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New Media

Catalogue 1

Private & Confidential:


For viewing by members of the Ashurst Emerging Artist Prize 2019 Judging Panels Only

Document Owner/Originator: Conrad Carvalho


Email: Conrad@oaktreeandtiger.com
www.artprize.co.uk
Office: +44 207 460 4873
Catalogue5 ID0005
Artist ID: 0005

Artist Name: Elva Mulchrone


Website: www.elvamulchrone.com
IG: https://www.instagram.com/elvamulchrone

Artist Statement:
Conceptually driven, my practice examines the role of mathematics, game theory and abstraction in contextualising
and recontextualising an understanding of who and where we are, repeat pattern and of aesthetics.
My practice to date has been informed by my first primary degree in Economics, analysis of data and is continually
inspired by lectures in TCD’s Department of Economics and the Hamilton Mathematics Institute and LSE. I am
inspired by research undertaken at WZB Berlin, Columbia University NYC and studio experimentation at the RCA,
where I am completing my MA in painting.
Analysis of numbers/ data increasingly determines the manner in which many aspects of our life is structured,
managed and understood - not only at a macro/organisational level but also in a private domain. Numbers succinctly
represent a synopsis of our understanding of events, time, emotion and history- the years 1945, 9/11,
“feeling― 100%.
My work reflects on the notion of balance as an ideal, from a personal and socio economic perspective. I present
layers of information, and through paint, colour, movement and video question what information is pertinent,
accurate or real. In a world where we are presented with an abundance of information in a multiplicity of contexts,
personal, professional, written, digital...I invite the viewer to ask themselves what really matters.
I seek to operate within a time-lag between argument and interpretation, between the objective and the subjective
so that another sort of meaning, and another sort of understanding can arise.
Elva Mulchrone

Notes:
Youtube = https://youtu.be/xt0XuL4YmaY

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Artwork 1 Title: Game on (agbadja)
Artwork 1 Dimensions: 04.26 min
Artwork 1 Medium: HD video
Artwork 1 Commentary:

Link to video: https://youtu.be/xt0XuL4YmaY


Game on (agbadja) is a video piece. I created a pure correlation game which described a symmetrical movement.
The piece is a reflection and presentation on game theory and examines the notion of balance and symmetry as an
ideal.
The equation which is seen overlaying the video was developed in conjunction with Dr Tara Mitchell of Trinity
college Dublin.
Plaza Haloumi, choreographer and performer assisted in the choreography and performs the game with me in the
video
Artwork 1 Image:

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Artwork 2 Title: In the Thick of it
Artwork 2 Dimensions: Dimensions variable(image shown 220cm Length x 150cm Height x 150 Width)
Artwork 2 Medium: Steel and fish wire
Artwork 2 Commentary: In the Thick of it is a steel and wish wire installation.

It represents an abstraction and extension of my research on the data of the Paris School of Economics and it
particular Thomas Piketty and his landmark work Capital in the Twenty-First Century.

I analysed the inequality in income patterns on 12 countries and created drawings and then created the steel pieces
to represent the pattern in 3 D form, with the dips and curves in the steel reflective of the graphs which inspired the
work.
Artwork 2 Image:

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Artwork 3 Title: Those who gave up and became the police, 2016
Artwork 3 Dimensions: 178cm x 115cm
Artwork 3 Medium: Oil and acrylic on canvas
Artwork 3 Commentary: Those who gave up and became the police is an abstract reflection of the functioning of
structures in society and the nature of cyclical pattern within those structures and within our own lives.

It examines the multiplicity of information we are presented with on a daily basis and presents a reflection of this,
utilising data which is correct and additional data which is simply superfluous
Artwork 3 Image:

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Artwork 4 Title: Continuum IV
Artwork 4 Dimensions: 87 x 94 cm
Artwork 4 Medium: Oil, acrylic and ink on linen
Artwork 4 Commentary: Continuum IV is an abstract reflection on the movement in information and the confusion in
information presentation.

It is informed by the income inequality analysis of Thomas Piketty in economies where there are extremes.

What is true and real and what is there for aesthetic reflection...
Artwork 4 Image:

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Artwork 5 Title: Continuum Triptych
Artwork 5 Dimensions: 46 x 61cm (x3)
Artwork 5 Medium: Oil, oilstick, ink and acrylic on canvas
Artwork 5 Commentary:
Continuum Triptych is an examination of cyclical movement and repeat pattern in an aesthetic context.

It is inspired by economic data but essentially takes on the form of almost a landscape painting. However the
landscape depicted is an economic landscape and the background is the grounding data, juxtaposed and re
configured in different ways
Artwork 5 Image:

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Catalogue5 ID0010
Artist ID: 0010

Artist Name: Poli Churba


Website: www,polichurbanatan.wixsite.com/poli churba
IG: poli_churba

Artist Statement: She worked in design and art for over 30 years, and was curator of the exhibitions of Natan
“Vanguardia y Clasisismo―. She is part of a well known family of designers and fine art artists, for this she
received an education marked by esthetics.

She started creating pieces of art in 2011, and since then she has exhibited in important exhibitions and fairs in
Argentina and the world.

The most important ones are:

2018. MoMA, New York. Paint selected for digital exhibition from Jan 5th to Jan 22nd.

2018. Galeria Norma Duek, Punta del Este, Uruguay.

2018. Galeria Settemari, Punta del Este, Uruguay.

2017. Lago Di Garda, Verona, Italy


2017. Centro Cultural Coreano, Buenos Aires, Argentina
2017. Art Fusion Galleries, Miami.
2017. Exposición en BahÃ-a del Sol, San Fernando, Argentina
2017. Galeria Settemari, Punta del Este, Uruguay.

2017. Centro Cultural Parada 3, Punta del Este, Uruguay

2015. Miami River Fair, Florida.

2015. GalerÃ-a Matilde Besignor, Buenos Aires.

2015. The Brick Lane Gallery, London.

2014. Liga de Fomento, Norma Duek, Punta del Este.

2014. Fundación Mundo Nuevo, Buenos Aires

polichurbanatan@gmail.com

www.polichurbanatan.wixsite.com/polichurba

Notes:

1
Artwork 1 Title: Crazy about you
Artwork 1 Dimensions: 90 x 90
Artwork 1 Medium: Digital art
Artwork 1 Commentary: It transmits a feeling of craziness.
Artwork 1 Image:

2
Artwork 2 Title: Surrounding shapes
Artwork 2 Dimensions: 100 x 100
Artwork 2 Medium: Digital art
Artwork 2 Commentary: Minimalist modern design representing surrounding
shapes.
Artwork 2 Image:

3
Artwork 3 Title: Future and Growth
Artwork 3 Dimensions: 90 x 90 cms
Artwork 3 Medium: Digital art
Artwork 3 Commentary: It represents the digital future ahead.
Artwork 3 Image:

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Artwork 4 Title: Serie My Ancestors
Artwork 4 Dimensions: 99 x 140cms
Artwork 4 Medium: Digital art
Artwork 4 Commentary: It reminds me, to most of the colors used by my ancestor.
Artwork 4 Image:

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Artwork 5 Title: DEL MoMA al MET
Artwork 5 Dimensions: 90 x 90 cm
Artwork 5 Medium: DIgital art
Artwork 5 Commentary: It inspires to a tour from abstract to geometric.
Artwork 5 Image:

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Catalogue5 ID0020
Artist ID: 0020

Artist Name: Stuart Batchelor


Website: https://www.sfbatchelor.com/
IG: https://www.instagram.com/s.f.batchelor/

Artist Statement: Stuart Faromarz Batchelor (b.1992) is a fine artist and software engineer who combines oil painting
with graphics programming, showcasing a beautiful union between traditional and programmatic art techniques.

“Painting with code and coding with paint―.

Formerly an interactive developer at CG film and digital installation company Framestore, Stuart Batchelor’s
current work focuses on making programming a physical process - escaping the dulling confines of the computer
screen and rejecting its amputation of our rich senses by drawing on alla prima and abstract expressionist practices.

Rebelling against the boundaries of the technology we are so readily given, Stuart Batchelor programs his own
systems centered around this untapped human capability. His signature practice combines both the artist’s hand
and the computer’s generative simulations; working between coding and painting in the same session, utilizing
enactive, iconic and symbolic modes of understanding, uniting the painter’s observational eye and the
algorist’s design logic.

This is the drive of his work - to develop future tools that empower our human abilities of creativity and expression.

Notes:

1
Artwork 1 Title: Absence
Artwork 1 Dimensions: 23 x 43.8 inches
Artwork 1 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 1 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 1 Image:

2
Artwork 2 Title: Peace And Power
Artwork 2 Dimensions: 23 x 43.8 inches
Artwork 2 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 2 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 2 Image:

3
Artwork 3 Title: Surface Detail
Artwork 3 Dimensions: 23 x 43.8 inches
Artwork 3 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 3 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 3 Image:

4
Artwork 4 Title: Snowfall
Artwork 4 Dimensions: 20x28 inches
Artwork 4 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 4 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 4 Image:

5
Artwork 5 Title: Spire
Artwork 5 Dimensions: 20x28 inches
Artwork 5 Medium: Giclee Print - Generative Visuals from Oil Paint
Artwork 5 Commentary: -- From the Between Worlds Series --

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the
interdisciplinary approach taken in their creation. Working between the worlds of digital and physical med
Artwork 5 Image:

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Catalogue5 ID0043
Artist ID: 0043

Artist Name: Ignacio Unrrein


Website: lllllllll.com.ar
IG: @nachounrrein

Artist Statement: My artistic practice is focused on the relationship between artwork and project, within the
framework of the production of an artwork which could be aprehended as an aesthetic documentation that could be
understood as a “life-in-project beyond its results" (Groys, 2012) and connected to the dialectics between the
right way of doing something and the willingness to experiment through error.
I addition, I find fundamental to my work the understanding of the process through which daily practices can be
transformed and become art practices. In this regard, I seek to explore the void that exists between image,
representation and actualization.
Regarding my last project "Tapiar Buenos Aires", I worked on the idea of blocking the access to an interior space. For
this I walked all of Buenos Aires' 48 neighborhoods and documented every bricked-up facade. Bricking-up
contradicts one of the main aims of architectural practice: to open up a space and offer it to inhabiting. Because of
the brick walls, doors and windows cease to connect the interior and the outside, in order to become objects of
contemplation in a series of ephemeral monuments that make up a changing and volatile patrimony the city itself
conceives unknowingly.

Notes:

1
Artwork 1 Title: Brick up Buenos Aires
Artwork 1 Dimensions: 260cmx180cmx50cm
Artwork 1 Medium: Ceramics and mixed media building techniques
Artwork 1 Commentary: The record of every bricked up façade in the city of buenos aires by walking on foot every
block of the 48 neighborhoods, offering a series of guides that promote a tour around every quarter of the city of
buenos aires and a series of that honor them, represented by hiperrealistic scale 1:5 models made with ceramic and
wood.
Artwork 1 Image:

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Artwork 2 Title: 749.766m3 of summer
Artwork 2 Dimensions: 200cmx200cmx5cm
Artwork 2 Medium: laser cut and laser engraved onto cork and alphils.
Artwork 2 Commentary: The present artwork try to commemorate every portion of summer won to the earth after
having drawn during all 2017 and half of 2018, from satellite images, each swimming pool of the 48 neighborhoods
of the city of buenos aires.
749.766m3 summer is the approximate amount of m3 of pools of the whole city, project that contains this mural
with pins that mark each one of the pools that were drawn. the own cork support has been trimmed following the
borderlines of the quarters, using the laser cutting process to record a point in each location of the drawing pitches
to afterwards put every alphil.

Artwork 2 Image:

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Artwork 3 Title: Attempt to print
Artwork 3 Dimensions: 250cmx200cm
Artwork 3 Medium: 729 ink printings.
Artwork 3 Commentary: The attempt to print full black onto acetate until the cartridge runs out by making 729
printings.
Artwork 3 Image:

5
Artwork 4 Title: Attempt to reconstruct
Artwork 4 Dimensions: 100cmx200cm
Artwork 4 Medium: Video: Digital Video full HD, 1920 x 1080, 08´ 32´´. Objects: Acrylic and glass.
Artwork 4 Commentary: The attempt to cut an acrylic panel to put it back together and to subsequently cut a new
one, interpreting the error caused in the reassemble.

Link of the video:

https://vimeo.com/244362321

Artwork 4 Image:

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Artwork 5 Title: Attempt to draw a line
Artwork 5 Dimensions: 100cmx260cm
Artwork 5 Medium: Permanent maker on rag paper
Artwork 5 Commentary: The attempt to draw a single continuous line that does not touch itself.
Over time —from 2013 to present— each panel has become a module of a sequence that extends indefinitely and
generates a continuity although the line occasionally touches itself, and in spite of the ink of each permanent marker
wearing down almost completely. the extension of the line ceases to exist in the present to become the record of a
repetitive, indefinite and, perhaps, even infinite event.

Artwork 5 Image:

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Catalogue5 ID0044
Artist ID: 0044

Artist Name: Grosso Roberto


Website: http://robertogrosso.com/
IG: https://www.instagram.com/roberto_grosso_art/

Artist Statement: My digital art takes inspiration from music and is produced on metal, metallic paper or perspex.
The key elements of my art are the use of vibrant color and augmented reality - which brings the artwork to life by
showing the stages of its creation to a soundtrack of the music that inspired it.

Notes:
Augmented Reality App

1
Artwork 1 Title: He Knows Everything
Artwork 1 Dimensions: 105x70x3 CM
Artwork 1 Medium: Brushed Metal
Artwork 1 Commentary: Inspired by the song of Andrea Manzoni
Artwork 1 Image:

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Artwork 2 Title: Eleanor Rigby
Artwork 2 Dimensions: 105x70x3 CM
Artwork 2 Medium: Brushed Metal
Artwork 2 Commentary: Inspired by the song of The Beatles
Artwork 2 Image:

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Artwork 3 Title: Go with the Flow
Artwork 3 Dimensions: 105x70x3 CM
Artwork 3 Medium: Brushed Metal
Artwork 3 Commentary: Inspired by the song of Queens of the Stone Age
Artwork 3 Image:

4
Artwork 4 Title: Time to Pretend
Artwork 4 Dimensions: 105x70x3 CM
Artwork 4 Medium: Brushed Metal
Artwork 4 Commentary: Inspired by the song of MGMT
Artwork 4 Image:

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Artwork 5 Title: Fell on Black Days
Artwork 5 Dimensions: 0
Artwork 5 Medium: Brushed Metal
Artwork 5 Commentary: Inspired by the song of Soundgarden
Artwork 5 Image:

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Catalogue5 ID0054
Artist ID: 0054

Artist Name: Jennifer Mawby


Website: www.jjtmstudio.com
IG: @jenniferjeanmawby

Artist Statement: #datascience #metrics #corporateaesthetics #branding #strategicretreat #infographics


#managementreporting #corporateresponsibility #visionstatement #valuestream #visionstatement
#quarterlyforecast #marketforces #organizationaldevelopment #shareholderreturns

In my art practice, I embrace digital innovation in conversation with the analog. I am interested in my personal
relationship with digital technology and the way that ubiquitous technology is shaping our interpretations of
experiences in the real world.

I am further attempting to grasp how technology has impacted our experience of visual representation. For example,
I am fascinated with how the visual depiction of data (through charts, graphs and infographics) has entered
mainstream as a commonplace way to illustrate something understandable about the real world. As the visual
language of these formats enters the everyday, the vocabulary of contemporary visual culture is shifting and
evolving. Shifts in visual culture are evidenced in the artwork of any given time.

I’m exploring my observations through the making of both tangible, material-based artworks in a traditional form
(such as painting and installation/sculpture), and virtual images and animations. I am particularly concerned with
influence of screen images, digital image-making, and the visual representation of data on the practice of painting.

