were accompanied by
very vivid hallucinations. These experiences helped him
to learn how to accept contradiction between dream
and reality. It gave him the inspiration to bring these
unnerving, illogical scenes in to everyday life.
And that is why Berkin has chosen surrealism as his
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Molly Blunt
Central Saint Martins BA (Hons)
Sub Rosa
photographic style. He feels that creating surrealistic
photographs allows his unconscious to be expressed.
In his work, Berkin transforms the existence by building
surrealist sets. He builds them using solely unwanted,
scrap or very cheap items. He finds that the whole process
of collecting those cheap items very philosophical, as it
shows how something unwanted can be transformed
into something that would actually convey very deep
and valuable meaning for him.
Molly Blunt’s practice stems from an interest in preexisting objects that have social and symbolic meaning
and are often related to the domestic space. She has
begun to consider how objects are gendered and
perceived as culturally appropriate for either men or
women.
She is also interested in decorative traditions and
patterns that can be revived and reconsidered when
taken from their original context and function.
Plaster and Steel 70 x 70 x 300 cm
It is important that her sculptures are well crafted with
attention to detail, and she often uses the device of
repetition. Attention is paid to the process and materials
used, or objects may undergo a very simple form of
transformation.
She aims to see what happens when an object is taken
out of its place and given careful consideration.
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Philip Bonney
Let Jack Play
De Montfort University BA (Hons)
Table with intereactive acrylic cubes Size varied
‘Let Jack Play’ is an interactive piece, trying to entice the
viewer to physically interact with the work, to change the
work as they see fit, to play as they will. The development
of physically interactive work is a natural progression
within the scope of my utopian art. Rather than restrict
access to the purely visual,
I wanted to give permission to the viewer to observe
everything. Each individual cube has a specific purpose
and it is up to the viewer to decide what that purpose is.
Wimbledon College of Art BA (Hons)
Julian Bose creates pieces of work that
explore painting in its material sense. He
is focused on the process more than the
final outcome and this reveals hidden
layers that might not be seen in a typical
final piece.
However, revealing too much outright
will restrict the viewer’s imagination,
and this is what inspires Bose to
incorporate clues or signs that reveal
the remnants of his creative thought
processes. He attempts to explore and
push the traditions of painting, and
does by painting acrylic straight onto an
unprimed canvas. He then hangs each
canvas on top of one another, creating
a sculptural story. His creative process
transitions from painting a single, twodimensional canvas to creating a threedimensional piece with many painted
canvases.
This, along with the hanging of the work,
reflects a sense of materiality and a
search for different ways to paint.
The main source of his style comes from
the difference between the way art is
presented in a studio and the way it is
presented in a gallery and his work turns
the traditional gallery space on its head.
Showing and experimenting with
something that isn’t quite the norm
makes for interesting research.
Now that Bose’s work has more
continuity he can make further progress
with different mediums and processes.
Different mediums will also achieve the
same feeling of experimentation and
process.
Acrylic Paint Drips
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Julian Bose
Acrylic on Unstretched Canvas 200 x 100 cm
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Faye Bowden
Arts University Bournemouth BA (Hons)
The Slade School of Fine Art BA (Hons)
Jonas Brinker
Faye Bowden’s practice is process
based, and usually involves repetition –
sometimes as content but more often
as creative strategy. Working in a variety
of media, she employs repetitive actions
and processes in search of a point of
transformation. At times the processes
can become futile, but she tries to push
through the futility, hoping to move the
work into a new state. Drawing, in its
broadest sense, is integral to her practice
and is often where her inspiration comes
from.
In her most recent work explores the
tension between order and chaos, as
well as chance and control, with the
wire displaying these tensions as she
tries to manipulate large volumes of it.
The process of itself is a tedious one,
reflecting aspects of today’s society
such as daily routine and mechanical
production.
Forest (fragment)
Becoming II
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Black iron wire Dimensions variable
OHP, tree slice Dimensions variable
Jonas Brinker’s practice has photographic thought as a
starting point.
He finds his work is mostly exploratory. Brinker is
interested in light as a transmitter of information,
exploring the boundaries of image processing in
photographic objects.
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Michael Bryan
Camberwell College of Arts BA (Hons)
Central Saint Martins BA (Hons)
Charlie Carr-Gomm
‘In anything there has to be dark and light.
There’s a lot of joy in my paintings and a lot
of darkness’. - Gloria Vanderbilt
Hands Up Lilith
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Acrylic on Canvas 152 x 102 cm
Young people, Michael Bryan believes, are
currently caught between the hopelessness
of the current system and a burgeoning
new dawn, where the current structure is
beginning to fall apart, replaced by the new.
It is within this climate that Bryan creates
his paintings and attempts to capture this
current transition. His works are full-figured
portraitures, which give full attention to the
face and body.
Sometimes the body makes gestures that
are unusual and appear uncomfortable,
such as the woman stood with her hands up
and the man staring into the distance. He is
inspired by archetypal figures that appear
from the Bible, and texts from the mystery
religions. Hands Up, Lilith is the figure of a
woman surrendering to invisible patriarchal
forces. Lilith is the original female in the
Bible and appears in many forms in Egyptian
tales.
The
paintings
attempt
to
capture
contemporary situations, (such as the
Hands Up, Don’t Shoot protest against
police brutality), and frames them in an
historical framework. Bryan paints partly
as a skill to master, and as a way to record
and communicate a message that gradually
reveals itself. He deliberately uses acrylic
paint, as he likes painting in a medium that
lacks the historical baggage of oils. It’s also
a flexible medium; acrylic is traditionally a
bright, bold medium, but Bryan subverts it
by using a dispassionate colour palette.
Light Study #5
The place of documentary film making, as presented
within an art-led context, has formed the basis of
Carr-Gomm’s art practice over the past few years.
Playing with aesthetics, narrative, structure and filming
techniques, she has attempted to push the boundaries
of traditional documentary filmmaking within her own
work. This experimentation was a catalyst for her current
installation work.
Through experimenting with specific techniques,
her interest in the process of capturing light through
film became increasingly evident. Carr-Gomm’s ongoing documentation of accidental, found reflections
of sunlight on walls and objects developed into formal
Light Installation
investigations using projected light. In creating pieces
of projected moving image she began to both simulate
these accidental occurrences and manipulate the light
source, and in some cases adding prisms, to create new
ones.
