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IA13 Degree Show Friday, June 14th – Wednesday, June 19th 2013 www.ia13.co.

uk

D E G R E E S H O W

A C K N O W L E D G E M E N T S
We would like to thank those that have helped us throughout this degree, and perhaps even in the years to come. This includes our tutors: Jane Brake, Jon Biddulph, Hazel Jones and Dave Griffiths. We would also like to extend our thanks to the staff at the Manchester School of Art, graduates of Interactive Arts, and a special thanks to Paul Tutty; all of whom have supported us in realising our ideas and ambitions. Thanks to the designers of this publication, DR.ME. www.ia13.co.uk Holden Gallery Grosvenor Building Manchester School of Art Manchester M15 6BH Friday, June 14th - Wednesday, June 19th 2013

I N T R O D U C T I O N
“We have to go from what is essentially an industrial model of education, a manufacturing model, which is based on linearity and conformity and batching people. We have to move to a model that is based more on principles of agriculture. We have to recognise that human flourishing is not a mechanical process, it’s an organic process. And you cannot predict the outcome of human development; all you can do, like a farmer, is create the conditions under which they will begin to flourish... Programme Leader B.A. Interactive Arts. It’s about customizing to your circumstances, and personalising education to the people you’re actually teaching…. It’s not about scaling a new solution; it’s about creating a movement in education in which people develop their own solutions, but with external support based on a personalized curriculum.” Sir Ken Robinson: Bring on the learning revolution! TED Talk 2010, TED.com (Farmer’s son) Jon Biddulph Please enjoy their show. Welcome to the Interactive Arts Degree show 2013. We would like to thank this collective of individuals for their contribution to the culture of the course, and we wish them every success in their future growth and achievements.

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S A M I E A H M E D

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J A M E S A C K E R L E Y

L A U R A A J A Y I

E L I S A A R T E S E R O

F A B I A N B E I C K H O R A S A N I

T H O M A S B E V A N

H A N N A H D A V I E S

J U L I E T D A V I S

T H O M A S F E R G U S O N

B E C K Y F O S T E R

M I C H A E L F O W D R E Y

S O P H I A G A R D I N E R

D A V I D G R A H A M

G R A C E H A R V E Y

J A M E S H A S K E R

L E W I S H E A L D

M A R G A U X I L L E S C A S

F A Y E K I N G S F O R D

A M Y L A W R E N C E

P A S C A L L I T T L E

E L L I E L I V E R M O R E

K I R S T Y M A E

J U S T A R M I S D E M E A N O R

H A N N A H M I T C H E L L

D A R R E N M U R P H Y

Y A S M I N S A D D I Q U E

M I C H A E L S A N D E R S O N

A L A N A S T R E E T

J A M I E

S A R A H

S W U I N W F W A I R T N T E W R A S T K I N

L A U R A

P H I L I P P A

J A M E S A C K E R L E Y

1. jmartynackerley@gmail.com 07891727456 jmackerley.tumblr.com Image Caption: Yellow Composition My practice is concerned with the investigation and subversion of everyday objects and power structures. Expanding from my beginnings as a sculptor, my work finds its roots in the conventional boundaries of a contemporary sculptural practice whilst also utilising the freedom offered by actions and narrative photography. The aim of this hybridised practice is to evoke a conversation that can take place both inside 2. and outside the work. Unconventional interactions with everyday objects and street furniture are presented in a mundane urban environment. Through these simple interventions and convulsions the authority of conventional systems of behaviour are questioned, and the rules by which we allow ourselves to be governed are subtly dismantled and examined.

1.

samie_ahmed@live.co.uk 07514532351 vimeo.com/samietzuriel

I explore the creation of mess by organised means. A combination of common foods, mechanical components, chance and precision turn my kinetic sculptures into mini events. The construction of each experiment is simple and raw, and each experiment has a performance element to it. Spaghetti hoops, beetroots and pomegranates are dissected and splattered through modified components, motors and drills.

The innovative procedures are filled with references to politics, strands of humour and clinical procedures. Each component adopts its’ own personality and is focussed on its task to dismember.