These are digital drawings that somehow feel organic and appear as if they could be diagrams or charts embedded in
corporate MS Powerpoint presentations, on recruiting websites, and airport billboards.

Despite the forms and shapes contained, the artworks are decidedly not graphic or graphic design. Instead, they are
approached from an entirely painterly position and although virtual, encompass all the implications and
complications of that adjective.

Notes:

1
Artwork 1 Title: Quantum Metaphor Pump
Artwork 1 Dimensions: 120x80cm
Artwork 1 Medium: Digital drawing as direct print on dibond.
Artwork 1 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics. Direct print on dibond.
Artwork 1 Image:

2
Artwork 2 Title: Offshore Carbon Credits
Artwork 2 Dimensions: 120x80cm
Artwork 2 Medium: Digital drawing as direct print on dibond.
Artwork 2 Commentary: Purchase carbon offset credits here. Digital drawing (new media artwork) based on the
visual language of data science and infographics. Direct print on dibond.
Artwork 2 Image:

3
Artwork 3 Title: Triangulation Tactics
Artwork 3 Dimensions: 120x80x2cm
Artwork 3 Medium: Digital drawing as direct print on dibond.
Artwork 3 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 3 Image:

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Artwork 4 Title: Super Future Collider
Artwork 4 Dimensions: 120x80x2cm
Artwork 4 Medium: Digital drawing as direct print on dibond.
Artwork 4 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 4 Image:

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Artwork 5 Title: Gentrification Efforts Swing Upwards
Artwork 5 Dimensions: 120x80x2cm
Artwork 5 Medium: Digital drawing as direct print on dibond.
Artwork 5 Commentary: Digital drawing (new media artwork) based on the visual language of data science and
infographics.
Artwork 5 Image:

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Catalogue5 ID0074
Artist ID: 0074

Artist Name: Robert Wood


Website: https://www.highervibescollective.com
IG: https://www.instagram.com/higher_vibes_collective/

Artist Statement: I create Visionary Psychedelic Art that will help raise your vibration and expand your
consciousness.

My process begins with sketching it on paper or digitally on my I-pad or I-phone then migrating it to photoshop on
my iMac and then on to a canvas, sheet of metal or block of wood. Basically, any material and media is fair game.

I don’t limit myself to any particular subject matter or theme when I create. Whatever I choose whether it's a
landscape, spacescape, sculpture, architecture or just some abstract interpretation, I do it because it is interesting to
me. The things that influence my decisions most of the time are the music I listen to or my love of space, science
fiction, alternate theories on the creation of the Earth and human existence, alternate realities, higher dimensions
and time travel, but most recently my art reflects my spiritual awakening and the dedication I have made to raise my
vibration in hopes that it will have an effect on all that view it.

I truly believe that we are not human beings having a spiritual experience. We are spiritual beings having a human
experience and hope to express that in my art.

Notes:

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Artwork 1 Title: Majestic One
Artwork 1 Dimensions: 50.8x50.8x1.9
Artwork 1 Medium: Digital Print On Aluminum
Artwork 1 Commentary: We are all connected through energy a vibrations that originated from the One Creator or
source of all life. We have individual personalities but exist as a collective consciousness derived from the One.
Artwork 1 Image:

2
Artwork 2 Title: Dimensional Shift
Artwork 2 Dimensions: 50.8x50.8x1.9
Artwork 2 Medium: Digital Print On Aluminum
Artwork 2 Commentary: Now on Planet earth, we are going through a dimensional shift from 3D to 5D. The
precession of the equinoxes refers to the observable phenomena of the rotation of the heavens, a cycle which spans
a period of (approximately) 25,920 years. This and a few other things will bring a rise in consciousness.
Artwork 2 Image:

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Artwork 3 Title: Death To Duality
Artwork 3 Dimensions: 50.8x50.8x1.9
Artwork 3 Medium: Digital Print On Aluminum
Artwork 3 Commentary: We live in a world where duality rules our lives. Through the change of consciousness, our
planet and people are going through it will die and we will be reintegrated as a collective.
Artwork 3 Image:

4
Artwork 4 Title: Galactic Goddess
Artwork 4 Dimensions: 50.8x50.8x1.9
Artwork 4 Medium: Digital Print On Aluminum
Artwork 4 Commentary: This is a new era, the Age of Aquarius is upon us and the divine feminine is reclaiming her
place on the earth. We as people will be hole again and move forward on our galactic journey together.
Artwork 4 Image:

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Artwork 5 Title: Tribal Technology
Artwork 5 Dimensions: 50.8x50.8x1.9
Artwork 5 Medium: Digital Print On Aluminum
Artwork 5 Commentary: The native people of earth are the original caretakers and keepers of sacred knowledge now
is the time to share the ancient technology throughout the planet so that all may be healed.
Artwork 5 Image:

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Catalogue5 ID0077
Artist ID: 0077

Artist Name: Jan Chan


Website: www.chanpanjan.com
IG: allinloop, janchanpan

Artist Statement: My practice is to examine the relationship between human and technology. I question about the
freedom and choice that we have, and how digital surveillance is affecting human. Human are now relying on
Internet in daily
lives and the data collected are used in different way in shaping our world. I would like to investigate how
technology changes human behavior both mentally and physically, and to foresee the future society.

Currently I’m focusing on the launch of the ‘Social Credit System’ in China, which was first introduced in
2014 and target to be fully operational in 2020. The system’s aim to assess, or put in other word, to reinforce the
trustworthiness of Chinese citizen. My work explore these topics and bring out the question that how human will
react and change their behavior in response to the ‘social credit system’

I play with a wide range of medium, from photography, drawing, digital art to sculpture. My works are meant to be
read and analyzed as symbolism and meaning are always hidden.

Notes:

1
Artwork 1 Title: Undefine-1
Artwork 1 Dimensions: 65 X 47 cm
Artwork 1 Medium: Marker on digital print
Artwork 1 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 1 Image:

2
3
Artwork 2 Title: Undefine-2
Artwork 2 Dimensions: 65 X 47 cm
Artwork 2 Medium: Marker on digital print
Artwork 2 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 2 Image:

4
5
Artwork 3 Title: Undefine-3
Artwork 3 Dimensions: 65 X 47 cm
Artwork 3 Medium: Marker on digital print
Artwork 3 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 3 Image:

6
7
Artwork 4 Title: Undefine-4
Artwork 4 Dimensions: 65 X 47 cm
Artwork 4 Medium: Marker on digital print
Artwork 4 Commentary: Seeing that human and technology become inseparable, Undefined is to reveal the change
of our behaviour when biometric facial recognition will be used in our daily lives. In face of surveillance everywhere
both physically and online, on one hand people would participate in this surveillance system and become active in
social media even enjoying it. It has become a kind of identity formation. People are happy to go ‘live’ and let
the public know where they are, what they do and how they feel on Internet. On the other hand, people would also
gaming with the surveillance system in order to escape from the watcher and do what is consider as unacceptable by
the watcher. There are people who use Tor to avoid from being trace on Internet, to avoid from the biometric facial
recognition system, wearing a mask might also be a way to stay away from being recognised. Undefined is to reflect
how people play game with surveillance.
Artwork 4 Image:

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9
Artwork 5 Title: All in Loop
Artwork 5 Dimensions: 84X268cm
Artwork 5 Medium: digital print
Artwork 5 Commentary: Loop is to reflect how technology changes our behaviour and to question the freedom that
we have. Do we really have freedom in our lives? To elaborate the rationale behind this project, I would like to
mention search engine is one of the examples that our choice is being ‘arranged’ for us. It is not a free place
that we can search and see everything that we want to see, to me it is kind of pseudo-freedom that we thought we
are free to find everything available for us. Another factor that would influence our search result is how many people
have chosen the search result before. We are living in a loop that our choices are influenced by others and at the
same time our choices are affecting the people in the future.

I have started recording the Google trend result on a daily basis for 6 months. I draw the most popular search key
word on the search result that I screen capped everyday to prepare my artwork.

This is to experience that we are in the loop of influencing each result and to raise this question to audience.

Artwork 5 Image:

10
Catalogue5 ID0088
Artist ID: 0088

Artist Name: Agnes Bruck


Website: www.agnesbruck.com
IG: https://instagram.com/aggybees

Artist Statement: I am a self taught artist and am not or ever have been represented by a gallery .I have been
selected for art prize exhibitions and that has encouraged me to pursue a career in art. I have explored every
available medium and method including house paint, soil, coffee ,assemblage , water colour and oil paint. I have
painted in earnest for 6 years having previously worked as a lawyer. I think it is only in the last year that I have found
a painting style that is truly my own and I am excited to tell more stories in paint in the future.

Notes:

1
Artwork 1 Title: Hot Pink Frangipanis On A Starry Night
Artwork 1 Dimensions: 135cm x 135cm
Artwork 1 Medium: Oil on Canvas
Artwork 1 Commentary: This painting is a true embodiment of my new found style. I paint quickly. Using raw colours
straight from the tin. I do not use thinnesr. I apply the paint thickly with minimal mixing. I apply colours so that they
contrast and resonate against each other. I am also interested in showing narrative and expressionism in my
painting. This is a self portrait . I often sketch at night in my room. Painting the night is another new found passion in
my work. The night is romantic and holds so much promise .Particularly a summers night in the Beach side suburb
where I live in Sydney.
Artwork 1 Image:

2
Artwork 2 Title: The Last Paradise
Artwork 2 Dimensions: 40cm x 40cm
Artwork 2 Medium: Oil on Canvas.
Artwork 2 Commentary: This painting is a testament to all the places of natural beauty and wilderness I love in
Australia. I fear for the continued destruction of these most sacred and unimaginably beautiful places on our earth.
Again this is painted in my new found style. No thinner and very little mixing. I often use the end of the paint brush
or a spoon to apply the paint. I want to keep a rawness to my work.
Artwork 2 Image:

3
Artwork 3 Title: Misplaced People.
Artwork 3 Dimensions: 160cm x 160cm
Artwork 3 Medium: Charcoal and oxide on paper
Artwork 3 Commentary: This work is my response to the refugee crisis. I wanted to embody each figure with soul so
as to inspire empathy in the viewer .Drawing and creativity in general is a visceral process for me. I am not
particularly drawn to traditional drawings or works that are just a slavish facsimile of a photograph. I hope to achieve
the expressive and instinctive in my work and it's what I admire in the works of others .I am an autodidact but have
drawn from a very young age. My early drawings as a child were honest attempts and observations from the life
around me. I had a pencil a sharpener a rubber and a sketchbook and I drew a lot. My hands my family. Make
believe. Drawing was my first love in art.
Artwork 3 Image:

4
5
Artwork 4 Title: Beauty In Old Age.
Artwork 4 Dimensions: 50cm x 50cm
Artwork 4 Medium: Oil on canvas.
Artwork 4 Commentary: This painting is a study of my dear friend and artistic mentor. It is also an example of my
new found style. I scrape the paint on with the side of the brush and keep mixing to a minimum. I like the pops of
bright undiluted oil colour that remind me of the wonderful colours and textures in the skin of an elderly person.
Olive green, violet, crimson, alazarin, pthalo green . They are all there under the skins surface.
Artwork 4 Image:

6
Artwork 5 Title: Self Portrait of Landscapes
Artwork 5 Dimensions: 142cm x 106cm or greaqter
Artwork 5 Medium: digital and traditional art.
Artwork 5 Commentary: I am self taught in Photoshop. It is an extraordinary tool. Whilst my main art practice is
using traditional mediums such as oil paint, ink and pencil on canvas or paper. I am excited by the power of digital
technology and its potential to interact with traditional mediums. This work is a self portrait , painted using a digital
combination of a number of my oil paintings, both portraits and landscapes. I used a Wacom screen and pen to
"paint" it. It would be best displayed on a high resolution screen.
Artwork 5 Image:

7
Catalogue5 ID0091
Artist ID: 0091

Artist Name: Annika Ancverina


Website: coming soon/work in progress
IG: @annika_art___ @blondetuesday @blondestreet

Artist Statement: My work explores the inter- relationship between psychological and physical presence, but in such
a way that the viewer becomes a participant, not a passive receiver. I try to promote this active engagement by
intentionally leaving the image, video and still, incomplete and open.
The collages present a space where the viewer may journey through glimpses of given visual moments enabling
interpretation from the viewer’s own memory associations as cultural associations. The works are open to
interpretation.
As a multidisciplinary artist, the two-dimensional work is important, because it informs the rest of the media, that I
work with -video/installation/performance and can easily be translated into 3d as a sculpture, since the objects
depicted in collages embody a very physical and textural presence.
These particular collages evoke delicate and dream-like qualities, made with thin paper and card, although I
sometimes use wood, steel, hair, perspex or other materials to show the materials’ contrasting characteristics.
Most of my work conveys a longing for solitude. There is a sense of someone walking into one’s personal space, a
play between the said and unsaid. The gaps and missing images relate to solitude and silence.
These are as much sound-scapes as dream-scapes, where one can experience the joy of being alone and silent,
daydreaming, reconnecting to a wilderness and source of being.
I am fascinated by fragilities of human existence, a quest for belonging with the sense of being in flux in relation to
the continuation of life.

Notes:
Vimeo = https://vimeo.com/user95191855/download/318449883/d3111135b0 Password:Hudson54,
https://vimeo.com/318448902 Password: Hudson54

1
Artwork 1 Title: One Morning
Artwork 1 Dimensions: 42cm x 29.7cm x 0cm
Artwork 1 Medium: Collage / Mixed Media on Paper
Artwork 1 Commentary: Also available framed.
Artwork 1 Image:

2
Artwork 2 Title: Elegy
Artwork 2 Dimensions: 26.6cm x 24.4cm x 0cm
Artwork 2 Medium: Collage/ Mixed Media on Paper
Artwork 2 Commentary: Also available framed.
Artwork 2 Image:

3
Artwork 3 Title: Immersion
Artwork 3 Dimensions: 0
Artwork 3 Medium: New media/ Video/Performance/Installation
Artwork 3 Commentary: Duration: 4min (without the titles)
2013

Meant to be projected onto a wall so that is seen as an installation.

Vimeo:

https://vimeo.com/user95191855/download/318449883/d3111135b0

Password:Hudson54
Artwork 3 Image:

4
5
Artwork 4 Title: Revisiting (As Follows)
Artwork 4 Dimensions: 0
Artwork 4 Medium: New Media/Video/Installation
Artwork 4 Commentary: Duration : 4min 32sec
2013

Meant to be projected onto a wall so that it is seen as an installation.

Vimeo:

https://vimeo.com/318448902

Password: Hudson54
Artwork 4 Image:

6
7
Artwork 5 Title: We Are Going Around (In Circles)
Artwork 5 Dimensions: 0
Artwork 5 Medium: New Media/Video/Live Performance/Installation
Artwork 5 Commentary: Still from a Video/Live Performance/Installation

The piece is a live performance where the artist is standing as a background to the video that is projected onto her
body with a projector and the movie is moving clockwise in a circle.

Duration: May very since the film is on the loop.

Artist statement available.

Artwork 5 Image:

8
9
Catalogue5 ID0092
Artist ID: 0092

Artist Name: Deborah Davies


Website: www.dddavies.com
IG: https://www.instagram.com/dddaviesart/

Artist Statement:
My work is and ongoing process of questioning popular held narratives and meaning behind cultural icons and
offering up alternative narratives, exploring and questioning social and political environments. A career working first
as a private investigator and then as an undercover reporter and documentary film maker has informed my work
where I question power structures in a quest for transparency, knowledge and empowerment. I work mainly in
sculpture in a variety of materials. I reference open source design files, open source software and often collaborate
with others from a multitude of disciplines. My work is about communities and society and their input can often
change the state of the work with many of my pieces being interactive, or at the very least based on data and
conversations that I have pulled into the work.