Light Study #5 is one work in a series of many ‘Light
Studies’ and it is the outcome of an observation based on
the way light travels through a crystal prism. In treating
her works as individual ‘studies’ or ‘observations’ under
an all-encompassing theme, namely ‘Light’, Carr-Gomm
has been able to focus on reflection and refraction, light
and shadow.
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James Clow
Wimbledon College of Art BA (Hons)
Norwich University of the Arts BA (Hons)
Mihaela Colibasu
Mihaela Colibasu’s work considers
the relationship between pictorial
and geographical space. She tackles
questions about the painting’s faculty
to embody issues of human movement
across borders.
The painted surface is a mental
space; it’s a field of painterly events
that embody the artists’ identity.
Having said that, Mihaela Colibasu’s
work focuses on the act of painting
as a form of narrative between the
action and movement of the artist and
the movement of the people in the
geographical space.
Her concern is to make an analysis of
painting as a mobile pictorial space,
whose ability is to transcend paint
as material and embody issues of
migrants.
St. Matthew
Oil on Panel 20 x 18 cm
James Clow’s recent work constitutes an ongoing
enquiry into the political and spiritual implications of his
own art practice. Through the considered painting of
appropriated renaissance artwork, he critiques the ways
in which the omnipresent consumer-capitalist model
has forced its way into the art world.
His work resides firmly in the tradition of painting, so
acknowledges and refers back to that heritage. Working
with themes of commodification, recuperation and
spectacle, he seeks to produce works that oppose the
dominant visual culture without overly mystifying or
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obfuscating. Through recognising a connection to the
spiritual, which he believes accounts for the foundation
of his medium, he questions the extent to which the
repercussions of this connection remain significant.
The slow, technique-heavy process serves to set the
work against the spectacular, fast paced, self-replacing
nature of digital media, the mass media and the Culture
Industry. His conceptions of authenticity, representation
and reality are all present in Clow’s work and contribute
to the overall thematic explorations.
Yellow
Oil and acrylic on canvas 170 x 160 cm
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Richard Cook
De Montfort University BA (Hons)
Central Saint Martins BA (Hons)
Benjamin Cooper Walker
‘In watermelon sugar the deeds were
done and done again as my life is
done in watermelon sugar.’ - Richard
Brautigan, In Watermelon Sugar,
1968
Cooper Walker’s installation work
exists as an interrogation of various
post-war novels, all attempts in their
own right and form to articulate
utopian worlds or utopic versions
of reality. The installations sit at
the boundary between the written
description and it’s direct, visual,
imaginative-currency. As a maker,
Cooper Walker translates words
into objects as read, ‘vats’ become
bathtubs, ‘planks’ become wooden
sculptural slats and ‘watermelon
sugar’ is interpreted directly as the
original fruit.
Making wide references to Flannery
O’Connor, Roberto Bolano, Haruki
Murakami, Isabel Allende and
Richard Brautigan, the eventual
goal is to create a visual world that
explores the chaos of utopian ideals,
creating newly spliced narratives,
novelistic versions of Rauschenberg’s
combines, collated and presented in
full flesh as lucid, vivid installations.
Paisley
Spray paint and acrylic on canvas 152 x 152 cm
Richard Cook paints from photographs and manually
edits the images on the cavas, creating the effects of
an aesthetically enhanced image. This idea comes from
his interpretation of hyperrealism, which he sees as not
just about creating an image that mirrors real life but
improves upon it.
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Street art and graffiti has also had an influence on his
fine art practice and the way that he makes work. It is
most prolific in the materials he works with and he uses
mostly spray paint along with acrylic paint and marker
pens. The materials he works with allows him to build up
many layers, working quickly with the short drying time
of the paint to create depth in his paintings.
Melon
Mixed media installation
200 x 150 cm
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Alice Cramer
De Montfort University BA (Hons)
Central Saint Martins MA (Dist)
Sarah Crew
Reclaimed Lands
Change Winter, Spring, Summer
Fine liner and sumi ink on Fabriano paper 130.5 x 218 cm
The Norfolk and Suffolk woodland and coastal
landscape remains largely unspoilt by an increasingly
industrialised, man-made, modern world.
Growing up with such wild open spaces and idyllic
seascapes on my doorstep has always had a strong
influence on Cramer’s practice. Her drawings seek to
encapsulate the overwhelming feeling of openness
and tranquillity created by natural environments, whilst
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dealing with her own ideas of what escapism and
contemplation mean to her personally.
Alice Cramer’s series of works will be continued as
the seasons, colours and forms of the landscape alter
throughout the year. She has been heavily influenced by
the forever changing and developing way of nature and
it’s something that she feels can be captured over and
over again, but will never have the same outcome twice.
Sarah Crew’s practice tends to culminate with
installation works that contain photography, film, sound
and performance. She is particularly interested in our
changing understanding of space through interpreting
the planet via advancements in technology, the internet,
GPS mapping software and digital photographic
capabilities.
As the physical and metaphysical location of the
individual shifts into an intriguing position, the ability
to truly become lost is called into question. One can
now travel across the world without going anywhere.
Her research explores the changing relationships,
connections and points of disjuncture between the
film still 32 x 56 cm
human and the animal, as the implications of this are
scrutinised through technology. #HILANG airways
In exploring what it means to be ‘lost’, as one often exists
within the virtual and physical domain, this installation
investigates the experience and impact of lostness as it
presents itself within our dualistic environment. Through
this work that contains photography, film, sound and
performance, Crew has welcomed the chance to ‘get
lost’ and reclaim lands. This journey is now shared with
the audience in the form of the two short films showing
inside the cabin. These offer an engaging, poignant and
at times humorous in-flight film into the pursuit of lostness within this 21st Century dualistic landscape.
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Ricardo Di Ceglia
University of East London BA (Hons)
Esme Dollow
Coventry University (1st Class Hons)
The DIARY SERIES
In his Diary Series, Ricardo Di Ceglia paints
strictly from his own photography. This
means that his paintings feature people
and places he knows or has personally
witnessed. The paintings slowly tell a
story, with everything in reference to the
context of his life.
Di Ceglia warns that the observer may
perceive feelings of exclusion when
viewing his paintings, of being an outsider
in the own world he/she lives. Because
he feels identity and the need to belong
may be intrinsically connected. The
perceived exclusion would then suggest
a deconstruction of the observer’s
identity, encouraging reflections in the
fundamentals of it.