Image Caption: Untitled

2. S A M I E A H M E D

L A U R A A J A Y I

3. laura_aj04@hotmail.com 07756746789 about.me/laura_ajayi @lauraajayi Image Caption: Photography by John Lynch Visual perception and the mind’s eye fascinate me. I am intrigued by the reaction of the audience. Optical illusion, geometric shapes, interior and exterior design, and decorative patterns all influence my practice. The use of monochrome in my work is very important as it reflects my personality in an abstract manner. 4. My interests in fashion, film and music are visible throughout my practice and I think of my artistic development as a visual diary.

3.

eart7@hotmail.com 07503966239 elisaartesero.com @ElisaArtesero

Image Caption: ‘Leap and the net will appear’ and ‘Sunlight Bowl’ (from Sun and Moonlight Series)

4. E L I S A A R T E S E R O

F A B I A N B E I C K H O R A S A N I

5. f.beick@hotmail.com 07585080806 about.me/fbeickhorasani f-beick.tumblr.com Image Caption: Untitled For years I have explored different mediums & formats, subjecting them to a diverse range of themes. Recently I have focused upon ‘The Self’ & what elements collate to create ‘Identity’. Investigating how, as a species, we cling on to our individual customs & defend the components that constitute our self-identity. 6. “What would I taste like?” I will attempt to encapsulate my own identity in the form of bread. Questioning what makes me who I am & what components are integral to be classified as an ‘Irish-Iranian’? My intentions are to hopefully, through the consumption of ‘Me’, provoke the question,

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tom.bevan2@hotmail.co.uk 07874050002 about.me/tbevan2 @TBevan2 As an artist, I am a storyteller. My work focuses on how stories represent us as people – not only the stories we choose to read, but also our own personal stories and how we share these with those around us. My work is traditional in method but with a digital conscience. The digital age has revolutionised stories; how they are produced and distributed and my work considers the consequences of this. Particular regard is paid to the relevance of ‘the book’ in society, Image Caption: 4.02pm and how the art of bookbinding can be utilised to transform the potential of a book and realign its position amongst its digital counterparts.

6. T H O M A S B E V A N

H A N N A H D A V I E S

7. hannahdavies91@hotmail.co.uk 07505142889 about.me/hannah_ruby_davies Image Caption: Untitled I strive to find beauty in the grotesque, to straddle the border between them, and combine this with my fascination with the human body, ‘flesh’ in particular. Working predominantly with my own face and body, I attempt to blur distinctions between representation and abstraction. Whether it is through Photoshop, through paint, through exploring my own physical limitations, or indeed a combination of these. 8. Colour is a very important aspect to my work; finding a balance between translucent and vivid, in what is often considered to be a relatively neutral thing, flesh. Working with this organic, pulsating mass, my work is concerned not with the individual, but with the human body, completely detached from whom it belongs to.

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juliet-davis@laposte.net 33 (0) 678018543 about.me/julietdavis cargocollective.com/julietdavis INSTRUCTIONS (how to make an artistic project) - investigate public, “experienced” space. - work with existing materials, forms and words, (make shifts). - don’t try to make expressive movements / forms, but rather geometric, banal, “neutral” moves that still bring expression / meaning. - disturb daily actions, create gaps in the continuum. (make absurd actions / movements, not clearly related to art)

- propose new ways to inhabit the city. - cross borders between sculpture, photography, writing, sound (poetry), performance, video. - stare at your environment to disturb it, mimic working instructions to create endless and/or absurd actions. - have several relationships with the public: participants or witnesses of an almost invisible action, exhibition visitors who haven’t experienced a “live” event, people who learn about a project through discussion. Image Caption: Untitled - Sigh(t)ing the city, action / photographic series, 2013. (collaboration with and) Photograph by James Ackerley

8. J U L I E T D A V I S

T H O M A S F E R G U S O N

9. tom.ferguson@live.co.uk 07522350037 about.me/t.ferguson tomfer.tumblr.com @TomVerb Image Caption: Untitled At school, teachers would always read out my stories and I would be sat there, my heart beating, whilst everyone listened to what I had created. The teacher would say that they were interesting stories and that I clearly had imagination. However, they would later add that my technical skills were not very good. I hadn’t quite got my punctuation or spelling right. I’ve spent the last few years exploring different ways 10. to tell a story and I have become interested in the idea The film and performance are visual, but the audio piece is a narration offering more, not necessarily trustworthy, information. of telling the same story in different mediums. These different mediums have their own limitations and benefits.