Notes:

1
Artwork 1 Title: When Things Come Apart
Artwork 1 Dimensions: various but largest 8400x400x400
Artwork 1 Medium: Construction timber, screws
Artwork 1 Commentary: When Things Come Apart depicts the Statue of Liberty. The aim of the work is to show the
demise of liberty and freedoms across the world and this is achieved by never showing it fully constructed. The
statue became an icon of freedom in the United States, but was actually a gift from the French. Impressed by
America’s Union’s victory in the Civil War in 1865 and the abolition of slavery, the gesture was an attempt on
behalf of Laboulaye's to inspire and encourage the people of France to call for their own democracy in the face of a
repressive monarchy. The statue became a welcoming sight to immigrants arriving from abroad, this statue throws
into questions if that welcome is still applicable. Originally a matchstick kit it also references the history of
matchstick art that is commonly practiced by those in prison, building on the idea of loss and liberty, each matchstick
replaced with a length of 2―x 2― timber.

When constructed to stand at full height When Things Come Apart measures 8.4 meters tall but with various glued
and screws panels removed, trailing along the floor in wall-like structure. Another configuration sees it de-capitated,
captured as a falling mass, the work responding to the space it is exhibited in, therefore, it is a site-specific piece. I
am happy to work within any space given, should this piece be selected. The photo attached shows a couple of
configurations of install.

Artwork 1 Image:

2
3
Artwork 2 Title: Fuck Love
Artwork 2 Dimensions: Each mirror is 75x75x45 there are two mirrors
Artwork 2 Medium: Mirror, leds, acrylic, microcontroller
Artwork 2 Commentary: Fuck Love is an interactive sculpture that decides whether you should Fuck, or Love, or Fuck
Love. The sculpture comprises of two heart-shaped infinity mirrors, one showing the word “fuck― and other
the word “love―. A ‘game’ played by two people who activate the system by connecting hands on a
console. When connected, the heart lights flash, pattern spin, and colours collide, working through the combinations
of love and fuck. Eventually the machine settles on one of three possible verdicts questioning our own
understanding of what it is to love playing with the meaning of the words. My ambition is to exhibit it in a gallery
space at night where it is viewable from the street. The interface works like a touch screen on a smart phone (
capacitance )and so could be attached to the window so people could play at night without even coming into the
gallery space.

Artwork 2 Image:

4
5
Artwork 3 Title: Ammunition
Artwork 3 Dimensions: 70x194x251
Artwork 3 Medium: wood, vinyl
Artwork 3 Commentary: The oversized packaging of an empty box of bullets lays slumped on the floor like a dead
body. The scale reflects the size and depth of the problem, the marketing text on the box replaced with a true story
of a death by suicide with a gun.
Artwork 3 Image:

6
Artwork 4 Title: DickTators En Masse
Artwork 4 Dimensions: various: 200x 150x150 but can be smaller as site specific
Artwork 4 Medium: Multimedia
Artwork 4 Commentary: DickTators En Masse is an installation showing a production line of felt fabric effigies of
Donald Trump. Piles of hand-made effigies of the ‘orange one’ in various stages of completion serve to show
the surge in “authoritarian, xenophobic, far-right politics – from Marine Le Pen in the France, to the UK
Independence Party, to Narendra Modi in India and their counterparts... threatening to take power around the
world..― N. Klein. (Book: No Is Not Enough). This installation shows an ongoing production of dictators that spans
history, the work referencing a long tradition of satirizing political figures. #DicktatorDon is a figure for ridicule,
dressed in Y-fronts with his long tie, jack boots and pale sunbed circles under his eyes. And yet, power is restored to
those who hold a pin, as #DicktatorDon is an interactive modern-day equivalent of a voodoo doll, stab him in the Y-
Fronts and his eyes light up completing the feedback loop. He has been posted out to people globally who request
one, so their interaction with him makes up part of this installation.

Artwork 4 Image:

7
8
Artwork 5 Title: Faded Glory and A New Union
Artwork 5 Dimensions: 94x28x153 each and there are two of them
Artwork 5 Medium: fabric, micro-controller, wood, data
Artwork 5 Commentary: Faded Glory and A New Union are two sculptures that can be shown individually or as a
pair. These pieces combine both the digital with the analogue both with respect to materials and processes. The
American flag (Faded Glory) and the Union Jack (A New Union) are etched onto silk fabric using a traditional textile
technique called devoré. A third flag is present in these pieces, with the white, red blue stripes of the Russian flag
emerging behind both the USA and the UK flag as an array of LEDS light up in response to conversations outside the
gallery setting. Running a sentiment algorithm looking for conversations pertaining to the Russian involvement in the
USA presidential elections and Russian influence behind the Brexit vote, the Russian flag appears and retracts in real
time at varying speeds dependant on the volume of sentiment shown in the tweets

Artwork 5 Image:

9
10
Catalogue5 ID0115
Artist ID: 0115

Artist Name: Martin Lukas Ostachowski


Website: https://ostachowski.com/
IG: https://www.instagram.com/artbymlo/

Artist Statement: Geometric abstraction, minimalism and the use of technology are constants in my visual narrative.
My paper paintings combine traditional with modern arts and crafts processes such as weaving, hand-cutting and
laser-cutting and embrace technology to varying degrees. In addition to traditional mediums, I experiment with
digital and generative art such as algorithm-based visualizations.

My current body of work explores the architecture of blockchain technology through the subject of clouds. The
continuous transformation of clouds in the sky have fascinated me as a traveler for a long time. Being a frequent
flyer for work, I am always captivated by observing, photographing and recording cloud formations in particular
through the window of an airplane. Their aesthetics combined with their deep symbolism throughout cultures and
time are a constant source of inspiration and a subject I explore through a wide range of physical and digital
mediums.

In my current series, I explore clouds within the blockchain context as a contemporary symbol of data storage and
connectivity, representing transformation and hope for fair global distribution of opportunity and wealth. Through
data visualizations, animations, digital and physical pieces, I aim to make this complex technology accessible in order
to spark discussions on the blockchain’s profound transformative potential for society.

Notes:

1
Artwork 1 Title: Glimpse in the Tropopause - Top View
Artwork 1 Dimensions: 35,6 x 27,9 cm
Artwork 1 Medium: Acrylics on woven, hand-cut and laser-cut paper
Artwork 1 Commentary: This series of paper paintings explores core processes in the blockchain environment. Cut-
out exclamation marks create binary patterns and draw attention to the intangible aspects of this technology.

Woven paper strips unite with cut-outs to create pixelated, abstracted impressions of blockchain connections while
the dominant lines indicate the verification processes occurring during block creation.
Artwork 1 Image:

2
Artwork 2 Title: Glimpse in the Tropopause - Bottom View
Artwork 2 Dimensions: 35,6 x 27,9 cm
Artwork 2 Medium: Acrylics on woven, hand-cut and laser-cut paper
Artwork 2 Commentary: This series of paper paintings explores core processes in the blockchain environment. Cut-
out exclamation marks create binary patterns and draw attention to the intangible aspects of this technology.

Woven paper strips unite with cut-outs to create pixelated, abstracted impressions of blockchain connections while
the dominant lines indicate the verification processes occurring during block creation.
Artwork 2 Image:

3
Artwork 3 Title: Cloud Seed Phrase Visualization
Artwork 3 Dimensions: 61 x 91,5 cm
Artwork 3 Medium: Gicle̕e showing visualized data superposed on digital photograph
Artwork 3 Commentary: This visualization depicts all 2,048 Seed Phrase words out of which 12-20 words form a Seed
Phrase. The Seed Phrase words were alphanumerically encrypted (known as hexadecimal hashes) and translated by
an algorithm into ellipses. A total of 16,400 ellipses form this cloud shape, which is superposed on a digital photo of
a clear sky.

A Seed Phrase is used as a password for digital wallets. Digital wallets hold digital currencies (known as
cryptocurrencies) or digital assets such as blockchain-registered paintings.
Artwork 3 Image:

4
5
Artwork 4 Title: Tokenized Cloud Sphere Eleven ATL to YYZ
Artwork 4 Dimensions: 40,6 x 40,6 cm
Artwork 4 Medium: Gicle̕e of unenhanced, computer-aided photo collage, registered as rare ERC-721 token on
Ethereum blockchain
Artwork 4 Commentary: The photo collages of this exhibition were created from photo series taken on passenger
flights across North America. The photos were stitched into panoramas using software and lightly retouched on the
edges to allow smooth connections into a sphere. Colours were not enhanced.

ECR-721 Tokens allow the digital ownership and ownership history of an artwork to be registered on the blockchain.
This concept introduces scarcity and tradability to digital art. In addition, it establishes a permanent as well as
immutable provenance record. Tokens can be released as digital originals or in limited editions.
Artwork 4 Image:

6
7
Artwork 5 Title: Tokenized Cloud Sphere Thirteen ATL to YYZ
Artwork 5 Dimensions: 40,6 x 40,6 cm
Artwork 5 Medium: Gicle̕e of unenhanced, computer-aided photo collage, registered as rare ERC-721 token on
Ethereum blockchain
Artwork 5 Commentary: The photo collages of this exhibition were created from photo series taken on passenger
flights across North America. The photos were stitched into panoramas using software and lightly retouched on the
edges to allow smooth connections into a sphere. Colours were not enhanced.

ECR-721 Tokens allow the digital ownership and ownership history of an artwork to be registered on the blockchain.
This concept introduces scarcity and tradability to digital art. In addition, it establishes a permanent as well as
immutable provenance record. Tokens can be released as digital originals or in limited editions.
Artwork 5 Image:

8
9
Catalogue5 ID0124
Artist ID: 0124

Artist Name: James Usill


Website: behance.net/james_usill
IG: instagram.com/jamesusill

Artist Statement: I am a graphic designer and artist who creates abstract experiments in colour, form and
composition. My work is centred on disruption and distortion in visual media, employing various processes and
techniques, both physical and digital, to manipulate images and visual information. Much of my work revolves more
around texture, mood and feeling than direct representation, often taking some base image, visual motif or theme
as raw material and disrupting, distorting or otherwise abstracting it to develop a graphic style to take across
different mediums and formats.

I work primarily in the style of 'glitch art', a catch-all term for a movement which utilises a variety of different art
techniques revolving around ideas of error. Writing into the code of digital image files, exploiting natural errors in
videogames and computer programmes, using Photoshop tools radically incorrectly, distorting and bending analog
TV signals and even opening images as sound files within audio software to apply sound effects to visuals. This
artistic movement is at the vanguard of new media visual exploration.

Through my work I intend to shift perceptions through disruption of expected and everyday systems with an aim to
create a new, entirely contemporary, language of abstract expressionism.

In recent years I have been bringing these digital works into physical spaces around the world, showing works as part
of Glitch Artists Collective biennial exhibitions in Warsaw, Minneapolis, Paris and two recent solo shows of my work
in London.

Notes:

1
Artwork 1 Title: Summer Forest
Artwork 1 Dimensions: (H) 86.2cm (W) 86.2cm (D) 2.2cm
Artwork 1 Medium: 11 Colour Giclee Print On Hahnemühle Photorag
Artwork 1 Commentary: Summer Forest is an abstract expressionist print which explores colour, texture and detail
using glitch art processes.

A photographic image was imported into audio software, applying audio effects and changing the encoding of the
audio file before re-exporting as an image file, these alterations change the way imaging applications interpret the
data of the file resulting in a visual output almost unidentifiable from the original image.

Summer Forest was one of the first images I brought up from small, screen-sized viewing to printing at scale. An
appeal of this image lies in the detail. As you zoom in on or approach the large printed image, further levels of
resolution emerge from the blocks of vivid colour.
Artwork 1 Image:

2
3
Artwork 2 Title: 3D Glitch Self-Portrait
Artwork 2 Dimensions: (H) 19cm (W) 23cm (D) 14.5cm
Artwork 2 Medium: Nickel plated 3D printed sculpture
Artwork 2 Commentary: 3D Glitch Self-Portrait is a 1/2 scale 3D print of a scanned head-and-shoulders self-portrait
bust which has been distorted and broken by corrupting the digital file before printing.

Created using 360 degree photography, the resulting file was then corrupted by copying and pasting sections of the
raw code in the digital file to create crystalline fractures referencing the software-based origins of the printable file,
sitting the sculpture firmly in the New Aesthetic artistic movement.

The sculpture was then metal plated adding a pop art-style materiality to this already otherworldly portrait. This
sculpture acts as somewhat of a personal statement and manifesto, encompassing many of my artistic processes and
exploratory nature of my work.

Artwork 2 Image:

4
5
Artwork 3 Title: Slipstream
Artwork 3 Dimensions: 50cm x 50cm
Artwork 3 Medium: 11 Colour Giclee Print On Hahnemühle Photorag
Artwork 3 Commentary: Slipstream is one of my favourite pieces, this work is an attempt at representing the
generally invisible currents in bodies of water.

The image was created using a process that allows me to distort images using the patterns and textures of nature (in
this case a swirling volcanic rock) to manipulate images. The composition's illustrative detail and liquid flow
combined with the subtle colour scheme allow the graphic contrast of light and dark to show through, giving the
work a depth and physicality.

Artwork 3 Image:

6
7
Artwork 4 Title: Backbeat II
Artwork 4 Dimensions: 50cm x 50cm
Artwork 4 Medium: 11 Colour Giclee Print On Hahnemühle Photorag
Artwork 4 Commentary: Backbeat II was created using numerous 'glitch art' processes. 3D extrusions of shapes in
acid colours were manipulated, warped and combined with abstracted and mashed simple geometric forms to
create a mix of softer, undulating, liquid forms with sharper, more angular focal points.
Artwork 4 Image:

8
Artwork 5 Title: Time Is Running Out
Artwork 5 Dimensions: 50cm x 50cm
Artwork 5 Medium: 11 Colour Giclee Print On Hahnemühle Photorag
Artwork 5 Commentary: Time is running out is a raw work of 'glitch art' which shows how these processes can
generate compositions and structures through successive generative iterations.

Detailed textures are disrupted by fields of solid colour, which create compositional focal points. The resulting
illusive but familiar notation and pattern brings to mind textile design.

This exploration in colour and composition harkens back to the 1950s abstract expressionists, from whom I draw
inspiration as much as I do from any contemporary references.

Artwork 5 Image:

9
10
Catalogue5 ID0135
Artist ID: 0135

Artist Name: Adrian Marden


Website: www.adrianmarden.ac.uk
IG:

Artist Statement: PRACTICE


It might be argued that our consumer society is wasteful with too many commodities unfairly distributed and
advertising feeding on vulnerability and dissatisfaction. However, our material culture has provided many of us with
a ‘quality of life’ that would not have been enjoyed in the recent past and is unobtainable in numerous parts
of the world.

To explore our materialism, I am examining simple domestic objects in a style that I am referring to as
‘EcoPop’ or ‘Pop Art with a Conscience’. These images catalogue the careful crafting of the forms and
detailed finishes of ‘Everyday Things’ which encompass social concerns and observations. Each image is
displayed with a short text which summerises the issue posed.

These digital multiples are made by observing and recording the subjects. There is no computer trickery or
photographic process involved. The technique is a balance between making enough marks to give the illusion of light
and form whilst, at the same time, leaving the elements that make up the image clearly visible.

PROFILE
Initially I studied Fine Art before working in the design industry and in consultancy. This was followed by time in art
& design education, where I co-created, then ran, the design course at Goldsmiths’ College and later became
Head of School at the University of Hertfordshire.Â

Currently I am represented by two regional galleries with work in local private collections. I enter selected open art
competitions and was recently shortlisted for the 2017 London Contemporary Art Prize.

Notes:

1
Artwork 1 Title: Things to Think About / EXERCISE
Artwork 1 Dimensions: 118 x 84 x 1 [A0]
Artwork 1 Medium: Digital Print / A multiple in an edition of 250
Artwork 1 Commentary: A general decline in activity since the 1960’s is claimed to be a cause of disease and
disability and is responsible for one in ten deaths in the UK.