On the other hand, he believes as
an opposite force, the rebirth and
reconstruction of identity occurs when
he paint my friends, people he knows, his
partner and self-portraits.
Reinforcing identity and consciousness
itself as dynamic in his work, painting
only from his own reality, he allures a
closer relationship with Transparency. Yet,
putting all the gimmicks of art techniques
away, the paintings become intimate and
raw statements of the moments he has
lived.
The Chocolate Cake
20
OIl & acrylic on canvas 30 x 21 cm
The Invitation
Esme Dollow’s practice explores the psychological
impact and emotive responses to imagery. Within
painting and drawing, she aims to suggest an atmosphere
of disquiet, highlighting emotional tension to provoke
questions from the audience.
For Dollow, the significance lies in these emotions, which
arise when her work is viewed beyond the seemingly
familiar subject. She explores the impact of subjectviewer tension, addressing the viewer on a personal and
intimate level. Dollow creates work that is recognisable,
Oil on canvas 30.5 x 40.6 cm
but deliberately ambiguous, placing familiar objects
and figurative actions out of context. Using indistinct
surroundings and a muted colour palette, she
displaces the ordinary by constructing subtly unsettling
environments, generating intimacy and stillness within
the subject matter.
That which seems ‘everyday’ on first viewing, is shifted,
into a place of uncertainty through its abstracted
relationship with its surroundings.
21
Harriett Evans
De Montfort University BA (Hons)
Kate Fahey
Royal College of Art MA
Cumulative Loss
House Wife
Photograph 58 x 58 cm
Objects have been a key element to Evan’s project;
they have enabled her to create a series of dream like
images. The majority of objects and garments, which
feature within the photographs, were found in her
grandmother’s home.
Whilst sourcing objects, the old dolls houses she found
opened up the project for her and the rooms within these
became the backgrounds for her photographs.
22
Digital print on shiaohara paper 180 x 270 cm
Some of the scenes are based on her relatives and their
interests whereas others developed due to the objects
she found.
Each garment represents a person however; there is
not a person present in any of my images because she
wanted the objects to create a portrait of the person.
Evans wanted the viewers to build up their own idea
about the figure in the images from the objects.
Working across the boundaries of print, installation
and sculpture, Kate Fahey’s practice explores the
fallibility and entropy of mass proliferated, poor quality
media images, and is a reflection on our relationship
with landscape through contemporary screen based
perspectives, aerial, satellite and elevated views. She is
interested in the material disintegration that manifests
itself in pixilation of the digital, and surface breakdown
of the analogue photograph.
In the profound proliferation of the poor quality
digital image, this degradation also arises from our
over exposure to so many images but focus on few.
In the fragility of the work she references both the
ephemerality of what Hito Steryl terms the ‘poor image’
that ‘operates against the fetish value of high resolution’
and the instability of the subject matter.
Focusing on appropriated and archival imagery from
various sources, and through the material and sublime
nature of the work, Fahey reflects on humans’ relationship
with digital images and seeks to connect with and to
slow down our experience of images of traumatic and
unsettling world events.
23
Maria Fernanda Calderon
Wimbledon College of Art MFA
Jo Gifford
Chelsea College of Arts BA (Hons)
The city has been the canvas for developing
the site-responsive character of Calderon’s
practice. A combination of research and
serendipity, her prolonged investigations
of sites, are a way of noticing patterns,
rhythms or anomalies. By using the apparent simplicity of
the everyday, she transforms the
overlooked into catalyst for creating
new narratives. Calderon collect events
by videos, pictures or texts. Then,
interweaving these encounters and what
they can trigger from her memories, she
develops dislocated narratives that play
with language and transient places.
One Possibility Ceramic
Dear Orphan Letters
24
Video 1;35min
The underlying thread of Gifford’s practice is the
exploration of physical and non-physical boundaries
that separate self from other. How the self is perceived
through these boundaries, how we view things and
ourselves as distinct, and what happens when the
boundaries are de-stabilised or reinforced.
In this piece Gifford questions human tendency of
categorization, which acts as a method to provide
meaning/knowledge and help us understand our
relative place in the world. It questions the logic of these
systems, the separation of things into distinct entities
and groups, and the superimposed boundaries where
Installation 200 x 400 cm
there would otherwise be overlap.
The specific materials and processes used to create
the piece allow Gifford to explore concepts through
means that are not dependent on language. This allows
a somatic connection that does not rely purely on
cerebral interpretation. The creative process, the time
taken, the repetition that punctuates time and space,
the skill gradually acquired, the memory of touch, are
all important. In this way the response elicited within the
viewer can also be of that order, relating to the body in a
more physical manner.
25
Gabriela Giroletti
Middlesex University BA (Hons)
Gabriela Giroletti’s paintings must not
be seen as individuals, but as a group
that epitomize an impatient person.
She is persistently curious about
the materiality of things. The backlit
computer screen has transformed
the way images are experienced
today. Being interested in how things
meet in space and looking back at the
way technology has advanced, her
work has begun to reference a world
determined by computers, enriched
by the many new visual conventions
familiar to the Internet generation.
The amalgam between human
spontaneity and the virtual world
characterizes her work, where the
use of high colour and hard edges
clash with more impulsive mark
making. It addresses architecture
and questions the value of
commercial Design, whilst echoing
the multifaceted aesthetic of Cubism.
While transferring these images from
digital to an analog, historical visual
language she began to consider the
human experience.
Techscape 2549
Winchester School of Art BA Fine Art
Lauren
Goldie’s
work
is
autobiographical. It announces itself
to an audience with a descriptive
account of the evolution and rituality
of an artist’s practice. Perspective
is imperative to her design; an
installation changes enormously
depending on the light, and the angle
of the viewer.
When approaching the work you see
the consequences of its structure,
mainly the abstraction of materials
as they process video footage.
Experimenting with variants of wax,
particularly glass wax has been vital
in developing Goldie’s latest body of
work.
Undeniably, the breakdown of the
film imagery through this material is
reminiscent of the deconstructive
elements in her art making process.
Oil on canvas 180 x 160cm
Overlap (Detailing 1)
26
Lauren Goldie
Glass wax, perspex, wood, metal & video 180 x 150 x 30 cm
27
Elitsa Harbov
University of East London BA (Hons)
Harbov’s work includes installation
pieces made from materials that, from
his perspective, hold specific memories
and a certain raw beauty. They look at
the connection between manmade and
natural materials.