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foster.rebeccalucy@gmail.com about.me/beckylucyfoster

Looking at the construction and deconstruction of language, my work explores how we form words, subvert meaning and hide behind language. These themes are studied through my own personal thoughts and experiences, concealing them behind codes and processes of deconstruction and construction.

Currently the deconstruction takes place through the process of cutting up my writing and weaving it back together as a form of construction. Taking the opinions of others as well as my own thoughts, it focuses on the themes of faith and religion, specifically my own experiences.

Image Caption: Untitled (weave 3.4), 2013

10. B E C K Y F O S T E R

M I C H A E L F O W D R E Y

11. mike@cathode.tv cathode.tv @cathodeDOTtv Image Caption: Untitled Since starting the Interactive Arts course, I have learned new methods of approaching my work and developed new ways of generating ideas. I have been greatly inspired by the work of other artists and have begun to develop a visual language of my own. This language is often partially comprised of a traditional technique, subverted by a digital mechanism. The end result could be anything from a process-based work of kinetic sculpture to a generative lyrical couplet. 12. Learning some coding fundamentals has enabled me to move beyond the functionalist limitations of off the shelf design packages. In the future I hope to continue my studies to a postgraduate level, eventually working with physical computing and data visualisation.

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gardiner_sophie@outlook.com 07596098855 sophiagardiner.wordpress.com

Image Caption: Wanga Bottle, (Drapetomania Project, 2013).

12. S O P H I E G A R D I N E R

D A V I D G R A H A M

13. davidjacksongraham@hotmail.com about.me/david_graham/ david-jackson-graham.tumblr.com/ @DavidJ_Graham Image Caption: Stills taken from ‘Ink Experiments’ film My practice is centred on the idea of producing imaginative and exciting visual films. Focused on presenting the idea of human emotions in an artistic way, an important factor to my work is the approach to creating inventive ways to distort and alter the subject. With emphasis on producing visual narratives, using the movement of the body and other materials to create a variety of effects in order to provoke the audience emotions, allowing the piece to be 14. open to interpretation.

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grcharvey@gmail.com about.me/graceharvey graceharvey.tumblr.com/ @_graceharvey I am fascinated with the concept of unseen presence. More specifically, my interest lies with the areas of our architectural surroundings that are located out of sight and the sense of void that is evoked by these areas. My practice is concerned with emphasising the conceptual potential of these spaces. I work sitespecifically to alter my architectural environment in order to manipulate the viewer’s experience of a space; to question what we think we know. Image Caption: Research Image: “The wall cavity that encompasses our studio”

14. G R A C E H A R V E Y

J A M E S H A S K E R

15. jameshasker@hotmail.co.uk 07854710836 Image Caption: Expanded Portrait via Acrylic Paint Special Thanks to all those who have participated in my work. Drawing has always been my main medium within my work but this year I have taken a different direction then I would have ever conceived before I started university. Focusing upon the themes of portrait and control. This has leaded me to create individual pieces of ‘expanded drawings’, these drawings are processbased portraits in which I have set restrictions and limitations in the way I draw them. 16. The goal of these pieces is to create a portrait on my own body whereas the restrictions in the process’s I go under will restrict me from drawing the portrait. I have incorporated myself into my expanded drawings to demonstrate and explore the intimate relationship between the artwork and the artist.

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lewisjheald@hotmail.com 07840317098 lewisheald.wordpress.com My work is about the adaptation of objects, bringing them into focus through mechanical processes. The pieces I create are primarily kinetic, enjoying works that are physically animated. I create such work in an attempt to progress from static pieces as I believe the marriage of art and physics creates something truly fantastic. I aim to engage my audience, humour them, have them view Image Caption: How Long is a Piece of String? Mk2. the object in a new context and inspire them to think about the object in a new way.

W I S H E A L D

16. L E

M A R G A U X I L L E S C A S

17. margaux.illescas@gmail.com 07975511773 cargocollective.com/millescas Image Caption: Testing Exhibition, Untitled audio picture, M.Illescas, 2013 I am an interactive artist inspired by the quotidian experience of life, sometimes a particular moment, the way I felt at that moment. People inspire me as individuals. My preferred mediums are sound and the moving image. Creation leads me to research and research to creation; both are essential to each other and it is a long process before I consider the final piece. 18. Lately, I have had an interest in our perception of spaces through sound. This work has been challenging because it gives me a new way to approach the relationship between sound and image.