Nick Cavill from Oxford University Department of Public Health says “we weren’t built to sit in front of a
computer, TV screen or steering wheel but remain hunter gathers designed to be physically active all day long.
Whilst our minds are in the 21st century our bodies are still stuck in neolithic times―.
Artwork 1 Image:

2
Artwork 2 Title: Things to Think About / BREAD
Artwork 2 Dimensions: 118 x 84 x 1 [A0]
Artwork 2 Medium: Digital Print / A multiple in an edition of 250
Artwork 2 Commentary: Bread is one of the UK’s most popular foods but an estimated 24 million slices are
thrown away each day. This is part of the 10 million tons of food that is wasted in Britain each year. Of this only 0.5
tons is recycled. In landfill waste food creates methane which is a 25 times more potent greenhouse gas than Carbon
Dioxide
Artwork 2 Image:

3
Artwork 3 Title: Things to Think About / MILK
Artwork 3 Dimensions: 118 x 84 x 1 [A0]
Artwork 3 Medium: Digital Print / A multiple in an edition of 250
Artwork 3 Commentary: In order to produce milk cows must have calves and are therefore serially pregnant. When
they give birth, female calves are kept by the farmer as future milk producers. However, according to the BBC
Countryfile programme, the young bulls are of less worth and some 10,000 a year are shot soon after birth.
Artwork 3 Image:

4
Artwork 4 Title: Things to Think About / STICKING PLASTER
Artwork 4 Dimensions: 118 x 84 x 1 [A0]
Artwork 4 Medium: Digital Print / A multiple in an edition of 250
Artwork 4 Commentary: The Sticking Plaster provides instant access to a dressing that is sterile and absorbent. The
tape has to be flexible enough to wrap around a finger, yet strong enough to withstand daily wear and tear. It also
has to be waterproof and breathable. The adhesive has to stay in place when needed, yet peel off easily when no
longer required.

Ikea stocks red, vivid green and black plasters and there are clear versions with white or beige dressings. Although
80% of the world population are not white, I can only find one company who make plasters to match black and other
ethnic skin tones.
Artwork 4 Image:

5
6
Artwork 5 Title: Things to Think About / SLEEP
Artwork 5 Dimensions: 118 x 84 x 1 [A0]
Artwork 5 Medium: Digital Print / A multiple in an edition of 250
Artwork 5 Commentary: Matthew Walker in his book ‘Why We Sleep’ claims that many people today see
sleeping as a weakness and put social and business demands before the need to sleep. When I was born in the
1940’s less than 8% of the population was surviving on less than 6 hours, today almost 1 in 2 are doing so.

With only 4/5 hours sleep our natural ‘killer cells’ drop by 70% and research shows that the shorter our
slumbers the shorter our life. Lack of a proper rest each night is being linked to cancer of the bowel, prostrate and
breast as well as Alzheimer’s disease.
Artwork 5 Image:

7
8
Catalogue5 ID0163
Artist ID: 0163

Artist Name: Yu Bei


Website: https://www.beiyu.space
IG:

Artist Statement: Yu is a Chinese-born, international artist now living in London. He uses the problematic format of
different languages and images to translate and interpret the voice of his generation, including personal grumbles,
life on the Internet, the intertextuality of different cultures, recycled historical images, and self-questioning in art.
Yu's works deal with the issues of translation and interpretation of images and texts from different cultures and
nationalities. His artwork is always preceded by a lot of research into visual culture, fiction and philosophy, and
questioning himself has become a lifestyle choice that allows him to push himself forward. For instance, he always
puts the audience into his models and makes questioning his concept part of the experience of his artwork. He is
also a researcher and Chinese writer who questions the role of the younger generation's culture in different societies
and systems.
His artworks have recently been collected by the United Art Museum, the DSL Collection, and the Royal College of
Art Special Collections. They have also been exhibited in various museums in China, for example the K11 Art
Foundation,the China Art Museum, the Hubei Museum of Art, the United Art Museum and the Chun Art Museum.

Notes:

1
Artwork 1 Title: Activity without second thoughts-1
Artwork 1 Dimensions: 180x130cm
Artwork 1 Medium: Digital painting printed on canvas
Artwork 1 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 1 Image:

2
3
Artwork 2 Title: Mr.interpretation and Mrs.Translation-1
Artwork 2 Dimensions: 250x100m
Artwork 2 Medium: Digital painting printed on canvas
Artwork 2 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 2 Image:

4
5
Artwork 3 Title: Mr.Interpretation and Mrs.Translation-2
Artwork 3 Dimensions: 250x120cm
Artwork 3 Medium: digital painting printed on canvas
Artwork 3 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 3 Image:

6
7
Artwork 4 Title: Activity without second thoughts-2
Artwork 4 Dimensions: 270x90cm
Artwork 4 Medium: digital painting printed on canvas
Artwork 4 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 4 Image:

8
9
Artwork 5 Title: Mr.Interpretation and Mrs.Translation-3
Artwork 5 Dimensions: 200x100cm
Artwork 5 Medium: digital painting printed on canvas
Artwork 5 Commentary: Yu's works deal with the issues of translation and interpretation of images and texts from
different cultures and nationalities. His artwork is always preceded a lot of research into visual culture, fiction and
philosophy, and questioning himself has been becoming a lifestyle choice that allows him to push himself forward.
For instance, he always puts the audience into his models and the audience represents the different perspective
understanding of the same object and image.
On the other hand, his artwork focuses on the personal private expression of daily life. It is hard for people to
understand a person's interpretation, but it is easy for people to feel hard to know one person. Hence, his artwork-
the words on orange peels do emphasize the hard situation of the personal translation and the words are
unreadable readings.
Finally, as a print-based artist, he is interested in using the digital format to exhibit handmade textures. The
combination of digital art and the handmade process is the central technology of his work.
Artwork 5 Image:

10
11
Catalogue5 ID0185
Artist ID: 0185

Artist Name: Milton Ruiz


Website: www.miltonruizstudio.com
IG:

Artist Statement: Having been a traditional artist for several years, I perceived a certain disconnect between the
tools I used in the process of art-making and the technologically influenced world that surrounded me. Discovering
the possibilities afforded by digital fabrication tools (hardware and software) has made me very optimistic and
excited about the way digital technologies can enhance and influence my experience as an artist, while allowing me
to challenge conventional cultural values associated with the creation of art.

My work in this digital journey examines the contradictions inherent in the machine-made world we live in, a world
which is profoundly affected by the accelerated impatience of our consumer society. My aim is to highlight the very
emotional and well-intentioned manner in which our progress has been shaped, how technology has been thought
to improve our lives while having dark and unexpected consequences. I often use recognizable imagery as symbols,
not to replicate the established language, but to extract a different meaning from it by combining certain elements
to express an idea or emotion. Each piece’s title, composition, color and textures are all intended to be parts of a
story and are meant to interact with one another as performers would in a play.

We are at the dawn of an age where the virtual is slightly blending with the real, and digital art serves as a true
reflection of this contemporary era.

Notes:

1
Artwork 1 Title: Raised In The East, Consumed In The West
Artwork 1 Dimensions: 152.4x114.3x5.08
Artwork 1 Medium: Digital Print on Canvas
Artwork 1 Commentary: When China became a member of the World Bank in 1980, many U.S.-based corporations
flocked into China to build factories and take advantage of its cheap labor. This enabled China to rise to become an
economic world power, and in the process, the world’s factory.
Americans’ fixation with low price has created a discount culture which ironically has come with a high price,
both domestic and abroad. Our obsession with bargains has created an excess of consumerism that has
contaminated the environment, escalated personal debt and shifted our focus away from quality, durability and
craftsmanship.
While access to low-cost goods has enabled many Americans to raise their standard of living, it also has created a
dependency on cheap foreign labor, resulting in the gradual disappearance of many domestic jobs and businesses,
who cannot compete with the discount mass retailers.
Unfortunately, those manufacturing these low-cost goods are often exposed to toxic chemicals and dangerous
temperatures without proper safety equipment, and most workers and their families sleep in unsanitary, tight
factory living quarters.

Artwork 1 Image:

2
3
Artwork 2 Title: Istanbul Market Steet
Artwork 2 Dimensions: 60" x 45" x 2"
Artwork 2 Medium: Digital Print on Canvas
Artwork 2 Commentary: Sitting at the crossroads of Asia and Europe, Istanbul, “The jewel of the Bosphorus― is
a fascinating city full of contrasts that has never failed to fuel the imagination. The city is both ancient and modern,
religious yet secular, and over the centuries it has been the capital for 3 Empires (Eastern Roman, Byzantine &
Ottoman), which has allowed a very colorful, rich and eclectic culture to flourish.
This series is a view from the perspective of a visitor whose expectations were far exceeded. It intends to capture
and pay homage to the vibrancy of Istanbul, its rich history, markets, cuisine, welcoming people, and its friendly
stray cats and dogs.

Artwork 2 Image:

4
5
Artwork 3 Title: Istanbul Strays
Artwork 3 Dimensions: 60" x 45" x 2"
Artwork 3 Medium: Digital Print on Canvas
Artwork 3 Commentary: This piece pays homage to the stray dogs in the city of Istanbul and elsewhere. Some were
left by their owners while others grew up in the streets. Yet despite their lack of fortune, these beautiful creatures
were immensely grateful for the bites of food and head rubs that my wife and I would give them on our late night
walks through the old city streets. They became our silent, nameless tour guides and companions during our visit,
reminding us of the wonderful capability of these beings to love.
Artwork 3 Image:

6
Artwork 4 Title: The Fine Line Between Desire & Envy
Artwork 4 Dimensions: 42" x 57" x 2"
Artwork 4 Medium: Digital Print on Canvas
Artwork 4 Commentary: The invention of the automobile resulted in mobility for humans on an unprecedented
scale, with a profound effect on our cultural landscape. Since its inception, the automobile has been such a topic of
controversy that there is no other invention in the history of humankind able to generate such extreme feelings of
exhilaration or doom. The automobile was transformed from a luxury for the few to something attainable for the
many, freeing people from the limitations of the horse-driven wagon; it embodies our best efforts as well as our
shortcomings as creative beings in our quest for progress.

Automobiles are viewed by many as objects of desire and beauty and as marvels of engineering, but they are also
seen as machines of doom, reflecting the worst aspects of human consumption, greed and lack of foresight to
envision the negative effects on the labor market and the planet. They have slowly become the symbol for
environmental destruction, and ironically are now beginning to represent a hope which can usher humans into the
era of non-fossil renewable fuel usage.

Automobiles are mobile sculptures of sensuous and shiny surfaces, housing a great deal of technology that has
evolved to make travel safer and more efficient. The car is ultimately a reflection of ourselves, of our anxieties and
desires, and of our steps backward and forward as a species.

Artwork 4 Image:

7
8
Artwork 5 Title: Reaching For The Moon
Artwork 5 Dimensions: 18" x 18" x 2"
Artwork 5 Medium: Digital Print on Canvas
Artwork 5 Commentary: The invention of the automobile resulted in mobility for humans on an unprecedented
scale, with a profound effect on our cultural landscape. Since its inception, the automobile has been such a topic of
controversy that there is no other invention in the history of humankind able to generate such extreme feelings of
exhilaration or doom. The automobile was transformed from a luxury for the few to something attainable for the
many, freeing people from the limitations of the horse-driven wagon; it embodies our best efforts as well as our
shortcomings as creative beings in our quest for progress.

Automobiles are viewed by many as objects of desire and beauty and as marvels of engineering, but they are also
seen as machines of doom, reflecting the worst aspects of human consumption, greed and lack of foresight to
envision the negative effects on the labor market and the planet. They have slowly become the symbol for
environmental destruction, and ironically are now beginning to represent a hope which can usher humans into the
era of non-fossil renewable fuel usage.

Automobiles are mobile sculptures of sensuous and shiny surfaces, housing a great deal of technology that has
evolved to make travel safer and more efficient. The car is ultimately a reflection of ourselves, of our anxieties and
desires, and of our steps backward and forward as a species.

Artwork 5 Image:

9
10
Catalogue4 ID0255
Artist ID: 0255

Artist Name: Glyn Bateman


Website: www.glynbateman.com
IG: @nohoroscope

Artist Statement: My art practice developed from within the spheres of graphical design, advertising, photography
and illustration. My work uses image manipulation and compositing, achieved either by hand or through digital
means and incorporates elements of painting, drawing, digital photography, collage and printmaking.

My work often employs the language of advertising and corporatism to vehicle social commentary about the human
condition, living in 21st Century, contemporary society in addition to this, my other artworks refer to mythologies
and ancient symbolism. Most pieces display my obsession with detail and using visual devices such as repetition and
pattern in my compositions.

The works that I have submitted for entry are two dimensional Metallic Lamba and Digital Giclée Prints.

Notes:

1
Artwork 1 Title: Eye #3
Artwork 1 Dimensions: 800mmX800mmX4.5mm
Artwork 1 Medium: Metallic Lambda Print / 3mm Diasec & 1.5mm Aluminium
Artwork 1 Commentary: Eye is commenting directly upon the ultimate panoptic control of our contemporary society
that is being achieved through endemic surveillance. In the name of national security, crime prevention and safety,
our basic rights to privacy are quickly diminishing. Each of the patterns that form Eye are constructed mainly out of
many different varieties of CCTV camera, that were photographed and documented across areas of Cardiff and
South Wales.

There are also other pattern formations situated within the composition that are produced from chains and security
gates. The human eye at the centre of the image signifies mankind’s awakening consciousness in the face of
evasive technology global oppression and the Orwellian state.

Although the image has been produced digitally through use of a computer, it is not purely a ‘computer-
generated’ image. Each pattern (variable) has been hand built and placed into the composition.

Artwork 1 Image:

2
3
Artwork 2 Title: Gubenare A/P
Artwork 2 Dimensions: 800mmX1400mmX40mm
Artwork 2 Medium: Metallic Lambda Print on 3mm Black PVC Housed in black box frame.
Artwork 2 Commentary: Governance of the body, mind and soul... plus all of the red tape.
Artwork 2 Image:

4
Artwork 3 Title: Skulduggery with Orchids A/P
Artwork 3 Dimensions: 860mmX860mm
Artwork 3 Medium: Metallic Lambda Print Framed and mounted in Black
Artwork 3 Commentary: A two-dimensional, fractal image that incorporates digital photography and mix media. The
work is influenced by and to a larger extent, parodies Late Baroque style wall paper patterns. The composition is
constructed out of contrasting variables of Orchid Flowers and Skulls.
Although the piece has been produced digitally through use of a computer, it is not purely a ‘computer-
generated’ image. Each variable has been hand built and placed into the composition. The overall pattern
imitates towards ‘an order‘ and being symmetrical whilst subsequent elements of ‘rebellious’
asymmetry occur randomly throughout. This adds a tension and energy to the piece.

Artwork 3 Image:

5
6
Artwork 4 Title: Blodeuwedd
Artwork 4 Dimensions: 450mmx450mm
Artwork 4 Medium: Digital Giclée Print Mounted in Silver Metallic Frame.
Artwork 4 Commentary: I was mainly drawn to story of Blodeuwedd that is found in the Fourth Brach of the Welsh
Mabinogion. In a very brief summary - Blodeuwedd was a beautiful woman created entirely out of flowers and
meadowsweet by magicians Gwydion and Math. After being wed to Prince Llew, Blodeuwedd commits adultery with
a Hunter and they both fall in love and conspire to kill the Prince so they can be together. At the close of the story
Blodeuwedd faces her punishment – instead of death she is turned by Gwydion into an Owl to be banished from
the daytime forever: ―…you will never dare show your face in daylight for fear of all the birds and all the birds
will be hostile towards you…―
Artwork 4 Image:

7
8
Catalogue4 ID0260
Artist ID: 0260

Artist Name: Lidia Lidia


Website: http://lidialidia.com/
IG: https://www.instagram.com/justlidialidia/?hl=en

Artist Statement: Lidia is a multidisciplinary artist who works with installation, video, photography, performance and
activism. Using strong and sometimes disturbing images in combination with extensive research, Lidia highlights the
societal frameworks that shape the lived reality of many women and girls.