The installations could be read as a
conversation between organic and urban
materials. They capture disregarded
objects and present a different side to
them. Looking at the natural materials,
the orange peels for example, over
time turned into something completely
different, almost unrecognizable.
This resides with Harbov’s exploration
of the theme memories, as they change
over time or they are completely
forgotten. The dismantling of objects
or watching them as they deteriorate
has made it possible for his ideas to be
expressed in a more physical way, rather
than in a two dimensional work. Untitled
28
Bulb, silicone and water & paint
Camberwell College of Arts BA (Hons)
Jonathan Harris
Through augmented reality and
interactive
technologies
the
convergence between physical and
virtual is continuously growing in
today’s society.
Jonathan Harris uses this continuous
movement towards a seamless,
mixed reality as inspiration for his art.
Projection mapping is a subject that he
has paid particular attention to, since he
finds it forms a new reality for objects
yet also retains separation between
the physical and virtual. Harris reveals
an unapparent association between
the two; the physical and virtual object,
developing upon the spontaneous
decision-making that he undertakes
when making art.
His work is an ongoing development of
practical formalities with undulations
in material construction. As opposed
to obtaining a consistent aesthetic,
Harris’s work demonstrates how a
spontaneous progression of ideas
can inform a myriad of styles, each of
which envelop upon the nature of a
material.
Unparallelled Mutations
MDF, projectors, paint size variable
29
James Johns
BA (Hons) University of the Creative Arts, Farnham
James Johns is a London/Kent
based artist, predominately working
with drawing based processes and
bronze casting. ‘Craft’ is extremely
important in the creation of work,
using traditional processes such
as etching, silverpoint and bronze
casting.
However,
using
what
many
consider ‘old fashioned’ processes
in new contemporary ways, with
acknowledgement to the historical
context of such processes and
craftsmanship. His work explores
varying subjects such as architecture,
maps and organic structures. With
particular interest in the complexities
within these structures, whether
organic or manmade, an appreciation
for the structural form is depicted
through obsessive and at times
maniacal methods of working.’
Brood’ is his latest series of work,
a collection of bronze casted hive
frames displayed upon a steel/
sleeper construction. The work is an
appreciation of organic structure, and
a collaboration between the natural
architect and the artist himself.
Remnants of the sprue have
remained intact, showing the
importance of the process from
an artist that believes that concept
and process weigh equally when in
comes to the creation of work.
Brood
30
Bronze casted hive frame on sleeper/steel construction 144 x 30 x 22cm
University of the Creative Arts BA (Hons)
Julia Keenan
Julia Keenan’s practise explores the
composition of constructed hybrid
objects. Working across object and
image to create installation works
revolving around a unifying concern
or narrative.
The work engages with the uncanny
nature of objects presented within
new configurations to create fetish
curios. These open up the possibility
of creating spaces in which new
narratives can emerge.
She is interested in the possibility of
harnessing physical aspects of the
uncanny and unconscious to navigate
physical and imagined spaces.
Keenan’s theoretical interests lie
with the research of Freud in regard
to inhibition repression and the
uncanny.
It is her intention to make challenging
work which could be interpreted in
a broader sense as a comment on
current social issues.
What Have We Become
Found objects 18 x 20 cm
31
Sultan Kinns
Wimbledon College of Art BA (Hons)
Chelsea College of Art and Design BA (Hons)
Kristen Lokka Kong
In his work, sultan Kinns uses found materials, in particular tree trunks, which are
cut down and altered. There is directness
about the way Kinns’ objects are made.
He wants things to appear to happen to
the wooden trunks as if occurred naturally without intervention.
He wanted to ensure that even his
most constructed wall pieces, that
combine wood, twigs, metal and found
photographs, have the appearances of
being things that have made themselves.
His pieces do not describe a different
reality but nevertheless he wanted them
to posit the possibility of there being one.
Eccentric and with a touch of outsider art
he finds that they can sometimes look like
the bi-products of unusual 19th century
scientific experiments investigating nature of plant growth.
Back to nature
Kristen Lokka Kong’s inspiration comes from the book of
Genesis. “Then the Lord God formed a man from the dust
of the ground and breathed into his nostrils the breath of
life, and the man became a living being.” (Genesis 2:7) It
is said that man was made from the dust of the ground
and with the breath of life man became a living being.
When we die, we will be buried underground and this is
a cycle; everything came from the ground and will end
up back within it.
As It Was
32
Mixed Media 53 x 25 x 25 cm
Melon skins 24 x 34 cm
“Then the Lord God said, “Behold, the man has become
like one of us, to know good and evil. And now, lest he
put out his hand and take also of the tree of life, and eat,
and life forever.” (Genesis 3:22) According to the bible
God told Adam and Eve not to eat the forbidden fruit
from the “Garden of Eden”. However, they did not obey
God’s order so they were banished from the Garden of
Eden. Since we will be buried or turned into ash after
our death, Lokka Kong’s aim is to create bio-degradable
textiles from food grown in the ground.
33
Max Leach
Chit Chat
University of the Creative Arts BA (Hons)
Film
University of Southampton BA (Hons)
Molly Lemon
Molly Lemon’s practice is informed
by her personal experiences of
chronic pain and illness. Using her art
as a tool she strives to explore and
challenge the non-patient/patient
relationship, often thinking about the
role and perspective of the medical
professional in contrast to the patient.
Poetry as a medium has allowed her
to express her experiences without
having to struggle for the coherence
of an essay. Pain is personal and
individually experienced, yet the
viewer is able to gauge the meaning
in just a couple of lines.
Lemon adopted hand embroidery
as a medium during a time when
her illness meant she was unable
to continue her normal practice of
painting, collage and video. By using
the needle as her brush and the
thread as her paint, Lemon was able
to sew; first into the waxed pots the
nurses brought her pills in, and then
into fabrics.
She is interested in art as therapy,
and more specifically textiles as
therapy. Using the haptic from the
repetitive motion of needlework
Lemon has been controlling her pain
and processing her traumas. She is
sewing for salvation.
Max Leach’s practice explores anxieties created
by globalization via encompassing a post media
approach to making, it takes in moving image, sound,
installation, performance and online platforms. Leach
navigates issues of identity and anthropology in relation
to idiosyncratic behavioral cultures and systems within
the post Internet era.
