Departure

Reynolds, Catherine

A photograph of a house, there is no denying that a photograph of a house is exactly that. My images do not try to make the subject of the picture something it is not. They aim to acknowledge what it is. I look at the everyday that is often missed and admire the banality that makes it so unique and of interest to me. No matter where you go there are buildings and places that often have meaning and are worth looking at but people don't look, I do. I choose to photography the simple yet detailed fragments of our world and place them together to be compared with each other and consequently be observed more than in their previous setting.

Ridge, Alice

Movement, restraint and the human body are the key elements to my work. I have come to realise that it is only by putting or placing resistance or restraint into the art process that creative energy is formed and subsequently harnessed in order to create a new and unique art form. In my work I am pushing myself mentally and physically. I am pushing my mind to think outside of the box and overcome some of my fears and my body physically to overcome some of the restraints that I put into place. I focus on developing drawing devises or restraint devises as objects within installation spaces alongside video and photography. I will leave you on a quote by Nancy Spector on the artist Mathew Barney, which I feel influences my work “Form cannot materialise or mutate unless it struggles against resistance in the process”.

Rixon, Andrew

“I began to work as an artist when I began to be an adult, when I understood that my childhood was finished, and was dead. I think we all have somebody who is dead inside of us. A dead child. I remember the little Christian that is dead inside of me.”

Christian Boltanski. Tate Magazine. Issue 2

My work queries our self-acceptance in a changing society. To reflect upon the past and relate our present situation in an on-going cultural shift from family and community to independent lifestyles governed by technology. Through photographing seaside themes I draw upon the childhood memories we can all relate with. My photographs regress the mind to a lost place in time to interrogate the authenticity of memories, a part of our lives that can never be re-lived. I invite all to seek out and question the dead child inside us.

Rudge, Ellen

My body of work seeks to explore the meaning in objects and play with our perceptions of ordinary everyday objects by placing them in unusual isolated situations. Taking them out of their normal environment gives the household objects new significance when otherwise we may take them for granted. The meaning of an object lies within the mind and we are too aware of the concept of mundane that these are discounted as forms of art. The juxtaposition between the object and its unnatural surroundings adds intrigue and surprise to my images but maintains a subtle approach as if it could have been there all along.

Singleton, Barbara

‘The distinction between philosophy and art is one that is difficult to isolate as the one is inhabited by the other. ‘(Proust and Signs 1972)

The representation of a moment in time has been the focus of my work. To the artist this transience is difficult to encapsulate. I have used reflective surfaces to reference the term ‘crystal image’ (Deluze 1994). The crystal image is seen as a point of divergence and indescernability between actual and virtual; between the present and its virtual past contemporary with it. My image presents a visual choice one present and one in the past and possibly also alludes to the future. The printed metal illustrates the duality or splitting of time. The moment of viewing the image is the beginning of time as such, the point of division. It is perpetual past to present, present to future.

Slattery, Kara

My main medium is print but recently I have been using photography to document experiments with a technique called ‘transient coulage’ This is where liquids (e.g. inks as well as solids like wax) are introduced to water and documented as they diffuse, leaving both simple and complex interweaving shapes. This has relevance to other areas of interest such as automatism as well as preservation. Methods for preservation here would be using photo-documentation, but I have recently been experimenting with preserving natural objects as well as attempting to use scent to evoke memories. Processes of preserving, evoking and making scent are all described in a book I have incorporated into my work called, The Perfume by Patrick Suskind.

Smith, Sam

My work has developed from being around advertising/women and turned more towards woman’s identity. It began by representing the women in a figurative form, however, I thought about changing the situation/location that surrounded them and decided a good way to do this was to use patterns (something that represents women.) Once I had produced examples of this I decided that I needed to leave aspects of the figurative behind and concentrate more on the pattern side. However, I found that this didn’t really give the impression I was hoping for because I wanted to show expression of women a lot more. This is when I began to concentrate on the more symbolic aspects of a woman and how to distinguish a woman through the use of painting. Within my paintings I have also used different materials such as make up and material/sewing, which gives the work more of a feminine touch.