Her work aims to produce beautiful images to communicate uncomfortable narrative generally rooted in social
injustice and inequality.

Lidia believes passionately in the feminist statement that ‘the personal is political’ and that through art it is
possible to shape society.

Notes:
Vimeo = https://vimeo.com/302609372

1
Artwork 1 Title: Madonna & Child
Artwork 1 Dimensions: 77 cm x 62 cm
Artwork 1 Medium: Installation/photography
Artwork 1 Commentary: Donald John Trump became the 45th President of the United States of America on January
20, 2017.

In 2018 the Trump administration opposed a global resolution to encourage breast-feeding.


This event and the perception that Mr Trump has of himself and of women, have been the inspiration for this work.
Artwork 1 Image:

2
Artwork 2 Title: Girls' World - The Dolls'House -
Artwork 2 Dimensions: 84.1 x 118.9cm
Artwork 2 Medium: Installation/photography
Artwork 2 Commentary: Sex trafficking exists globally. Sex traffickers use force, violence, threats, lies, debt bondage,
abuse of power and other forms of coercion to compel adults and children to engage in commercial sex acts against
their will.

About 4.5 million people are the victims of forced sexual exploitation, the vast majority of which are women and
girls. Of those, about 2 million are children. Every year.

Artwork 2 Image:

3
4
Artwork 3 Title: Girls' World - The Cutting Season -
Artwork 3 Dimensions: 84.1 x 118.9cm
Artwork 3 Medium: Installation/photography
Artwork 3 Commentary: Female genital mutilation (FGM) comprises all procedures that involve partial or total
removal of the external female genitalia, or other injury to the female genital organs for non-medical reasons .
It is estimated that more than 200 million girls and women alive today have undergone female genital mutilation in
the countries where the practice is concentrated.
More than 3 million girls are estimated to be at risk of female genital mutilation annually.

FGM does not have race, religion or nationality. The practice is found in Africa, Asia and the Middle East, and travels
within communities from countries in which FGM is common making it a migratory torture.
Artwork 3 Image:

5
6
Artwork 4 Title: Congratulations!
Artwork 4 Dimensions: Running time: 1 minute
Artwork 4 Medium: Animation/Video
Artwork 4 Commentary: Economic growth is the main purpose of capitalism which drives the global society and
shapes the world.

To produce and to consume are imperative to capitalism and therefore to our societies.

Within this framework the trade of arms is flourishing as a worldwide industry and is a major contributor to some
countries' economies, despite the fact that this industry is in clear conflict with human rights.

https://vimeo.com/302609372
Running time: 1 minute
Artwork 4 Image:

7
8
Catalogue4 ID0264
Artist ID: 0264

Artist Name: Jess Loseby


Website: www.rssgallery.com
IG: https://www.instagram.com/jessloseby/

Artist Statement: Jess Loseby was trained in fine art and went on to specialise in bringing these skills in the then,
newly emerging media and medium, of digital art and the internet.

Living as she does, with a severe disability and frequent ill health, she lives within constantly shifting borderlands
and her art reflects this. Being a conceptual artist allows her to cross the invisible but intimidating borders in art by
mixing high tech and lo-tech art with both Fine art and lo- art technique .

Although she is still relatively unknown in the UK this has allowed her to established an International exhibition
profile in galleries, public spaces and online, particularly with her digital painting,Video art, interactive installations
&augmented photography. Although her art is always rooted in drawing.

She is also known for her Curation of international artist collaborations and artist residencies. This led to the
privilege of being the first British artist to a fully virtual, online residency, creating art live online 6 hours a day 4
months for the net.art pioneers Futherfield and A.C.E.

At its heart her work visually annotates her life; the small, the unheard, the everyday, the trivial and the borderless
streams of light & life that they are bathed in as it flows from the screens around us.

Jess Loseby married her her childhood sweetheart Clive Loseby at 18. They have 3 children whom she refuses to
accept are pretty much grownup as that would be she is.

Notes:

1
Artwork 1 Title: Heartburn
Artwork 1 Dimensions: Part 1; 40 x30 x8 cms Part 2; Projection is site specific
Artwork 1 Medium: New Media: "Heartburn" is a 2 part Mirror artwork. Part 1 is a single Edition Acrylic Print
(30x40x8cms) & Part 2 is a one floor projection using looped video (size is site specific).
Artwork 1 Commentary: Friday. Long Week.
————————————————
I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is if course a valuable place for art as therapy in helping people deal with their pain or a disability - it’s just
not at my table.
For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 1 Image:

2
3
Artwork 2 Title: Particparory Particles
Artwork 2 Dimensions: 40x30x3cms
Artwork 2 Medium: New Media: Print on Aluminium
Artwork 2 Commentary: Tuesday. Today it seems I have nothing better to do than beat randomly generated particles
into submission...
————————————————

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 2 Image:

4
5
Artwork 3 Title: As Stated: Everybody Hurts (sometimes)
Artwork 3 Dimensions: 60 x 30 x 8cms
Artwork 3 Medium: New Media:Created with #charcoal & digital charcoal and chalk printed on Wood
Artwork 3 Commentary: Friday. As stated, Everybody hurts (sometimes)

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.


Artwork 3 Image:

6
7
Artwork 4 Title: Im mobility
Artwork 4 Dimensions: 60x40x8cms
Artwork 4 Medium: Photography
Artwork 4 Commentary: Monday: Does all mundane things become beautiful at night?

————————————————

I have to admit I dislike supporting statements for artwork. I wish you would just let me draw another picture!
I’m afraid I have decided to no longer write them. I hope my explanation why and the comment I made on Social
Media I made when posting it (above) will be acceptable in its place.
My goal for many years now, rather pretentiously, is to be a digital Flâneur’- visually annotating my life.
However, as someone who is disabled and lives with daily chronic pain, I follow a difficult and intangible line as I do
so. One where I am truthful in my annotation whist trying not to create art that so self referential it cannot
communicate to anyone else but me.

Anxious, as I am , that art that becomes too literal when trying to represent the narratives of the amorphous in our
lives is always in danger of making something very multifaceted very uninteresting (I might as well just paint all my
canvasses black!), I suspect artists statements foster further an idea I dislike - that one has to understand art to enjoy
or communicate with it.

There is, of course, an extreemly valuable place for art as therapy in helping people deal with their pain or a
disability - it’s just not at my table.

For me, one of the greatest aspects of art is that two or a hundred people (or now with the internet, many
thousands) can view a piece of art and each one will connect with it differently. Sometimes the difference may be
very small but it can be completely contradictory and make all the difference to their connection (if any) to the
artwork they are viewing .

Please forgive me if I try as to interrupt that process as little as possible.

Artwork 4 Image:

8
9
Catalogue4 ID0274
Artist ID: 0274

Artist Name: Paul Ekwere


Website: Instagram.com/_paulie___
IG: Instagram.com/_paulie___

Artist Statement: i live to make beautiful things .::. art isn't what i see .::. art is what i make others see

my mission is blend two passions of mine, technology and art, in order to push the boundaries of what is commonly
accepted as conventional art, accelerating the future

~ _paulie___

.::. style .::.

the majority of my work is done digitally, hand painted via traditional methods but using software based tools as my
medium. i primarily use sketchbook on the microsoft surface pro to create my art

i occassionally do graphite and charcoal portraiture as well

Notes:

1
Artwork 1 Title: Death Stare
Artwork 1 Dimensions: 30 cm x 58 cm (unframed)
Artwork 1 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 1 Commentary: .::.
the subject seen in 'death stare' - snake, is a character in a long-running video game series, metal gear.

i was captivated by a similar image and just had to portray it with my own special twist - snake, the old worn out
soldier, is portrayed here with evident signs of wear and tear - battle scars, the eye patch and a prosthetic hand,
painted in a specific rough style to further enhance the rugged nature of the character.

the weathered soldier, rough and tough, and the worn look is deliberately juxtapositioned against the dark
background to further draw you into the character bringing your focus to 'that death stare'... the steely determined
look of a man who is tough as nails and determined to win every battle!

what do you see?

~ _paulie___
Artwork 1 Image:

2
3
Artwork 2 Title: Emrata
Artwork 2 Dimensions: 33cm x 42cm (framed)
Artwork 2 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 2 Commentary: '@emrata', as she is poularly known on social media, is a model, actress and women's rights
activist.

she is a strong women in a generation that needs positive female role models.

i was captivated by this look and had no choice but to capture and reinterprete it.

the intriguing bit about this piece for me, is how inscrutable the stare of the subject it... you simply cannot tell what
she's thinking

this is my objective here

'emrata' is the first in a limted edition 13 part series of paintings i am working on and hope to exhibit in late 2019 to
early 2020

the series " x-faces; find 'x' " deliberately draws on the lack of expression to allow the observer leeway to interprete
what emotion they think the subject if feeling, in their own way

thoughts?

~ _paulie___
Artwork 2 Image:

4
5
Artwork 3 Title: JILL
Artwork 3 Dimensions: 36cm x 45cm (framed)
Artwork 3 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 3 Commentary: 'JILL' is the second in a limted edition 13 part series of paintings i am working on and hope
to exhibit in late 2019 to early 2020

the series " x-faces; find 'x' " deliberately draws on the lack of expression to allow the observer leeway to interprete
what emotion they think the subject if feeling, in their own way

i find this look particularly intriguing.

even adding further to the mystery of the subject, is the somewhat androginous appearance of the subject

my overarching goal with the "x-faces" series is to stoke mystery... make you ask questions...

how much can you really tell about what goes on in a persons head simply by observing their face?

~ _paulie___
Artwork 3 Image:

6
7
Artwork 4 Title: Silence
Artwork 4 Dimensions: 33 cm x 28 cm (unframed)
Artwork 4 Medium: Digital Paint (Hand painted on Surface Pro)
Artwork 4 Commentary: 'silence' speaks for the millions of women globally that are oppressed

i am one of the lucky few who have grown up with women and was raised by women (4 sisters, my mother and
numerous cousins)

in this piece i aim to portray the numbness that comes with having your voice taken away from you and not being
allowed to express yourself

art for me has always been the purest form of expression

~ _paulie___
Artwork 4 Image:

8
9
Catalogue4 ID0283
Artist ID: 0283

Artist Name: Silke Weissbach


Website: www.silkeweissbach.com
IG: https://www.instagram.com/silke_weissbach/?hl=de

Artist Statement: Silke Weißbach (1984, Germany) creates multimedia-installations that take usage of painted and
sculptured elements besides computer-generated material of videos and sound. Her artistic research is situated in
fields of science, philosophy, and literature and questioning the current state of the individual existence concerning
the ambiguity and manipulation of our technology-, materialistically- and hierarchical driven world.
By transforming and colliding material in unexpected ways, the artworks examining the relationship between
meaning, colour, shape and space and challenging the viewer‘s perception by creating nonlinear narratives and
mysterious patterns that come as part of a projections screen for our needs, desires and wishes and how we
perceive these ideas in our multi-layered one person ego.
Weißbach studied painting at the University of Fine Arts (HfBK, Painting) and University of Applied Science (HAW,
Painting) in Hamburg and is now in doing her Master of Arts (Painting) at the Royal College of Art in London.

Notes:
Vimeo = Artwork 1 - https://vimeo.com/306789092 Password: SW100, Artwork 3 - https://vimeo.com/266667608

1
Artwork 1 Title: When We Collided, 2019
Artwork 1 Dimensions: 275 x 275 x 150
Artwork 1 Medium: MultimediaInstallation
Artwork 1 Commentary: Documentary Video of the Artwork can be seen here:

https://vimeo.com/306789092

Password: SW100
Artwork 1 Image:

2
Artwork 2 Title: It Is You Who Leaves, It Is I Who Remain_2018
Artwork 2 Dimensions: 210 x 160 x 2cm
Artwork 2 Medium: Painting
Artwork 2 Commentary: Acrylic, Charcoal, Graphite, and Silicone on Linen
Artwork 2 Image:

3
Artwork 3 Title: Paradise Lost, 2018
Artwork 3 Dimensions: 200 x 140 x 50
Artwork 3 Medium: Painting & Video on Sculpture
Artwork 3 Commentary: Acrylic, Silicone and Neon Light on Canvas
Video, Sound, Colour on Plaster and Flour

Video can be seen here:

https://vimeo.com/266667608
Artwork 3 Image:

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5
Artwork 4 Title: But Then, Who Exactly Are We Anymore
Artwork 4 Dimensions: 200 x 200 x 50 cm
Artwork 4 Medium: Sculpture
Artwork 4 Commentary: plaster, paper, silicone, metal dust and charcoal
Artwork 4 Image:

6
Catalogue4 ID0291
Artist ID: 0291

Artist Name: Darae Baek


Website: www.daraebaek.com
IG: daraeworld

Artist Statement: I am a video artist who is mostly working with a film and an installation. For my work, I find the
keywords of stories in the nostalgia of the past that I feel in new places.

I sometimes recall familiar fragrances and past moments from unfamiliar places. In totally different time and space, I
recall unexpected memories that I had forgotten. The moment I feel such reverberation of the past, the “new
place― no longer holds the meaning that only new places can keep in as it gets easily absorbed by the nostalgia
which transcends time and space. The reason is because that place has already become entangled with my
memories.

I felt such moments were interesting: Although it is hard to pinpoint the essence, certain moments are marked and
recorded inside me by specific temperature, smell, and other subtle factors; such moments show the sense of
existence by suddenly emerging in unfamiliar places. My work is to transform such emotions or memories that
emerge at such moments into tangible stories. Thus, I have been taking a journey to explore forgotten memories or
emotions. In addition, I am experiencing the moments that will emerge as nostalgia in the course of the journey of
making and recording special stories to the past recalled in the new places.

Notes:
Vimeo = https://vimeo.com/250691615 https://vimeo.com/315997168 https://vimeo.com/268105464
https://vimeo.com/166133862

1
Artwork 1 Title: CIRCUMSTANCES (2018)
Artwork 1 Dimensions: 49" monitor ( 63.85 x 110.22 x3.26)
Artwork 1 Medium: An installation video: 19mins 52secs on a monitor, sound on two headphones
Artwork 1 Commentary: Link: https://vimeo.com/250691615

The interview with WomenCinemakers about CIRCUMSTANCES :


https://issuu.com/women_cine.makers/docs/special.edition/4

This work is based on my memory of an experience I had before coming to Glasgow 2017. It is about my
grandmother, who was suddenly hospitalised a few months before I moved. July 2017, her health declined and she
spent one week
in a hospital. The room in the hospital was very quiet. I could only hear my grandmother’s groans and the
respirator which was helping her breathe. My parents told me that we needed to prepare to let her go soon,
although they seemed so unprepared for this. As she was old, I knew this would happen one day.