Sewing for Salvation
34
Hospital bed & hand embroidery 190 x 90 x 60 cm
35
Catherine Leon
Wimbledon College of Art BA (Hons)
Catherine Leon’s work explores
the possibilities of an autonomous
matter-based language; removing
premeditated agency and absolving
creative practices of the aesthetic
constraints that they develop
within. To this end, a core tenet of
her practice involves meditation
techniques as a route to clearing the
mind – something that allows her to
paint through intuitive impulse only.
Thus her work chronologically
expresses
specific
bursts
of
unrestrained creative expression,
informed
by
her
pre-existing
aesthetic mores.
The result of such intuitive impulse
changes over time, with constants
being the articulation of agitated,
non-systemised, repetitive markings
and on-going experimentations with
colour, with recent favour given to
fading acidic hues.
Camberwell College of Arts BA (Hons)
A socially committed artist, Liz Lowe
explores the richness of humanity,
urban life and the natural world.
Working with everyday and mundane
items she reflects on her responses
to personal issues and current affairs.
She aims to evoke reflection and
recognition within the viewer through
the use of familiar yet ambiguous
forms.
As well as this, she seeks to capture
transitory or ephemeral moments,
feelings and ideas in contrasting
media – from delicate textiles to
foundry cast metals. Her sometimes
participatory and playful practice
reflects on the impact of time and
duration, routine and pattern as a
metaphor for the resilience and
fragility of life itself.
Hug me Forever
Better Off as Friends
36
Elizabeth Lowe
Patinated cast bronze 40 x 40 x 10 cm
Oil and fluorescent pigment on canvas 180 x 130 cm
37
Emily Lucas
University of the West of England, Bristol MA (DIst)
Karim Mahmoud
Central Saint Martins MA
Lucas is interested in the
inadequacy of language to
communicate thought process
and interior experience.
She utilises gaps, fragments,
repetitions and strange pairings to
create alternative narratives and
ambivalent meanings. Drawing,
stitch and simple print processes
lie at the heart of her practice.
Burn Baby Burn 01
The Archive of Roland J Worcester
38
160 x 80 x 200 cm
Mixed media; printed on canvas, acrylic, ink pen 127 x 127 cm
Karim makes densely composed figurative prints
combining painting and photography mixed media. The
process that led him to create his piece was triggered
by real life experiences. The escalated political conflict
in his home country, Egypt, was the required impulse
to express his emotions and thoughts. Destruction,
demolition, and blood were the headlines of every
television channel. Social media posted nothing but
pictures of killed children and mourning mothers. In
relation to this, he believes that humour is a light, yet a
smart approach to convey critical subjects.
Therefore, he uses it as a tool in communicating
politically driven concepts as well as controversial
matters such as Art and Psychedelics. His practice
demonstrates and mirrors the effect of psychedelics
through a rich antagonistic vision, one that describes and
brings the opposites together such as matter and spirit,
the dark and the light, life and death and the past and
future. He focuses on the ultimate mental power and its
relation to the art process is a catalyst for his desire to
discover his own true self, and identity in the world of
unconsciousness through tangible artistic work.
39
Marie-Pier Malouin
Central Saint Martins MA
Goia Mujalli
Royal College of Art MA
Goia Mujalli is engaged in an activity
that involves investigating paint as a
material and how it sits on a surface.
Through textural comparisons and
the use of printmaking and through
the process of layering, she creates
an image that often has an ambiguity.
There is an intention in making an
image from a faded memory of
something that exists but yet not
recognisable.
She is interested in exploring the
difference of mark making made
by the brush and by the use of
screen print. Creating then a tension
between the personal mark and
the mechanical mark. The screenprinting used in her work creates
a repetition of an image, which
then fades under the brush mark
made, which involves erasures, the
formation of patterns, stains and
textures.
Her aim is to achieve difference
in the process of making each
painting. This difference is denying a
systematic way of making a painting.
She asks: how does this difference in
each painting have a conversation in
space?
Language 1
Textile, pins, latex, electronics 180 x 120 x 70 cm
Malouin’s work consists of both small-scale sculptures
and larger-scale installations that bear the results of a
lifelong interest in the concepts and methodologies of
science; anthropology in particular.
Responding to experiments she sets up in her studio that
employ the strategies used by this disciplines, she works
to explore the limits of organization and classification as
they relate to the production of artwork. Malouin’s work
40
examines the set of limits created when a particular
element is defined in the context of our environment,
culture, and language and the structure behind this
system of classification.
Her inspiration comes from the contrast between the
constant flow of exchange between cultural groups and
by the taxonomic systems used to define them.
Scars
Acrylic and oil on canvas 250 x 190 cm
41
Cătălin Munteanu
University of South Wales, Newport BA (Hons)
De Monfort University BA (Hons)
Sian Murphy
Scale of Quiet
After 25
Epson velvet fine art paper 40 x 55 cm
Having a natural interest in nature, Munteanu was
captivated by landscape photography from an early
age. Since 2007, she has been collaborating with travel
magazines and websites, being commissioned by them
to do articles with both words and images about hiking,
climbing, travels, photo tips etc.
It was in 2009 with the opening of her own studio in
42
Dimensions variable
hometown Ploiești that she began to do portraits, fashion
shootings and commercial photography as well.
Munteanu finds that the greatest stories are told with the
help of short tales; believing that the world is a wonderful
place, with room for everyone and everything and that
she believes we always have to stand up for our rights
and beliefs. Freedom shouldn’t be only a state of mind.
‘Scale of Quiet’ (2015)
In its ability to manipulate and regenerate, Scale of Quiet
applies elements of a household’s structure in capturing
natural filtration of movement and light through the
delicacy of a window panelled blind. The magnifications
of mundane routine and daily occurrences have
presented domestic activity in its simplest form by
recognising the beauty in the dismissed.
The transition from micro to macro and intersecting
objects such as mirror have been used to challenge
the viewing eye, demonstrating the ongoing notion
of passing time. The dynamic of the piece acts as a
hypnosis creating an immersive atmosphere by both
sequences of imagery allowing a distinctive silence to
engage with the varying relationships between reflected
materials.
