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T W E LV E
F i n e A r t D e g r e e S h o w
Nor th Wales School of Ar t & Design

INTRODUCTION
When you apply for a place on a Fine Art degree you can choose the course, the location, even your tutors, but you cant choose the people you will study alongside. I cant think of a better group for you to have been part of. Over the years we have watched a creative community emerge that is about more than modules or the bricks and mortar that make up a building. Staff and students together have each made a unique contribution to the distinctive character and flavour of the Fine Art programme that has evolved. You have filled our studios with energy and ambition and your work and your ideas will inspire conversations with the students who will follow you. It is hard to believe that the three short years you have spent with us in Fine Art have now passed. It passed all too quickly. We would like to wish the Fine Artists taking part in this years show well in all that they go on to do. You will, we are sure, enhance our reputation in everything you do and will always be welcome in our studios. You are already part of both our history and our future and we are proud to call you graduates of Fine Art and of the North Wales School of Art and Design. John McClenaghen Sue Liggett Tracy Piper-Wright The Fine Art Team, North Wales School of Art and Design, ^ Glyndwr University, Wrexham

HANA ABBAS
hana_carmel@hotmail.co.uk carmelha.wordpress.com

DAVID CUNNINGHAM
S06001707@mail.glyndwr.ac.uk 07530414192

What is the purpose of art? What if art was used to help create a rhythm of community life? What would art look like if it was a response to a call of spiritually and materially improving conditions in our surroundings?

My current interests involve exploring shapes to go with heads. I am working intuitively, without worrying too much about what the work is about, for I believe that the subconscious will always come through in the work anyway.

Arts, crafts and sciences uplift the world of being, and are conducive to its exaltation. Knowledge is as wings to mans life, and a ladder for his ascent.
Bahullh

HELEN DARLINGTON
helendarlington@fsmail.net 07534082464

VICTORIA ELLIS
victoriajellis@hotmail.co.uk www.patternsforpeople.wordpress.com

I work mainly in textiles and found or readymade objects. My work is quite diverse from fairly traditional machine and hand embroidery, to more contemporary three dimensional pieces and installations. I have recently been working on larger installations exploring three dimensional drawing, using lines of fabric and threads, and experimenting with adding objects to these lines. I am from a Craft background, having always made clothing, accessories and patchwork. I am interested in the crossover from Craft to Fine Art in the use of both materials and processes, and the acknowledgement in Fine Art of skills perceived as craft skills. This interest also allows consideration of the history of both and the emotional interest that use of a skill or process perceived as craft brings to a fine art piece.

Man the tailor made god


L. Langner Clothes and the dressing and undressing figure are explored as a way of building an identity, as we dress ourselves we build ourselves into something new at the same time. These are moments of transition, which represent moments of shifting of layers, the skin as just another layer. The kind of viewing that happens during this process continues to draw my attention. As something that is usually private and almost sacred, this pull between being concealed and being viewed has gathered around it a sense of ritual, during which we form ourselves a second skin.

DOROTHY HARRISON
Dorothyharrison123@yahoo.co.uk

SARAH HART
sarah_hart@live.co.uk

Drawing, however seldom attracts consensus views. Instead it invites frustration or obsession in attempting to clarify something which is slippery and irresolute in its fluid status as performative act and idea; as sign, and symbol and signifier; as conceptual diagram as well as medium and process and technique.
Deanna Petherbridge My particular obsession is line, singular or plural, a simple form yet one which enables me to inhabit that potential space between the real, the fictive and the imaginary. An intense and meticulous process which encloses a peculiarly symbiotic relationship of mindfulness, drawing and discovery which takes me beyond myself yet is present to me.

Objects are bearers of memory, surrounding us in our everyday lives. Those objects that we hold dearest are sometimes our last connection to a person we may have lost and can provide a valuable link to accessing our memories of them. My work explores how memories are formed, exposing the fragmentary nature of memory through installation, print and photography.

...the fragment is defined in terms of both presence and absence. It is something in itselfa physical object... but this object is also perceived as a sign, an index of a something missing.
Jacqueline Lichtenstein

RHIANNON HUGHES
rhanibobbin@yahoo.co.uk

SHEILA HUGHES
sheilajhughes@btinternet.com

The context of a fairytale serves as a great tool to explore the human form through the language of sculpture. The manipulation of a narrative which has become more sugar coated throughout history is to me of great interest, seeing as its one of the few elements in modern culture that has become more rather than less sensitised. My aim is to invite viewers of innocence and experience into this escapist environment built up of the eclectic mix of dark imagery and typical fairytale aesthetics, to see which outweighs the other in the viewers mind.