On one occasion, I spent the whole day with her. She slept most of the time. I sat next to her and spent time
watching her. I suddenly wondered if this would be the last time I saw her. I wanted to capture this moment with a
camera, but when
I saw her through the lens, I could not take the shot, as she seemed to be in pain. Instead, I filmed the respirator to
remember the moment. Fortunately, she was later discharged from the hospital. This memory has remained strong
in my mind and has often made me feel anxious in Glasgow. As a result, I decided to make a video to express the
personal issues that I brought from South Korea to Glasgow.
Artwork 1 Image:

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3
Artwork 2 Title: honestly; a foreign substance in nature (2019)
Artwork 2 Dimensions: 49" monitor ( 63.85 x 110.22 x3.26)
Artwork 2 Medium: An installation video: 5mins 55secs on a monitor, sound on two headphones
Artwork 2 Commentary: Link: https://vimeo.com/315997168

Two different types of women are presented in the video. Both appear against the background of nature, but their
poses and moods are somehow different. One woman wears a hat seems like to show her defensive attitudes
through her position that sitting and covered her body by herself. She sometimes also covers her mouth with her
hands. The other one’s appearance is more liberal; her whole body is painted in various colours and her
movements seem more natural and free. The video is actually a re-edited combination of two separate videos:
‘honestly’, ‘A foreign substance in nature’ taken in Sweden in 2018 and Iceland in 2015.

My work often begins by visiting a place that exhibits a unique culture and society. When I visit a new place, I am
constantly reminded that I am defined by the context of the society I am living among. Although I am just a person,
the society and individual onlookers refer to me as a female, an Asian, an artist. Every time this happens, I am
reminded of my identity as a female Asian artist. When I recognise someone’s gaze, I am not able to be just any
video artist but a female Asian filmmaker. My video is based on my personal story or memory but because I am
often exposed to my own appearance in my videos, my femininity features heavily and cannot be ignored.

The aforementioned works were made for different purposes. The video filmed in Sweden is a recent piece that
relates to the question of my own sincerity as I ponder double-sidedness, whereas the Iceland video was shot in a
small fishing village in northern Iceland in 2015. At that time, I was studying the relationship between nature and
myself, and my appearance in nature seemed like a foreign object. This video is, therefore, a work of action research,
as I tried to express myself as part of nature and escape the feeling of existing there only as a foreign object. The
interesting thing about this video is that when I came back to London after filming and re-watched the scene
depicting my struggle with nature, it no longer seemed as though I was struggling or lonely. The body movements
seemed free and protected from the watching eyes of society. Where did this new sense of liberation come from?
What exactly was the weight that had been lifted?

I was reminded of my time in the Moroccan desert in 2014. I lay alone on a sand dune for two hours with no water
or electricity, barely able to discern the shape of the people ahead of me. Those participating in the desert tour were
making their way to the top of a sand dune, but I had dropped out, completely overcome by fatigue. So, holding
nothing but a lantern, I decided to lie there and wait for the others to make their way back down. The desert sand,
upon which I had never lain before, was surprisingly warm, and the stars in the sky seemed so close that I felt I could
almost reach out and grab them. At that moment, I began to regard the light from the lantern as irritating. Although
it was my sole means of informing my companions of my location, I felt that the light was very much out of place in
the surrounding desert. I went ahead and turned the lantern off and then there was the only starlight in the world.
At first, the utter and unfamiliar darkness thoroughly scared me. However, because I had found the jarring light of
the lantern more unbearable than my fear of the dark, I had no desire to turn it back on. I closed my eyes and
counted to 10 several times, engulfed by the feeling of having encountered the most peaceful moment of my life.
The light from the stars, the sound of the wind, and the pleasant sensation of the warm sand against my hands and
feet created the illusion of being absorbed into the sand and becoming a part of the dune. And, to my surprise, I felt
liberated from the gaze of mankind. ‘Do I really even exist here?’, I asked myself. With this sense of liberation
came a sensation very similar to nostalgia – a longing for that first moment of existence as a foetus inside my
mother’s womb.

I recently decided to re-edit and mix the two videos together. Both represent my inner story, but I am depicted as an
Asian woman rather than a person. I wonder what kind of person the audience will perceive when I mix the videos of
these two different characters together. Will the audience accept that person as a woman, or as a person, or as an
obscure person? Perhaps they will see themselves in the person in the video.

Artwork 2 Image:

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5
Artwork 3 Title: Sound,Sound,Sound (2018)
Artwork 3 Dimensions: 49" monitor ( 63.85 x 110.22 x3.26)
Artwork 3 Medium: An installation video: 3mins on a monitor, sound on two headphones
Artwork 3 Commentary:
Link: https://vimeo.com/268105464

This is an experimental film about the sounds in Glasgow. The construction noise of a city is probably one of the
noises that people most dislike. The street construction started around my flat in Glasgow on 8th January 2018, and
it is still in progress in January 2019. I came to Glasgow in September 2017; as such, I have spent more than half of
my time in Glasgow experiencing this noise.

The sounds of construction are diverse. The sound of crushing concrete floors, the sharp sound of
scrap metal clashing together, the sound of workers pulling cars, the forklifts moving around, the sounds of people
and cars passing by and so on. It is weird because these noises become strangely comfortable to me some days. In
the past, even it was a small noise, I listened to it through the window. I felt the same sensitivity when thinking
about the construction site; however, I now tend to focus on the tone of the noise itself, rather than the cause of the
noise. It is as if I am listening to classical music or experiencing an ASMR: the noises of the streets gradually became
a background sound in my room and no longer irritate me.

Artwork 3 Image:

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7
Artwork 4 Title: The Memories (2016)
Artwork 4 Dimensions: 49" monitor ( 63.85 x 110.22 x3.26)
Artwork 4 Medium: An installation video: 21mins 54secs on a monitor, sound on two headphones
Artwork 4 Commentary: Link: https://vimeo.com/166133862

If the memory were a living creature, would it have any shape?

The repetitive action of a figure with a fishbowl on her head trying to blow out a candle is the first scene of the
Memories series video, and this shows the first action of memory. A human’s life is also full of repetitive actions,
of looking back over the past and, at the same time, accumulating current memories.

But what if a human ended up not being able to handle a memory once the human has decided to collect that
memory? What if the memory itself is a living creature and decides to declare itself, to expose itself to the outside?
Can a human, who is the host of this memory, control the movement of the memory? I thought that this is the very
first moment of memory confronting the real person, just as a figure from memory exposes her existence.

The candle in this video shows one aspect of the existence of memory. The memory lights a candle by itself to show
its existence. And the flame of memory appears in the same scene as the figure with a fishbowl on her head;
however, it cannot be reached with human breath, which implies and represents the symbol of human life. The
fishbowl, which covers the figure’s head, is a significant medium that curiously cuts off the figure from the
surroundings by providing a certain distance between the figure and the light outside.

The existence of light to the figure with fishbowl could be a little uncomfortable as it was unexpected.

Artwork 4 Image:

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9
Catalogue4 ID0303
Artist ID: 0303

Artist Name: Jason Engelbart


Website: http://jasonengelbart.de/
IG: https://www.instagram.com/jason_engelbart_works/

Artist Statement: ARTIST STATEMENT

My current works of the cycle "The Joy Of Being" are largely characterized by a light-infused color. The free-flowing
forms of these abstract compositions are underlining the emotional experience of a divine experience.

Inspired by Italien baroque paintings of the 17th century, in this work cycle I pick up the baroque stylistic features
such as asymmetrical individual forms, swirling curves and expansive gestures and translate them into abstract,
subtle color compositions.

The colors in their self-valence seem almost transparent and are blurring with their slight reflections into delicate
modulations. In sum, color and shape transform into a single aesthetic-abstract event. They are sublime expressions
of our ethereally world and touch the viewer on a purely emotional level, independent of time and space.

In essence, these works represent an idealization of the present moment and are a deliberate exaggeration of my
actual perception – the synthesis of my feeling and my intellect. By allowing this exaggeration, the images of this
cycle of works receive their visionary powerful expression and become a symbol of their parent title – ―The Joy
Of Being“.

ARTISTIC TECHNIQUE AND MATERIALS

Neopaintings - This designation for my works stands for the topicality of my paintings in our digital age and is also his
artistic program. Because since 2010 I work and experiment with the diverse digital tools of the computer. But
despite their purely technical origins, my work should not appear to be overcooled technologically, but rather look
like artfully executed, extremely sensitive color compositions. The transfer of the initially immaterial image to the
material manifestation is usually done in the printing process on high-quality photographic material with subsequent
framing on Alu-Dibond and final high-gloss sealing. Each of my artworks is strictly limited to one original, personally
signed and comes with a certificate of authenticity.

Notes:

1
Artwork 1 Title: WISHFUL DREAM SHINE ON
Artwork 1 Dimensions: 135 cm x 150 cm
Artwork 1 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 1 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 1 Image:

2
3
Artwork 2 Title: SPREAD YOUR WINGS, LET THE WIND THE WIND GO UNDERNEATH AND FLY
Artwork 2 Dimensions: 190 cm x 125 cm
Artwork 2 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 2 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 2 Image:

4
Artwork 3 Title: METAMORPHOSIS OF PASSION
Artwork 3 Dimensions: 110 cm X 140 cm
Artwork 3 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 3 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 3 Image:

5
Artwork 4 Title: ABSOLUTELY HOLY
Artwork 4 Dimensions: 160 cm x 120 cm
Artwork 4 Medium: Fineart Pigment Print . Gallery Dibond
Artwork 4 Commentary: Cycle ―The Joy Of Being". Jason Engelbart 2018.
Authentic limited edition of a total of one original. It is approved and signed by the artist. The artist hereby affirm
the authenticity of the unicum with this certificate. After printing the original, the files of the large original format
are deleted irrevocably.

Artwork 4 Image:

6
Catalogue4 ID0314
Artist ID: 0314

Artist Name: Eric Erekson


Website: https://ericerekson.weebly.com/
IG: https://www.instagram.com/ereksoneric/

Artist Statement: Eric Erekson


Artist Statement
Imagine the earliest human hands making marks and then see these many hands throughout
time transforming marks and strokes into images, leaving our oldest inscribed history. My
paintings are a dialogue between longstanding practices and new technological ways of leaving
marks and strokes, a bridge linking past to present.
Appropriating and combining content from the Internet I create permutations that deviate from
the equalized world of data and are given new life, depth and meaning. This carries out a
dialogue between the immediate world of images delivered online and the methodical decisions
made by hand, showing a visual record of human to machine and machine to human
communication. I like to make sure that the history of this dialogue is not lost but a tangible
history of actions.
Innovation is not a replacement for what I do. Like all artists within my lineage of art making,
technology offers new tools to compliment and complete a concept or expression. Using
advancement as a form of liberation and opportunity for further exploration. It also adds to the
content by expressing the condition of current world practices and the new filters we view the
world through. Formal understanding of materials and their uses are important to the artists
delivery, and technology is a component of the Formal Elements in contemporary as well as
historical art. The search for the new is as old as humanity, each innovation reinvents art
practices by comparison renewing them with every step forward.
Through many trials I have reached a a pathway within my work that is mailable to the concepts
that interest me. Many years of creativity culminating at this current body of work and the work
that will come after.
The conceptual aspects of my work orbit around the idea that we as humans have a limited
capacity to understand life through the biased filters of human perceptions. In turn what we see
as identity of self and others is restricted by everything we learn. Much of this learned
information carrying the baggage of archaic practices and thought. My paintings use a number
of inspirational concepts including; the contemporary figure, appropriated imagery, social and
political components, life experience as well as elements emphasizing my own narrowed vision
of the world by the structures that have shaped and limit my human scope continually. Many of
these demonstrating the components that impact how we make choices, and what we see as
freedom.
My key purpose is; I paint what I want, however I want, embedding my work with a love and
passion for my chosen practices.

Notes:

1
Artwork 1 Title: In the Wake of Decisions Made Under the Influence of the Fear of Eating Lunch Alone
Artwork 1 Dimensions: 60.96x60.96x5.08
Artwork 1 Medium: mixed media/new media painting
Artwork 1 Commentary: It is an exploration of a social construction of identity based on a simple concept that most
experience.
Artwork 1 Image:

2
Artwork 2 Title: MIT
Artwork 2 Dimensions: 60.96x60.96x5.08
Artwork 2 Medium: mixed media/ new media
Artwork 2 Commentary: This painting explores some of the components of class separation and the forces that
enable its continuing impacts.
Artwork 2 Image:

3
Artwork 3 Title: Absurdaphone
Artwork 3 Dimensions: 60.96x60.96x5.08
Artwork 3 Medium: Mixed media/new media
Artwork 3 Commentary: An expression of the dynamics of self and world influence. What is the identity of me in the
mix of this?
Artwork 3 Image:

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Artwork 4 Title: Christi Walton a Portrait
Artwork 4 Dimensions: 60.96x60.96x5.08
Artwork 4 Medium: Mixed media/ new media
Artwork 4 Commentary: Using historical and contemporary imagery to define a force that is impacts the lives of
many. And one of the forces that impacts the decisions and content that is delivered by the Art World. Is it good or
bad? I don't know, but it's there.
Artwork 4 Image:

5
Catalogue4 ID0334
Artist ID: 0334

Artist Name: Emilio Vavarella


Website: http://emiliovavarella.com
IG:

Artist Statement: My first line of research focuses on the relationship between subjectivity, memory and the limits of
current techno-scientific discourses, highlighting the particular forms of power to which humans are subjected. My
second line of research, instead, traces how forms of power that originate from humans affect non-human forms of
creativity.

In my work I conjugate theory and practice and I experiment with both traditional and technological media, through
a combination of using new technologies with alternative (non-productive, poetic, dysfunctional) goals in mind,
imagining technology’s future effects through the use of speculative fiction, and decontextualizing and misusing
technology to reveal its hidden mechanisms.

Notes:

1
Artwork 1 Title: Bayani I (From The Digital Skin Series)
Artwork 1 Dimensions: 150x115x5
Artwork 1 Medium: One framed photograph (sublimation print on aluminum)
Artwork 1 Commentary: The Digital Skin Series is composed of self-portraits in which I pose “under the digital
skin― of strangers I’ve crossed paths with in the past. To create this series, I first used a 3D scanner to obtain
an accurate tridimensional model of my face. Then I used a camera-prototype to acquire HD portraits of strangers.
Finally, I applied their portraits to my digital skull as if they were simply an additional layer. The result is a series of
photographs where bidimensionality and tridimensionality collide in an intimate and unpredictable way.

In the past, myths about skin were common across cultures and related to radical biological metamorphoses. For
example, in the Navajo tradition – which considered the skin a mask – if you were to lock your eyes with those
of the skinwalkers, they could project themselves into your body and transform into you. In today’s network
society, bodies have left that organic condition and are characterized by transient statuses: individuals have become
di-viduals, data aggregates, samples, signals. The last boundary between us and the world, our skin, has become a
transient membrane that changes along with the trans- and meta- human forms under it. The space that was
occupied by the skinwalkers of the past has been taken over by infinite reconfigurations and mediations. What
remains the same is that to be human still means to constantly shift through generative metamorphosis,
corruptions, and de-generations that escape any clear categorization.
Artwork 1 Image:

2
3
Artwork 2 Title: The Other Shape of Things (Second sculptural group)
Artwork 2 Dimensions: 120x120x12
Artwork 2 Medium: Groups of sculptures in PLA and ABS plastic, stand in metal and plexi
Artwork 2 Commentary: “The Other Shape of Things― consists of a process-based and ongoing series of
sculptures. The starting point of this work is a collection of hundreds of ‘failed objects’: 3D prints that I
collected before they were destroyed by 3D printing labs all over the world. These objects were considered
‘failed’ for different reasons: some had not been properly printed and most had distortions, imperfections,
and glitches of various kinds.

Each found object I collected was first digitalized using a 3D scanner, then reprinted using a 3D printer in order to
create a second object. This second object was then scanned, and reprinted, creating a third object. After each step,
the mediation and translation from digital to physical and from 3D scanner to 3D printer produced further
unpredictable glitches and distortions – which in turn constituted new physical artifacts. I’ve reproduced each
found object until satisfied with the series of objects derived from it. The result of each process of mediations,
translations and reproductions constitutes one series of sculptures.