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fayekingsford@gmail.com

I have found over the course of my studies that I am continually questioning who I am. Rather than resisting this and seeing it as a distraction, I chose to embrace it and look deeper into it. Like most others, I have my memories of growing up, my experiences, the places I have been and the people that I have met. These memories are inherently one sided, clouded or even rose-tinted.

I have gathered evidence of my life, mostly from my family. I’ve gathered their accounts of different periods of life, photographic verification of places I’ve been and people I spent time with. I’ve examined ways of presenting these accounts and snapshots in ways that map out my own life, encouraging others to question their own histories. Image Caption: “Life Journey” (2013) Photograph by Pete Kingsford

18. F A Y E K I N G S F O R D

A M Y L A W R E N C E

19. imaginaryartwork@gmail.com 07972828408 about.me/AmyLawrence Image Caption: Untitled Manifesto 01 i. ii. iii. iv. v. vi. 20. The process of completion must allow for the uncontrived. The work must have no completion date but always a duration. Present behaviour as art. The live image is always a truthful representation. A dialect between the material and immaterial is necessary. Present a non-spectacle as process. vii. viii. ix. x. xi. xii. Results are encouraged. The viewer becomes creative accomplice. Gap between art and life is teased and loosened. Performance as situation, situation as power relationship. Social choreography may transform un-reactive objects. The catatonic viewer as ideal participant.

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scumbola@yahoo.co.uk 07758011776 scumbola.blogspot.com

Mixed-media artist, self-styled sad clown, and purveyor of surrealist eyeball-buggery.

Image Caption: Screenshots from “the Little Spermaid” and “Butter Won’t Melt”, two experimental horror shorts.

20. P A S C A L L I T T L E

E L L I E L I V E R M O R E

21. ellie_livermore@hotmail.co.uk 07584089080 about.me/ellielivermore ellielivermore.tumblr.com Image Caption: Untitled Investigating the educational and social dynamics credited to participatory art, ‘Participatory Quilting’ invites viewers to contribute to its evolving surface. Introducing multiple levels of involvement, the audience can choose to watch, to sew and/or insert a ‘theme’. The often overtly political approach taken in many participatory artworks’ cause us to critique 22. the niceties of the ‘community arts’ tradition. ‘Participatory Quilting’ is open to flick between the two, one minute a collaborative sewing project, the next acting as a socially engaged one. In this work, I look to further understand the relationship between the political and the social as well as learn more about the nature of participation.

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kirstyround5@hotmail.co.uk 07843838990 kirstymaeart.tumblr.com @KirstyMae20 I have an interest in art as therapy, used as a cathartic release. I explore this in my practice by looking at the fears, anxieties and traumas that everyone deals with, regardless of significance. At the time of writing this, my works focuses on the burdens of others, their traumatic experiences, and the impact it has on that individual. Image Caption: Untitled The idea that it may have a great impact on their life, a normality if you like, but to passers by, outsiders, strangers, there is no way of knowing.

22. K I R S T Y M A E

J U S T A R M I S D E M E A N O R

23. Jussylt@hotmail.com 07761731782 about.me/jmisdemeanor Image Caption: Fuck War, Make Art (60” x 60”) Art is a vital part of my life. It allows me to express my feelings, thoughts and concerns, whilst raising awareness of controversial and traumatic, social, political and environmental issues. Employing a child’s perspective has been a dominant theme throughout my work; deconstructing nursery rhymes and lullabies, adapting familiar found imagery to engage the viewer and provoke thought on varying subject matters. 24. I like to challenge myself with large-scale projects. I am currently recreating war scenes that confront the viewer with the harrowing reality of what many face on a daily basis.

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mitchell.b.hannah@gmail.com 07813709780 about.me/Hannahbmitchell

My work responds to my own memories and surreal experiences. I explore the body and absent consciousness and document this through a variety of techniques. I am fascinated with natural and artificial environments, and use these to re-create experiences.