My work arises from a deep affinity with music and the need to capture the significant bits before they disappear into the atmosphere. A choice of joyful and sometimes moving but beautiful music generates responses which are made physical by way of gestural, linear mark making. I am also concerned with the continued development of methods of paint manipulation and delivery that best denote my interpretation of the additional atmospheric nuances that are perceived from the music. Working with egg tempera paint on gesso coated boards, a method that was used before the advent of oil and canvas is becoming increasingly important to me. Paintings made using this ancient technique take on a ceramic like quality and fragility similar to the ephemeral nature of the music and so, are handled with care.

AMI JONES
ami_jones727@hotmail.com 07773081549

AMY LEARMOND
amyl246@hotmail.co.uk 07845182204

This work is highly influenced by the environments that surround me. As an artist I have always been inspired by nature, I grew up in the countryside and it always seems to be the main focus in my work. This work is a reflection on the countryside and the busy town that I now live in. Making miniature houses out of bark and photographing them up close I began messing around with the scale and it brings another aspect to my work. It allows the viewer to view my work from another perspective.

My work aims to transform everyday mundane objects that normally we wouldnt consider to be interesting and turn them into something intriguing using transparent materials to obscure light. My photographs are abstract, zoomed-in sections of these obstructions producing microscopic like images. Playing with colour, contrast and brightness has resulted in these edited still images, frequently in a negative or solarized format, now being made into short moving videos. Sculpture has always played a large role in my works and so it felt natural to combine it with my photographs. I aim to create eerie, uncomfortable atmospheres with my work by using these sculptural, human-like forms alongside my interest for light.

FIONA MACPHERSON
fionamacp@googlemail.com fionamacpherson.carbonmade.com

ANGELA MCKEOWN
alexandramckeown27@hotmail.com 07582623613

Within this work I have been looking at the feelings that I have towards the loss of my family home. When the house was sold I felt it as a form of grief and I have felt the need to hold on to objects that once dwelled within this house. These objects form the basis of sewn drawings that are being held within the image of my family home.

My work shows everyday items which are disposable in a different light. Not just plastic bottles that were once used to contain liquid but when emptied are rendered useless. I want the viewer to look at the installations in a new light. My work is not pretty it is black, gritty, hard edged and confusing but thought provoking. I am trying to represent the anguish of our beginnings by using modern materials, which owe their existence to the organic living structures of the past as a cosmological explosion in origin. The ideal sculpture is a bomb that contains time.

I dream of a house, a low house with high Windows, three worn steps, smooth and green A poor secret house, as in an old print, That only lives in me, where sometimes I return To sit down and forget the grey day and the rain
Andre Lafon, Posesies Le reve dun logis, 1913

HANNAH MARIE PHILLIPS


hannah-phillips1@hotmail.co.uk

KATHRYN RENSHAW
kathryn.renshaw@hotmail.co.uk

Were it not for shadows, there would be no beauty.


Junichirou Tanizaki, In Praise of Shadows. Nature is central to my practice, with its comforting familiarity constantly changing to reveal new characteristics. My love of the organic is reflected in my work; exciting possibilities flourish from the simplicity of organic shadow. Delicate paper work reflects the ephemeral qualities which the experience of shadow envelops. With illuminated paper forms, my aim is to provoke feelings of childlike awe and wonder; creating a space which encourages these emotions will recreate the feelings that I find so fascinating.

My artwork is based on retreating into the mind; a place where we think and reflect upon both times of trouble and times of joy. The sensory environment I have created within the structure has the ability to produce a safe haven for these thoughts to occur. The outside of the structure is an outward reflection of the personal journey that occurs on the inside; thus giving the viewer insight into the mind, albeit obscured by the deceptive bright colours and disjointed patterns.

AMY RITCHIE
aeritchie.art@gmail.com aeritchieart.tumblr.com

REBECCA ROBERTS
beckylroberts@hotmail.co.uk www.rebeccalouiseroberts.carbonmade.com

I am a multi-disciplinary artist and my specialisms are painting and drawing, my theoretical focuses are on science and art collaborations and aesthetics. I have a fascination for nature but specifically the natural sciences, mainly microbiology, botany and taxonomy. This fascination with the natural world and the continually advancing sciences, allows me to draw from a variety of visual and theoretical resources to inspire me. I explore the contrasts of art and the natural sciences, using drawing and painting as a key point of reference.