Artwork 2 Image:

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5
Artwork 3 Title: The Sicilian Family
Artwork 3 Dimensions: 250x200x2
Artwork 3 Medium: Digital photography, 44 unframed images (sublimation print on aluminum)
Artwork 3 Commentary: The Sicilian Family is composed of 44 digital elaborations of vintage analog photographs. All
the original pictures belonged to my family’s collection of photographs, and many of them portray relatives who
had died before I was born. Initially I decided to scan each image to preserve them from deterioration. Then I
opened each file with Notepad++, trying to visualize the photo as text. The pixels of the image were translated into
the alphanumeric ASCII code. This code is a non-intelligible sequence of characters that contains all the information
required to recreate the image through an Image Viewer. Using Notepad++, I substituted a part of the ASCII code of
each photograph with a story based on what I had come to learn about each person portrayed. The text is, in part,
the memories that were passed down to me, and, in part, my own interpretation. Then I saved the text as a JPG,
forcing it to become an image once again. My alteration forces my memories to coexist with the image in an
unforeseeable and new way.

Artwork 3 Image:

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7
Artwork 4 Title: THE GOOGLE TRILOGY – 3.The Driver and the Cameras
Artwork 4 Dimensions: 11 elements, 20cm diameter each. 200x200x2 cm overall
Artwork 4 Medium: Sublimation print on aluminum, unframed photos.
Artwork 4 Commentary: Each Google Street View car is equipped with a Dodeca 2360 camera with eleven lenses,
capable of photographing 360 degrees. Afterwards the photos are assembled, creating a stereoscopic view, and an
algorithm developed by Google automatically blurs the faces of people to protect the privacy of those accidentally
portrayed.

To create this series of photographs, I went looking for faces that had escaped Google Street View’s algorithm.
The eleven portraits I isolated immortalize the driver of the Google car. The driver is a sort of phantom power; he
appears where he shouldn’t be and his presence has escaped censure. His face is the symbol of an error yet at
the same time shows a human side and, perhaps, the limits of technological power.

The Driver and the Cameras closes my trilogy of photographic projects entitled The Google Trilogy.

Artwork 4 Image:

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9
Catalogue4 ID0351
Artist ID: 0351

Artist Name: Pawel Dziadur


Website: http://doc.gold.ac.uk/~pdzia001/art_portfolio/index.html
IG:

Artist Statement: In my practice I am trying to experiment and achieve learning outcomes from adopting diverse
materials and techniques (concrete, resin, CNC fabrication, print, interactive projections, sound, performance, action
in social space), however, the elements of work are often joined together by the digital technology.

These are my custom-programming (Max/MSP, C++), machine learning, swarm intelligence and evolutionary
algorithms, computational design, generative art, DIY electronics, biosensors, brainwave interfaces, networked
strategies.

I have acquired some of the above skills by graduating from Digital Arts Computing which is a fairly new joint
honours course by Computing and Art Departments at Goldsmiths, University of London.

My recent series of artwork and critical studies research went into interrogating the theme of labour under post-
Fordism and as such aiming at touching a relevant debate in renegotiating the position of the artist today.

My motivation in art making comes from the post-Cagean techno-progressivist fascination with potentially
boundless possibilities of expression given to human spirit by conceptual and technological tools that combine both
tradition and novelty (such as ancient tragedy, metallurgy, ceramics, but also free-form poetry, nano-technology and
brain to computer interfaces). It also comes with the disenchantment with how the neoliberal capitalism attempts to
reverse vectors of progress (such as by attacks on the public sphere) and how technology impoverishes the social
space and even undermines the "liberal democracy". This for me results in the urge to stress that "techne" overlaps
with the forces of poetry and was meant for higher aims.

Notes:
Vimeo = https://vimeo.com/306710769, https://vimeo.com/253686095, https://vimeo.com/272125859,
https://vimeo.com/253565931

1
Artwork 1 Title: Hot Subjects
Artwork 1 Dimensions: 180x275x200 (including space for the VR headset)
Artwork 1 Medium: Relief in styrofoam 180x90x10, Oculus Rift VR headset, survey in public space, computer, custom
OpenFrameworks/C++ software.
Artwork 1 Commentary: Link for preview: https://vimeo.com/306710769

The piece touching on the topic of nuclear fear, weaponisation of images and the dark role of the technology in the
systems of power used code-based design in C++ to produce a CNC mill fabricated relief. The relief interprets images
of Hibakusha - surviving victims of the Hiroshima nuclear blast. It also uses Virtual Reality sequence combining 360-
video with synthetic graphics displayed in the Oculus Rift headset.

The relief placement in the installation space was correlated to the setting of the Virtual Reality sequence, placing
the viewer in a plateau where they can make connections via their own discovery and as such relate to the meaning
of the piece.

Artwork 1 Image:

2
3
Artwork 2 Title: Shock Worker
Artwork 2 Dimensions: 150x100x100
Artwork 2 Medium: Interactive installation, steel drum, solenoid magnets, Chipkit Max32 micro-controller, Arduino +
electronics, laser cut acrylic, wood, custom Arduino & Max/MSP software.
Artwork 2 Commentary: Link to preview: https://vimeo.com/253686095

Presented work is a sonic robot and references the stories of shock-workers of the 40's and 50's like Polish miner
Wincenty Pstrowski, who achieved 298% of miner efficiency paying with his health and shortened life, just to help
increase surplus and country's consumption.

The aesthetics reference the miner blackness and a hat used during miner celebration day in Poland (Barborka). It
also includes a text (on the LCD display) referencing stories of workers resistance.

Due to the ultrasonic sensor when no viewer is approaching the sounds are rare and ambient. After the viewer
approaches, the sonic robot performs a 30s solo.

The light and temperature sensors provide data influencing the unpredictability of drumming patterns.
Artwork 2 Image:

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5
Artwork 3 Title: Happy Slaves
Artwork 3 Dimensions: 380x480x680 (dimensions variable in another setting)
Artwork 3 Medium: Interactive installation and performance, electric concrete breaker, chain hoist, suspension
slings, steel scaffolding, food cans, concrete, plaster, thermolite, ear & eye protection, three chairs, table, brainwave
sensor, Arduino & electronics, two monit
Artwork 3 Commentary: Link to preview: https://vimeo.com/272125859

The project involved sculptures being destroyed with suspended concrete breaker controlled by the brainwaves of
the performers, through tracking decreases in their concentration.

Software-wise I have used Arduino to control the concrete breaker, Max/MSP to work with the brainwave sensor
data and C++ to show live visuals on the monitor.

The title of the piece originates from a slogan “Happy slaves are the bitterest enemies of freedom― by Austrian
19-century writer Marie von Eschenbach.

The exhibition lasted 5 days and included different performers, sculptures and slightly amended set up every day, as
well as due to the processual character an ever-increasing pile of debris. Below is the description from the
exhibition:

The piece attempts to playfully engage with fetishised identities while interrogating the theme of labour. Conceived
as both social sculpture and durational performance, it involves a number of precarious workers such as an architect,
programmer, art writer and a composer performing work onsite. Exposing the exhaustion and clutter of digital
labour, torn between paid tasks and utopian concepts, their tiredness triggers a concrete breaker destroying the
sculpture via the brainwave sensor they are wearing.
Artwork 3 Image:

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7
Artwork 4 Title: Baby and the Body
Artwork 4 Dimensions: 200x200x200 (including space for tracking the interacting viewer).
Artwork 4 Medium: Interactive installation, one video-projector, Kinect sensor, sound, custom Max/MSP and C++
software.
Artwork 4 Commentary: Link to preview: https://vimeo.com/253565931

The piece problematises the issue of child labour in the context of inequality between the Northern and the
Southern hemisphere as well as in the context of post-Fordism and fabrication-of-affects-based capitalist economy.

The installation defaces and subverts the existing Baby and the Body Instagram project, in which a New York-based
baby is put to work by its mother in the production of posed pictures aimed to mirror commercial photographs of
her model-brother. The above project presented as an amusing and loose parental idea had been referenced on
major international internet portals, which indicates it was a more planned business initiative aimed at monetisation
for the benefit of both entrepreneurs.

What is the minimum age of a person to be put to work? If now we are discussing the babies, far from able to
provide conscious consent. A surface, first world problem like above, relating to the aesthetics of social media and
the blogosphere, in which advertising and sponsored content are designed to be mistaken for spontaneous
expression (often against region-specific regulations) might look tiny.

However, as part of the predatory global capitalism, the context apparent in the underdeveloped countries where
children are put to work physically for pennies and of the developed countries where billions are spent on the
brainwash and the advertising exist in equilibrium as complementary elements of the capitalist spectacle and the
global exchange chain.

In the installation, the interacting viewer is expected to experience physical labour of "wiping the screen" by
performing wide gestures of arms motion-tracked by the Kinect sensor and processed through machine learning.

By stepping in and doing the labour of wiping away an image sourced from Instagram the viewer uncovers images of
child labour and exploitation from the Southern hemisphere, which then can be wiped as well to uncover another
picture from the subverted Baby and the body Instagram project.

The piece as such starts to appear as an endless loop of uncovering layered images and a process of remixing and
experiencing new forms.

Going through the piece which is labours and time-consuming we create new images where diversity between
qualities of initial images (quite often drastically boosted in colour by their online sources) merge. These different
formats and colour boost pallets imply the materialisations of thoughts and arms of the spectacle itself.

The piece uses a modified sound of a guitar from Bob Marley’s Redemption song, slowed down eight times, as
well as an appropriation and rework of the respective lyrics, also presented inside the projection.
Artwork 4 Image:

8
9
Catalogue4 ID0361
Artist ID: 0361

Artist Name: Maksim Novikov


Website:
IG:

Artist Statement: Greetings, my name is Maks.


Drawing and creativity in general have always been my passion. I finished art school, and later received an
architectural degree, but during the period of my studying I did not acheive any success in drawing. So that once I
convinced myself that I couldn’t draw at all. However, many years later, I found that I want to try my hand at this
area again. And I tried, made many mistakes, until I finally found my own style.
To be honest, I smile and remember with gratitude the school and university years. It is a time of opportunity to
understand our weaknesses and to discover our strong sides.
In my works, I mix elements of photography and digital drawing. I try to combine the reality with new significances
which grow in my imagination. I prefer human portraits but also work with book illustrations too. Most part of my
works I print on canvas.
Inspiration picks up and leads me. Sometimes I am so immersed in work that I lose the flow of time, forgot myself
and work for many hours in a row without interruptions. And all this for opportunity to look at the result with
pleasure.

Notes:
See USB Stick for Videos 2, 4

1
Artwork 1 Title: Storks flight
Artwork 1 Dimensions: 50x50x3
Artwork 1 Medium: Digital art printed on canvas
Artwork 1 Commentary: First self-portrait in my life.
I clearly remember how in childhood there was a picture of flying storks near my baby bed. I looked at it every day
and did not understand that such birds really exist (as I did not understand many other things). The childhood ended
long time ago and, it seems, it was generally in another life. Time passes, but storks in that picture are still flying
somewhere. Some things freeze for a long time at one place, and some quickly fly away and dissolve in time forever.

Artwork 1 Image:

2
Artwork 2 Title: Flight of storks (step by step)
Artwork 2 Dimensions: 0
Artwork 2 Medium: Video file of step by step digital painting
Artwork 2 Commentary: I always save the stages of my work. To observe how human face gradually emerges from
chaotic strokes and color spots - for me it is a special pleasure.

The video file is exhibited in a pair with the original portrait on laptop or tablet screen.

If (suddenly) there is a problem with uploading this video file, here is a link to it (google docs):
https://drive.google.com/file/d/1GHL6SZWlYOQiFuAx1tYnqpueTXzQp0I3/view?usp=sharing
Artwork 2 Image:

3
4
Artwork 3 Title: Urban planner
Artwork 3 Dimensions: 40x60x3
Artwork 3 Medium: Digital art printed on canvas
Artwork 3 Commentary: The portrait of an architect and city planner. This girl lived and studied in London, then she
graduated from the University of Milan, and now she works in a team that creates projects for cities around all of the
world. We are formed by the city where we live. And the places which we have already visited, multiplied by the
experience we have gained, give rise to a new future.
Artwork 3 Image:

5
Artwork 4 Title: Urban planner (step by step)
Artwork 4 Dimensions: 0
Artwork 4 Medium: Video file of step by step digital painting
Artwork 4 Commentary: History of creating the portrait. The video file is exhibited in a pair with the original portrait.
On laptop or tablet screen.

If (suddenly) there is a problem with uploading this video file, here is a link to it (google docs):
https://drive.google.com/file/d/1tj5Q6Fg0wuUbAMBNV1PSLggpGlMk7uSG/view?usp=sharing

And if you need best quality, please, text me on e-mail.


Artwork 4 Image:

6
7
Catalogue4 ID0368
Artist ID: 0368

Artist Name: Woo Jae Lim


Website: www.woojaelim.com
IG:

Artist Statement: My work begins with a question, “Is what I am seeing now real?― This question arises from
the visual experience of standing in the middle of an endlessly extending corridor or in between a pattern of similar
structures. I was intrigued by the fact that within the same space, individuals can perceive the space differently and
have a varying sense of physical distance. I am interested in visual illusions that change depending on the light,
shadows, or objects within a space. As the body and object are involved with space, the influence of a relationship
begins to affect physical space that should ostensibly be measurable by width, height, and depth. Also, human vision
is able to recognize form in the light, and when light conforms to form, there is a tangible feeling of space.
My work intends to challenge viewers’ perception of space. By not providing what audiences expect to see, I
hope to make them realize what they take for granted is not to be taken for granted. During this process, viewers
continually have expectations for the work based on their learned knowledge and revise their expectations by
comparison with their own experiences. In this process, viewers maintain an attitude of seeing what they expect, yet
they are caught in between perception and a misconception as unexpected things are revealed. While going through
this process, viewers are apt to question whether what they have seen, imagined, or expected is necessarily true by
themselves.

Notes:

1
Artwork 1 Title: Beyond Space
Artwork 1 Dimensions: 2min 36sec
Artwork 1 Medium: Single Channel Video
Artwork 1 Commentary: Beyond Space, which is essentially photo-based video, is divided into three parts. First, a
photograph documents a vacant room with three windows, which forms the basis of the entire work.
In the first part, according to the spatial perspective, rendered white lines are animated in a manner reminiscent of a
perspective view of architecture. As we can figure out space through looking at a blueprint without having to see the
space in person, the work reveals the unseen parts through a perspective drawing. In the second part of the
experience, the windows are made transparent and a space that resembles a space in the photograph is displayed
beyond the window. As if lights are turned on in the corridor, an endless corridor is exposed by the lights switched
on one by one. In the third and final part of the piece, the elements in the photographic space disappear one by one.
The pillars, cables, ceiling, lights, and outlets fade one after another, exposing a basic structure of space made up of
planes.
Artwork 1 Image:

2
3
Artwork 2 Title: Beyond Space
Artwork 2 Dimensions: 63 x 90cm
Artwork 2 Medium: 3D Lenticular, Lightbox
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: Beyond Space
Artwork 3 Dimensions: 180 x 270 cm
Artwork 3 Medium: 3D Lenticular, Lightbox
Artwork 3 Commentary:
Artwork 3 Image:

5
Artwork 4 Title: Facade, Layer, Recollection
Artwork 4 Dimensions: 3min 50sec
Artwork 4 Medium: Projection Mapping
Artwork 4 Commentary:
Artwork 4 Image:

6
Catalogue4 ID0376
Artist ID: 0376

Artist Name: Patryk Kuleta


Website: www.trynidada.com
IG: https://www.instagram.com/trynidada/

Artist Statement: Creating art is an escape from reality and a form of meditation. I see the surrounding world as a big
basket of inspiration and I articulate these inspirations through all of my artistic activities whether its photography,
digital collages or paintings.