I ultimately view my work as a multi media process, with my main outcomes falling between photography and film.

Image Caption: Untitled

24. H A N N A H M I T C H E L L

D A R R E N M U R P H Y

25. darrenmurphy@live.co.uk 07815821692 about.me/murphydarren @bonesmurphy An interest in dialogue is the main drive behind my work. I previously felt it necessary to create objects to facilitate conversation and exchange. However, I realise the conversation itself is the integral part of my work. Acting, in the words of Peter Dunn, as “context provider” rather than “content provider”. I create the environment for discussion rather than the object that provokes it. As a result, the social effects of the institution and location are an important consideration 26. in my practice. Special Thanks to Rowlinson Garden Products for supplying furniture. Recordings and documentation are produced to provoke further meditation on the dialogues enabled by my process-based practice, allowing me to widen the transmission of these conversations beyond the bounds of their initial participants. Image Caption: Untitled

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Yasminsaddique@hotmail.com 07585056575

Image Caption: Containing Memoirs

M I N S A D D I Q U E

26. Y A S

M I C H A E L S A N D E R S O N

27. mjsanderson24@gmail.com 07432704812 Image Caption: Untitled In art, beauty is as important as its ability to provoke. I make art that generates a deeper meaning while remaining accessible. The human form, parts of or in its entirety, is always been present in my practice. To me it is accessible on an instinctive level. They generate ideas of identity and representation. 28. I attempt to question the viewers understanding of cancer and the affect it has on the family dynamic as a result of this work, as well as develop a stronger understanding and appreciation myself. Working in mixed media, my current work aims to represent family identity and how it is morphed through illness. This work has evolved through the use of studies from old photographs, interviews and personal experiences that have took place.

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alanastreet@hotmail.co.uk @Alanastreat

With a soft spot for objects that have seen better days, my work intrigues our need to fulfil certain gender instincts, and how our perspective on sex affects our emotional capacity in relationships.

Image Caption: Vagina Stool (development) - 2013

28. A L A N A S T R E E T

J A M I E S W I F T

29. melancholyromance@live.com about.me/melancholyromance @MelancholyRo Image Caption: Gravity My body of work concentrates on a fusion of both photographic stills and Haute Couture garments, establishing themes such as future and time. My stills are directed towards fashion portraiture, which often contain narratives. Through the making process, there are two main distinguished moods become dominant and continually juxtapose each other to create a constant 30. and stable interaction of differences. This oxymoron captures a melancholic emotion infused with aspects of romance, which engages a battle between darkness and beauty. This creates an intriguing atmosphere invoking the viewers awareness; what constitutes physical attraction can be.

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sarah@sarahunwin.com 07889814839 sarahunwin.com @sarahunwin My work responds to material culture while examining how we collectively explore, archive and measure our human condition. I view my work as a composite of sculpture, process art and installation.

Image Caption: Untitled

W I N

30. S A R A H U N

L A U R A W A R T E R S

31. beasty_meow@hotmail.com 07740823073 about.me/laura.warters Image Caption: Photograph of investigations into naturally formed Mandalas. In this modern time, our spiritual selves and conscious minds are easily overlooked. I have been exploring the circular form, or Mandala. It connects us in so many different ways, physically, spiritually and consciously. The Flower of Life also intrigues me; this geometric design is believed to be the basic pattern from which everything is derived, just by looking at this pattern we are able to re-connect with our core selves. 32. I use these symbols and concepts to remind people that we are all connected. I believe it is important to remember that we are connected to each other and to think about the world on a more spiritual level. Currently, using 3D designs and painting have enabled me to bring my concepts to life.

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flick.watkin@gmail.com 07825330232 pippas-sketchbook.tumblr.com @Flick_Watkin Focused on ideas of xenophobia, my work deals with the fear of others and of the unknown. We tend to fear that which we cannot relate to and do not understand. This idea of otherness can lead to the ‘us and them’ mindset that can cause the persecution of people from groups other than our own. Is this human nature or is it something we can overcome? This is a question I have been examining and exploring in my work. Using my personal experiences and those of people around me, I have tried to discuss this idea of ‘the other’ through the medium of film.

Image Caption: Clitheroe, Blackburn and Burnley film stills.

W A T K I N

32. P H I L I P P A

www.dr-me.com