43
Alex Norwood
The Beckoning
Camberwell College of Arts BA (Hons)
Oil on canvas 180 x 210 cm
Born in the early 90s, Alex Norwood grew up amidst
the rise of the Internet, videogames, ever-improving T.V
graphics and an even greater proliferation of images
and information. Within his artistic practice he became
fascinated by this abstracted visual ‘other world’. A place
limited to neither time nor space that has managed to
form its own reality, one related to real life yet one that
remains oddly removed and distanced. It is a world that
often intrudes and impacts our understanding of the
tangible and authentic world that we live in.
44
Andreas Papafrangou
De Montfort University BA (Hons)
Guru (relaxing-drinking)
As a pictorial art form, Norwood sees painting as a
practice that can be understood in terms of, and as
part of, this seamless world of images and his artistic
interests are centred on this distinction.
Within his artistic practice, he collages and combines
fragments of an array of found photographs and
transform the subsequent combinations via painting into
surreal filmic scenes that appear at a glance distinct and
clear, yet on closer inspection become oddly incoherent
and uncanny.
Andreas Papafrangou’s work is focused primarily on
memories. Memories contain our past, something that
may or may not affect us.
Moreover, he believes that the past is part of our identity
and determines what we will become in the future as
we are born, raised, learn, and become who we are. His
paintings are based mostly on good memories.
The photos he uses are from his own past.
Watercolour on Fabriano paper 135 x 130 cm
He paints them on same paper to show the viewer the
connection between the two images. The relation as it
comes it to his mind. When he chooses them, his paint
job becomes more like pop art, as it emphasizes colour
and offers an unclear view to the observer.
His work is based on his experiences, and the nostalgia
he has for memories of his hometown.
45
Ella Phillips
Wimbledon College of Art MFA (Dist)
De Montfort University BA (Hons)
Holly Pickersgill Fennell
Holly Pickersgill Fennell is transfixed by
the relationships of sleeping people. She
has used costume and sound to depict a
passage from the book ‘DreamLand’ by
David. K. Randall, entitled ‘I know what
you did last night’. In this passage sleeping
side by side with another person is seen
to pollute the individual’s sleep. From this
notion evolved ‘June’.
‘June,’ is a 2-hour durational performance
based on the apprehensions around
sleeping. It looks at what happens to us when
we sleep and what happens to us when we
don’t achieve it. This performance is based
on confronting theses problems as best
we can. ‘June,’ represents all that Pickergill
Fennell has learned and understood in
her journey with biopsychology, sleep
and the emotional transition between
unconsciousness and consciousness.
Spatial Narratives
Video installation approx 200 x 200 x 200 cm
In conversation with [ARTWORK], consider your
relationship to [LOCATION]. As the virtual and actual
collide, how will your understanding of [INFLU- ENCE/
HABIT/ AGENCY] be reframed?
The [VIDEO/ EVENT/ AUDIO/ TEXT] invites you to
orientate yourself through gaps in narrative, multiscreen installations and unreliable facts.
Often adopting the voice of the [INSTITUTION], mini
audio-visual essays deconstruct the implications of
context and trace unusual spatial narratives. What
systems of logic do [YOU] use to map out your reality?
46
And if these were multiplied, amplified and destabilized
could the absurdity reveal new perspectives?
[COLLABORATION] allows [ARTWORK] shifting typical
systems of ownership and choice making Interactive
[SCULPTURES/EVENTS] reiterate these new relational
possibilities, acting as a catalyst in considering the
macro implications of the viewing experience that exist
beyond the site.
Could the artwork become an unrehearsed performance
of the subject: ‘influence, habit & agency’?
June
Perfomance, hand spun merino wool 5 ft 6 in
47
Ryan Prince
University of East London BA (Hons)
Hereford College of Arts BA (Hons)
Natalie Ramus
Natalie Ramus’s practise is multidisciplinary,
concerned
with
the
traces of human experience. Her work
examines the psychological space in
which the boundaries and limitations
of the body are explored in a way that
is not completely comfortable but not
completely destructive either.
The space illuminated means that an
evaluation, maybe even a provocation
of the relationship we have with our
bodies, and the tensions derived from
this experience, are presented. Ramus is
interested in how the associated cultural
meanings of materials inform the viewing
experience. How as an artist using her
own body she comes with her own
context, yet the viewer also comes with
theirs.
Goodbye (To Fine Wine)
Photography 60 x 84 cm
During the 17th century, when voyages and tours took
place, it was customary to collect artefacts to bring
back which were kept in cabinets of curiosity. These
cabinets held a medley of curiosities, from paintings and
sculptures to animal specimens such as horns and tusks.
The cabinets often contained items of myth and legend,
unicorn horns being a prime of example of this.
Sadly, this was later proved false and the horns where in
fact taken from the male Narwhal whale.
48
However, this little bit of history has inspired Prince. He
has taken from this, the idea of embellishing reality to
create something surreal. His current work focuses
on the themes of identity with subtle undertones of
narrative.
He documents the mundane activities of his “Bird
Man” in a hope to challenge how people think about
themselves, picking up on a possible narrative or, at the
very least, evoking an emotional response.
Hand Stitched
Photograph on mounted aluminium dibond 110 x 72.5 cm
49
Holly Rees
Wimbledon College Of Art BA (Hons)
Aindreas Scholz
Goldsmiths MFA
Holly Rees uses painting to examine
the ways in which we experience and
understand landscape. Intermediates
(windows, screens, postcards) can
inform a potentially problematic
understanding of the world around
us, and create an image of “nature” as
something separate from humanity.
She is interested in questioning whether
our experiences through different
intermediaries reinforce a romanticised
idea of nature, or give something of a
false understanding.
In ‘glimpses of landscapes through
moving train windows, she uses
painting as a means to explore a more
temporal experience of a landscape
we’ve merely glanced at. She finds that
in reproduced images of landscapes,
like those on postcards or in books, we
gain a potentially false understanding of
a place.
Homesick (Distress)
Untitled Intermediate
50
Oil on panel 60 x 60 cm
Aindreas Scholz was born in Wiesbaden to an AngloIrish mother and Sudeten-German father. He studied
photography in Dublin (IE) and it was here that he
developed a keen interest in visual narratives. Taking
inspiration from the stories of war atrocities relayed to
him by his grandparents when he was child, his practice
is focused on the process of releasing strong, repressed
emotions. He is currently studying for an MFA in Fine Art.
Wax, pigments Dimensions variable
In Homesick (Distress) Scholz has drawn on the
‘liquification’ (tears, sweating, and wetting of oneself)
that may occur during or after trauma. He is interested
in exploring this process, and gives form to trauma by
using plaster, cement and wax. Trauma in form of liquid
is poured into his work, resurfacing, spilling, and flowing,
before drying up.