...My picture is my stage, men and women are my players, who by means of certain actions and gestures, are to exhibit a dumb show.
W. Hogarth Theatre; a place of the highest folly, yet allows opportunity for raising contentious matters whilst masking them with a veneer of humour and wit. Concepts and elements within my work are intentionally recognizable to provoke questions concerning wealth, greed, hierarchy, exclusion and intentional ignorance within a polite culture. Confronting how the poor are represented in society and reversibly how society responds in the face of poverty.

CLAIRE ROWLANDS
claire_rowlands91@hotmail.co.uk

NATHAN SALE
nathan_sale_1989@hotmail.co.uk 07857638529

^ I came to Glyndwr University as a painter who enjoyed looking at Landscapes around the North Wales area. I started to investigate into 3D, artists that have really inspired me are Hamish Fulton and Lebbeus Woods due to their amazing map and line work. I decided to make my work based on the interesting lines and shapes that Anglesey had to offer and due to me coming from Anglesey it had a special place in my heart. My work consists of maps made into 3D through using wire and interesting photos that I collected on a journey round Anglesey.

The invention of the camera changed the way men saw. The visible came to mean something different to them. This was immediately reflected in painting.
J. Berger A camera by its nature is mechanical and only looks where it is pointed, whereas, the artist sees; seeing being a learned phenomenon that is dependent on experiences an individual has. As individuals we view the world in different ways. Our perception of what is in front of us is dependent upon our own learned experience of seeing what is visible. My work exploits a distortion of what is visible and how it is perceived through both the mechanical intervention of photography and an intentional interaction with painted media.

KATE SHELDON
kmjsheldon@gmail.com www.katesheldon.com

EILIDH SKILLING
eilidhskilling@yahoo.co.uk facebook.com/eskilling82

Exploring the possibilities within photography that go beyond the camera has always been an interest of mine and a focal point within my work. The concept behind my vision resided in my attempts to achieve a surreal representation of the truth, superseding that we may consider to perceive through our eyes, and so delivering something that is not artificial as such, but more so a vision of what we are seeing when emotion and personal perspective are taken into consideration. Within my work I present you with my own perspective and the point at which subjectivity meets reality.

Ive always been interested in ruins especially when theyre reclaimed by nature. They recall sentiment associated with romanticism. I try exploring this when making my photographs, creating a dreamlike quality which relates to the world around us, except exists outside of time. When viewing something and thinking about the history of a place or the folklore, the idea may interrupt whats directly in front of you causing, however brief, an alteration. My photographs aim to disrupt the here and now allowing the viewer to experience history as fiction. Ruination of the photograph mirrors the inability to remember what never was.

ELIZABETH ANNE SPENCE


elizabethanneuk@yahoo.co.uk 07950649648

LAUREN WARD
lauren_ward@live.co.uk

My work is a complex organisation of lines and forms, subtracting and adding, showing the construction and deconstruction of an object, creating a formal and spatial composition. I remove portions of the object without losing its identity leaving a sense of the whole. The drawings represent a sequence of layers in time, where plotting the changing positions of identified points within an object are used to register the space. Using explorative lines within a framework, I can analyse emerging patterns and relationships, making visual judgments of the line, shape and composition, analysing and synthesizing them into a single composition.

I look at marks made and residues left during the making of work, trying to establish whether or not these residues are as much a work of art as the piece which would usually be framed and exhibited. The objects used to create the works are as significant as the works made. These objects covered in marks and residues have a character, a history, and a life of their own. From exploring this idea I came across the question- Is the artist significant in the process? Could a machine do the same job? These are questions explored in my work.

THANK YOU
Dr. Susan Liggett John McClenaghan Dr. Tracy Piper-Wright Caron Allman John Archer Wayne Clark Stuart Cunningham Brian Duffy Jean Emberton Dave Gill Simon Hall David Jones David Kelly Colin Salisbury Karen Tudor Artwork by Hana Abbas and Victoria Ellis Design and photography by Nathan Sale

PRIF YSGOL

UNIVERSIT Y

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