51
Ellie Seymour
Defaced VI
Central Saint Martins BA (Hons)
Built on expression, Seymour’s practice explores
issues of beauty and identity. In her current work
she has drawn on her own experiences and feelings
towards the perception of female identity imposed by
mass media and society. Ewing’s statement reflects
both her conceptual viewpoint - defiance against the
Francesca Ruth Smith
Hashtag Bathroom Selfies
Paper collage 30 x 30 cm
“The face is a fluid field rather than a fixed object.”
William A. Ewing, About Face: Photography and the
Death of the Portrait (2004).
52
University of Brighton BA (Hons)
standardisation of beauty; and her methodology treating the portrait as raw material to be dissolved and
reformed.
Her recent work appropriates a number of images
of feminine ideals from advertising and fashion
photography, employing a combination of media
and processes to physically alter and distort both the
perfection of the photographed feminine subject and of
the materiality of the image itself.
Francesca Ruth Smith’s work questions the barriers
between the virtual world that celebrities present online,
and their everyday lives. The work ‘Hashtag Bathroom
Selfie’ specifically focuses on how these lines have been
blurred due to the popularisation of the ‘selfie’; itself
the result of technology that allows anyone to instantly
capture and edit a moment.
The sculptures are presented as glossy forms,
suggestive of the mirror and screen. The stands for the
Installation 180 x 180 cm
sculptures are also an integral part in the works: they are
remains from the cut out process, and create the refined
sculptural form.
Through the light box prints, Smith brings the domestic
setting of appropriated images to the foreground. The
most recent works focus on the mirror facing bathroom
‘selfies’; Smith is intrigued by the connection between
the celebrity, the mirror and the domestic setting.
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Joy Smith
Plaything
Central Saint Martins MA Art & Science
Jazz Szu-Ying Chen
Charcoal on paper 100 x 100 cm
Fuelled by a fascination for the illusory nature of reality,
Joy Smith attempts to capture a trace of the living, a
hint of the hidden, particularly when taking the blurred
distinction between dream and memory, and the
phenomenon of memory in general, into account. What
interests her most is the notion of art as an escape, a
place to be liberated from expectations, conventions,
and prescribed realities.
Studying her own dreams, and thereby sourcing from
her unconscious, Smith has come to value the absurd,
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University of Plymouth BA (Hons)
cherish confusion, and align high and low culture in
attempt to be free from the prison of rationality we
construct for ourselves.
She sees this struggle to comprehend the world as
parallel to the struggle we experience to perceive our
own identity, and subsequently her work often comments
on the transition from childhood to adulthood.
Smith’s work is essentially conceptual but articulated
through traditional means – mostly drawing; of which
she is exploring and experimenting with.
Joy, Peace and Insecurities
Jazz Szu-Ying Chen is a Taiwanese artist living in London.
She is interested in beauty and the grotesque within
the field of anatomy, inspired by medical wax models
from the 16th century by anatomists such as Clemente
Susini’s and Gaetano Giuio Zummo’s.
Chen manipulates the dissected anatomical images
and creates works with unlikely elements and
Etching on paper 76 x 56 cm
characteristics, such as Flemish floral and fruit details,
French ornaments, East Asian illustrative symbolic
elements, and Japanese anime. Each of Chen’s pieces
has their own narratives; some are drawn from personal
experiences and observations on Eastern and Western
cultural conventions. They also function as social
commentaries on contemporary society.
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Kiran Tasneem
Arts University Bournemouth BA (Hons)
Kyle Theo
Central Saint Martins MA
Identity uses self-portraiture and
traditional Islamic dress to reference
the stages of covering that are
prominent in Islamic countries.
Representing the contrast from the
West to the East, the subject gradually
blends into the background. The
audience is asked to consider how the
identity of women in Islamic culture is
shaped by the limitations they face.
Self-Portrait-Finger print
Identity
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Digital C-type prints 62.5 x 45 cm
Luminous pigment, Chinese ink paste on paper 150 x 100 cm
Kyle Theo’s interest lies in the definition of contemporary
expression and the way that it can be translated into
portraiture. There are two issues of significance, which
are: making realistic portraiture without using traditional
means, and making conceptual portraiture without using
physical representation.
The first issue is to explore the possibility of making
portraiture without using traditional means, which is
defined by an appearance depicted from a scientifically
real perspective. The second issue is to explore the
extent to which we can deviate from the traditional way
of painting a portrait and still be able to recognise it as
a portrait.
These two issues act as a basis in influencing his portraits.
The main point of interest in his work is the possibility of
combining traditional artistic skills with contemporary
expression. The importance of the hand-painted is
emphasized, and the audience’s interaction with the art
will be present. This is the reason why he carries out this
work. Not only because he wants to find the answers,
but also because he wants to inherit this old theme.
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Danielle Tong
Wimbledon College BA (Hons)
Danielle Tong describes her
works as diverse, and predictably
unpredictable.
“No one knows what am going to
come up with next; even I myself
am not sure. But whatever it is, it
would get you thinking and talking
about me. What is this? What is the
artist on about? Why did the artist
make this? I guess we will always
be guessing. And that is the fun of
the game”. – Danielle Tong
Asian Invasion
Manchester School of Art BA (Hons)
Exploring the traces we are
leaving through industry and mass
production,
Poppy
Tongeman
creates fictional fossil formations
in glass and concrete, imitating
the proposed geological era of the
“Anthropocene”, which is considered
to start with the industrial revolution.
Tongeman’s work originally stemmed
from research into the former Flint
Glass industry in Ancoats.
She began to create glass forms
using imprints from mass produced
glassware. The reflection from one
form to another is ever present in
casting and mould making. As an
analogue process it loses detail and
quality at each stage, this dictates the
final form.
The unpredictability of materials
shapes her practice and has become
part of her research method at
every stage of making, encouraging
Tongeman’s work to evolve in
unforseen ways.
Oil Paint on silicone 180 x 60 (set 240 x 200 x 200 cm)
Jersey Relics
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Poppy Tongeman
Glass, concrete, plywood, steel 136 x 90 x 38 cm
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Dennis Vanderbroeck
Central Saint Martins College MA (Dist)
Robert Gordon University BA (Hons)
Lily Vougiouklis
Dennis For Sale Live performance No 3
Dennis Vanderbroeck (NL 1990) is the art director of
Studio Dennis Vanderbroeck. In his work he creates
crossovers and balances between fine art, fashion and
performance art with the use of video, photography and
live performances.
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Exploring the complexity of identity and the construction
and deconstruction of it, how to perform life and how to
mythologize yourself. With blurring the labels between
his personal and artistic identity Vanderbroeck creates
hyper aesthetic images. With using wit and humour he
creates playful procedures.
Society’s Heaven and Hell
Woodcut print 43 x 61 cm
Over the past few of years, Lily Vougiouklis has been
very interested in the subjects of sexism, stereotypes,
conformity and individuality. Her first interest was sexism,
which led her to focus on conformity and as a result, in
her belief, the false sense of individuality.
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Daniel Warnecke
University of the Creative Arts, Rochester BA (Hons)
Hyeji Woo
Central Saint Martins MFA
“As a young artist I always looked for ways
to distort the surface of a photograph,
using paint to build layers up out of the
canvas or etches to dig down deep to
expose the image, but there was still
something missing a hunger I needed to
fill”. – Daniel Warnecke
Using 3D printing, Warnecke sets out to
create a dialog between the past and the
contemporary, reinventing and renewing
historical art tradition.
The use of appropriation is apparent in
Warnecke’s work as he depicts famous
portraits through out history and brings
them in to the contemporary by using
cutting edge technology, which in return
has affected his process as an artist
today.
The body of work is split into two
sections each presented to the audience
separately, which allows the audience to
engage into two viewing styles.
Overheadproj,
Hyeji Woo has always been interested in things that
disappear. Everything in this world is disappearing, will
disappear or has already disappeared.
Girl with the Pearl Earring - Jess
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Photograph
50 x 35 cm
Entropy is the central idea of Woo’s work. “The first
law of thermodynamic principle states the substance
and sum of energy in the universe is regular, never
extinguished and its essence does not change. The only
thing that changes is form, and this is the principle of
the conservation of energy. Substance and energy go
in one direction, which means that availability turns into
Steel,MDF, perspex, ice Size variable
unavailability and order turns into disorder. This is the
second law of thermodynamic principle, the principle
of entropy”. Woo thinks that humans also live within the
principle of entropy. As long as we exist in the flow of
this fundamental energy she believes we are subject
to the chaos and conflict of entropy. We cannot think of
the disorder of entropy and human routine as separate.
Her work focuses on the question, what remains
of disappearance? Disappearance leaves nothing.
However, Woo believes that ‘nothingness’ is a kind of
‘presence’.
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Qinrun Yu
Eyelashes of Ocean-Knitted
Chelsea College of Art and Design BA (Hons)
Adam Zelig
Middlesex University BA (Hons)
Wire and glass wax 30 x 30 x 30 cm
Declaration
Qinrun Yu is an independent material artist who is
interested in experimenting with various materials
together with different textile techniques. She has been
focusing on developing knitting techniques to create
three-dimensional shapes. Her sculptures are full of
movement and energy.
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Her inspiration for this collection came from wanting to
explore the relationship between sound and the ocean.
In her opinion, the origin of sound is the ocean. Yu’s idea
is to visualize and materialize sound through catching a
moment of transformation under the deep ocean.
The Beginning
The mystery is unfolded.
The sense of alienation from society is visible in my
creation.
I imagine a world of distinctive forms that other beings
could not see.
My knowledge is my reason.
Oil on polyester 120 x 120 cm
I am the demonstration of space that is pushing me
forward and my representations are shown to people of
tomorrow.
Amongst those who are like me, we begin to support
each other for further purposes.
And thus the order of the world needs to be changed.
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Acknowledgements
Our thanks to the staff at Bargehouse together with friends and staff at GX
Gallery for their help and support in preparing for FloatArt London 2015.
We would like to extend our special thanks to the following people for their
invaluable help prior to and during the event. Without their help FloatArt
London 2015 would not have happened.
Riccardo and Lisa Zacconi, Francesco Curto, Sanjay Budhdeo, William
Makower, Rohney Saggar, David Duhig, Lala Meredith Vula, Ferdy Carabott,
Simon Brookman, Vaughan Grylls, Brendan Neiland, Ed Gray, Armando
Alemdar Ara, Lisa Pennetta, Alice Phillimore, our anonymous donors and of
course our families.
We would like to thank all the many universities and art colleges who have
supported FloatArt London and its vision for their graduates.
FloatArt London Ambassadors
FloatArt London Award Designer
Event Manager
Event Management Assistants
Catalogue design
Set Design and Curation
Printing
Postcards
Photography
Video Producer
Website
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Ed Gray & Armando Alemdar Ara
Amy Cushing
Anna Garfit
Dipika Khimji & Ciara McLaughlin
Ferdy Carabott
Comma Collective:
Matilde Biagi, Inês Costa,
Eilidh McCormick & Antonio Terzini
TG Print
Copy Print
Nicolas Laborie
Alex Thorogood
Illumnis (UK)
Comma Collective is a curating collective based in London with a focus
on contemporary art. The collective have an ambition to work with
emerging artists and to develop ways of viewing art through conversation
and collaboration. This ambition brought Comma Collective to work with the graduate
artists selected by FloatArt. Bringing a program of performance art and
assisting in the curation of the exhibition, Comma Collective worked in
collaboration with the organisation, the space and the artists.
Find out more about Comma Collective at
www.commacollective.wordpress.com
Follow Comma Collective on Twitter
@commacol
Follow Comma Collective on Instagram
commacollective
Like us on facebook at
www.facebook.com/commacol
67
GX Gallery, established in 2001, is a contemporary commercial
gallery in London. The gallery has a regular programme of solo
and group exhibitions and exhibits at art fairs.
TG Print and Design is a highly successful printing and design
company with a national reputation for excellence. They also offer
high-quality design services.
Best Intercontinental Trade Ltd is a dynamic organisation facilitating
sales and brokerage services in various sectors including food and
beverage products, luxury items, commodities and IT.
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*FloatArt London needs to raise funds for this and for other charitable purposes.
Your donation will be processed and administered by the National Funding Scheme, operating as DONATE,
a charity registered in England and Wales (1149800) and Scotland (SC045106).
In addition to any text donation, you will incur your standard network message charge (based on your service provider rates).
For Terms & Conditions, see www.easydonate.org
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