Notes:

1
Artwork 1 Title: All Bodies Take Up Space | Figure I
Artwork 1 Dimensions: 100x120x2
Artwork 1 Medium: acrylic on canvas
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Object Of Art And Ambiguity
Artwork 2 Dimensions: 74x62x0.1
Artwork 2 Medium: digital collage
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Object Of Art And Desire
Artwork 3 Dimensions: 74x62x0.1
Artwork 3 Medium: digital collage
Artwork 3 Commentary:
Artwork 3 Image:

4
Artwork 4 Title: The Weight Of Air Above It | End Of Cycle
Artwork 4 Dimensions: 100x100x0.1
Artwork 4 Medium: digital collage
Artwork 4 Commentary:
Artwork 4 Image:

5
Catalogue3 ID0395
Artist ID: 0395

Artist Name: Lala Drona


Website: www.laladrona.com
IG: https://www.instagram.com/dronalala/

Artist Statement: The Power of the Click


Clickbait, Ctrl+click / Cmd+click, Ctrl+V / Cmd+V

Can a click on a virtual body invite transgressions on real body? Do we exploit ourselves in exchange for clicks, and
does that exploitation manifest differently across age/race/sex/gender?

This triptych examines the actions we take on women’s bodies in the digital world, and their impact on the real
world. The seemingly inconsequential act of clicking while interacting under the mask of anonymity, behind the
screen. In a world where clicks are the new currency, how do we avoid inflicting or perpetuating suffering on others
though our clicks? Is it possible to empower ourselves through the action of clicking?

A mouse click on a virtual body can be an act of affirmation, an act of curiosity, or an act of violence. However,
above all, a click today represents an exchange. One sees this in our tendency to value ourselves and content
through the “likes,― “friends,― and “followers.― In a world where the virtual overlaps with the real,
it is vital that we become more conscious of the impact of this value system on our daily lives.

Artist Biography
Lala Drona (b. 1988) is a Venezuelan-American painter and videaste, born in Denver, Colorado. After receiving a
Bachelor of Arts from the University of Colorado, Lala Drona has since published and exhibited her work from North
America to South America, and from Western Europe to Asia. Her paintings, videos, and writing explore the themes
of identity, women’s bodily experience, and the effects of social media on human beings, all media tying together
to create a cohesive and complex narrative. She is currently based in Paris, France. To see more of her work, please
visit:

Instagram: @dronalala
Website: www.laladrona.com
Blog: www.basedonafact.com

Notes:

1
Artwork 1 Title: Clickbait / Double-click
Artwork 1 Dimensions: 100cm x 100cm
Artwork 1 Medium: Acrylic on Canvas
Artwork 1 Commentary: Clickbait / Double-Click (1/3 in the triptych) examines how we use (women's) bodies as a
means of "click-currency." We commodify sexualised images of women to lure in users to click and give advertisers
money. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 1 Image:

2
Artwork 2 Title: Ctrl + Click / Cmd + Click
Artwork 2 Dimensions: 100cm x 100cm
Artwork 2 Medium: Acrylic on Canvas
Artwork 2 Commentary: Ctrl + Click / Cmd + Click (2/3 of triptych) examines the urge to acquire "followers" and
"likes". It looks at how we create an online identity and use it to hoard the virtual compensation (likes/follows) for
our posts. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 2 Image:

3
Artwork 3 Title: Ctrl + V / Cmd + V
Artwork 3 Dimensions: 100cm x 100cm
Artwork 3 Medium: Acrylic on Canvas
Artwork 3 Commentary: Ctrl + V / Cmd + V (3/3 of the triptych) examines the idea of the woman's body as a "click
battlefield." Representations of (sexualized) violence against women, women's bodies to be consumed by the
viewer's eyes. The Internet is a reflection of society, and the war is perpetuated by the way in which we use
women's bodies online. I would like to be considered for the Ashurst Emerging New Media Prize 2019.
Artwork 3 Image:

4
Catalogue3 ID0402
Artist ID: 0402

Artist Name: Thomas Webb


Website: https://webb.site
IG: http://instagram.com/webb

Artist Statement: I am trying to create artwork that reflects the hidden middle-ware in contemporary life, how I see
the world today - 1's and 0's. We live two lives, online and offline, and we cohabit them. We post everything on the
internet, sometimes without realising it. Endless streams of data about our lives; habits, fears, thoughts, dreams,
most importantly our raw emotions. Collectively natural but when looked at individually, unique. This data gives me
the chance to create art from 1's and 0's, a paradoxical declaration.

I program looping programs that collect real-time data from the internet to display objective truths. I want to make
sense of data, organising real-time flows to make my comments about the world.

I have developed a digital mirror medium; one or two, 2-way mirrors in front of an LED display, controlled by a
microcomputer. Which allows turns all dark light into total mirror reflections and white light into bright, sharp, light
and colour. Avoiding the fundamental disconnect we have when seeing a 'tv screen'. Instead, viewers are invited to
see a reflection of themselves in an active fragment of the internet I wish to show them.

I find great beauty in the reflection of real-time contemporary life because I can make a statement about time; a
shared construct that is entirely relative. As the data changes, my initial statement can be proven true or false. In a
way, I create dice that roll with weighted sides, however, society has the power to reconstruct these weightings.

Notes:

1
Artwork 1 Title: FOODBANK
Artwork 1 Dimensions: 53 x 97 x 8
Artwork 1 Medium: LED, MIRROR, ALUMINIUM FRAME
Artwork 1 Commentary: Using online data to show the real-time number of people that have died today from
starvation. The numbers turn red, switching to a larger number, the real-time number of dollars spent today on
weight loss programs and products in the US.
Artwork 1 Image:

2
Artwork 2 Title: "I JUST POSTED THIS BUT NO ONE WILL READ IT"
Artwork 2 Dimensions: 53 x 97 x 8
Artwork 2 Medium: LED, MIRROR, ALUMINIUM FRAME
Artwork 2 Commentary: This mirror uses AI to read every tweet posted in real-time, analysing sentiment to find
people posting about depression. Their names and locations are stripped and then the message is typewritten on the
mirror just milliseconds after it was originally witten.
Artwork 2 Image:

3
Artwork 3 Title: "RAINFALL"
Artwork 3 Dimensions: 53 x 97 x 8
Artwork 3 Medium: LED, MIRROR, ALUMINIUM FRAME
Artwork 3 Commentary: This mirror will display two coloured dots, a bright colour and a darker shade. The colours
are made using function of the current temperature, changing with the seasons.
The number of bright dots shows the current number of hours in the day, the darker dots shows the number of
minutes.
Each minute the mirror updates the time and rearranges, creating a new pattern that will not repeat itself for
millions of years.
Artwork 3 Image:

4
Catalogue3 ID0407
Artist ID: 0407

Artist Name: Beatrice Asia Taylor Searle


Website: https://btaylorsearle1.myportfolio.com
IG: https://www.instagram.com/bats1996

Artist Statement: Art as a form of language: The word letter enthusiasm me. It has two meanings and both are
empowering with a single letter you can do so much. This is why I plan to become an artist that does not paint or
sculpt. It is a decision I have taken and from the many essays I have been reading recently this is significant. There is
a purpose. Even when it comes to minor choices or accidental they have an impact on the end product, and this is
why I choose to become an artist, because it is a choice, a decision and this will therefore impact my practice as
much as it could potentially make a difference within the world. I know this might sound ambitious and I should
probably specify which world, but I hate putting things in boxes. My choice can impact the science world if it wants
to and if the science world will want it. My dear viewer, you are allowed to think, and as much as this might seem
like an agonising place to be; think more.

Notes:

1
Artwork 1 Title: I Want the Viewer
Artwork 1 Dimensions: 2 minutes 49 seconds
Artwork 1 Medium: film
Artwork 1 Commentary: “I want the viewer― is a short film shot in 16mm film, then digitalised. It appropriates
the words of Peter Gidal during a talk about his film Upside Down Feature. Understanding the viewer and why
people visit art galleries is one of my main focuses in my practice. The beginning of research to art as a form of
language.

Please find full film at: https://www.youtube.com/watch?v=duxRlBnpxmQ

Artwork 1 Image:

2
3
Artwork 2 Title: Sunrise (I Like to Watch)
Artwork 2 Dimensions: 1 minute 20 seconds
Artwork 2 Medium: film
Artwork 2 Commentary: Art as translation - Through looking at text based practices and building my own practice
around text, I have been looking at works in a different way. I have always disliked most paintings but have started
seeing them as a cause of my practice. Imagine standing in front of a Picasso or a Van Gogh, whatever you like, now
you are looking at this painting and you might be trying to interpret it by the images or colours or type of strokes.
Now a conversation between you and the painting has started, but there is translation between the one-way
conversation, this is because art has its own language. My work is trying to find a way to reduce this translation to
make a concise flow of conversation and thoughts,

please find the video here: https://btaylorsearle1.myportfolio.com/sunrise


Artwork 2 Image:

4
5
Artwork 3 Title: A doumentary that will make you scratch your head, that does not have a title yet.
Artwork 3 Dimensions: 40 minutes 51 seconds
Artwork 3 Medium: art film
Artwork 3 Commentary: After reading Marshall McLuhan's The Medium is the Massage, I decided to explore how we
perceive the constant breaking news.
I have decided that the only way of seeing this documentary would be in an “exhibition― environment. Where
people are not forced to sit, and watch through the whole thing, but are allowed to watch as much as they want. My
main aim is to cause conversation and debates, and I feel that this can be achieved by watching a couple of the
interviews presented.

The file was to heavy to upload please find the documentary at:
https://www.youtube.com/watch?v=7hKKfb1fjiQ&t=10s
I would advise the judges to watch the interviews and artwork at these times: 0.33, 21.35, 22.51
Artwork 3 Image:

6
7
Catalogue3 ID0421
Artist ID: 0421

Artist Name: Joanne Dorothea-Smith


Website: https://joannedorotheasmith.format.com/
IG: https://www.instagram.com/joannedorothea/?hl=en

Artist Statement: The lens based works I have been creating for the past year have been concerned with the land,
the spaces I choose are eclectic and the mediums used are dependant upon the subject, for instance I have used
three processes for the last two projects and they include digital photography, microscopy and alternative darkroom
process. My practice is based upon two things, response to place and personal memory, these things can encompass
differing techniques depending on the desired outcome. Some are sculptural some traditional. For this statement I
wish to discuss my intent and reasoning for application as part of the beginning.

Response can be an immediacy of feeling or a carefully researched entity, I would argue that the process is one of
negotiated tensions, carefully thought out and decided upon entrance to/or after time spent in particular places.
There is also an unfixed personal internal space that accompanies us as each visit, thought or expression changes the
initial response until we feel resolved in a particular form — like a photograph, each time we view it is different at
least in our feeling toward the object. To me place is as unfixed and fleeting as we may be differently reposed on
each visit, whether this be an actual or memory after the fact. Many things can be taken into account when we
respond and whilst initial visceral response is not to be underplayed and can be the only affect to create work my
work is often a weave of many avenues converging.

Notes:
Website = https://joannedorotheasmith.format.com/5698456-reality-thins#10

1
Artwork 1 Title: Mysteries
Artwork 1 Dimensions: 80cm x 150cm x 6cm
Artwork 1 Medium: Handcoated photographic 3d spheres.
Artwork 1 Commentary: Heading to the Well I realise that water is a mystery to be investigated, standing with my
mother, our
feet sucking down into the sulphurous ground, cows and sheep moving at the edges of my vision and
the cold, rushing around us in great gusts sticking my hair to my lashes, making me blind, again. We
reach the well, this is the third time now, and the water and mud has taken over, no patches of dry to
skip between, so it is a slog across this small part of the moor. The story keeps bringing me back, the
idea of healing and restoration is of interest, from the scare that takes me back years, and the
coincidence of the photographic profession in the same year. The idea, and reality, that one can go
blind from being stressed, blind from a feeling, not a tangible event, but an accumulation over many
years, incrementally stressing the body and mind until effects are literally seen. It was a close call and
the fears and tests to check worsening of the condition have finished now.
Photography was my healer, and is, this well is representative of a journey from there, past, to here,
now. The Well water is the photograph, the bog, pathless and forbidding, but an end point from which
to manoeuvre to future moments. Mum came along at my request. She has been on many journeys
with me, and against me.
The Well is encircled in a wall built by prisoners, I climb inside and lay low out of the wind, bend over
to collect the water then rise up to leave. Mum is standing just across from me in the field, in the bog
just looking into the middle distance, what does she make of our walks? I Photograph her then call out,
she laughs but seems thoughtful, she never talks of her own feelings or thoughts, so I am left to
wonder. There is a deep sadness in her, it has always been a feature but it is quite well hidden apart
from these cursory junctures, I am aware that she too went to Art College and that she quit it before
I was born, recently she told me that she too had also used photography and liked the darkroom, this
is new information. I am as blind to her.
I wish I understood your mystery, stood still in the dark in Germany.
Location - SX 578759
Artwork 1 Image:

2
3
Artwork 2 Title: Stand
Artwork 2 Dimensions: 150cm x 85cm
Artwork 2 Medium: Photographic Print
Artwork 2 Commentary:

The stands, in places are dark and sullenly impressive, gathering me into silent contemplation, a connection to root
and soil and a way to breathe and smell. Taking only what is needed, leaving hopeful offerings into the darkness for
tomorrow.

For tomorrow may be silent.

The UK was the third largest net importer (imports less exports) of forest products in 2014, behind China and Japan
— Forestry Statistics 2016

(These spaces represent the liminal, the interstices between my understanding of the real and my
human reaction to the experience of place. The delicacy of the fleeting moments of joy experienced make for a
disjointed existence, moving us from moment to moment where my words are not found but the certainty of image
defines the weeks, months and years as they pass.)

Artwork 2 Image:

4
5
Artwork 3 Title: Reality Thins
Artwork 3 Dimensions: Widescreen monitor or projection screen
Artwork 3 Medium: Film - Animation
Artwork 3 Commentary: This short animated piece falls under the overarching title The Reality Project, this took me
to places and ideas that cannot be seen, pushing against my reality as I understand it from my human perspective.
Asking questions about what might be actually be real, what is true and how does photography represent this?
Creating montages of fake Nebulae and space images alongside real images of space (captured by myself locally) and
the Hubble space telescope, The ‘Reality Thins’ film is also a self portrait made using stop frame animation
that seeks to further explore the magical insignificance of the individual in the universal space. The complex nature
of life and humanity is immensely unlikely and beautiful, this concordance is always a temporary and elusive
realisation that we are chasing as a horizon.
Artwork 3 Image:

6
7
Catalogue3 ID0423
Artist ID: 0423

Artist Name: Anita Bryan


Website: www.anitaabryan.com
IG: www.instagram.com/anitaabryan

Artist Statement: I believe that what emerges from between our conscious and subconscious looking habits together
with the charge forged of these two is a door, a door of entry to answers for questions not yet raised. I have a
curious interest in the ‘notions of uncanny’ and my subject is often hidden here, amid landscapes of
atmosphere.

Inspired by qualities found in immediate environments, be they domestic, urban or pastoral my work and its
considerations regularly arrive harnessed, around thoughts of revolving duality’s. Ideas as starting points, looking
at death and decay, leaving and return, layers and reflection, light or shadow falling toward or away from place and
object.

Whilst not outwardly surrealist in its depictions, the work l suggest holds influences garnered from a deep interest in
Surrealism. Its history, the role of poetry, dream-scape and the inter-play of questioning actual and imagined. This is
at its core and within our ever increasingly nonu real world, what continues to influence my commitment to art
today.

I feel it is important to work with both analogue and digital technologies to continue to access like a time machine
the present and its history. Combining traditional and contemporary tools of framing, making, to express what the
eye, mind and the hand may want to speak.

The photograph and screen are metaphorical pages upon which I write ‘a personal curious ’ and where you,
the audience encounter and respond using you’re own ‘eyes of uncanny’.

Notes:

1
Artwork 1 Title: NEGATIVE LAND
Artwork 1 Dimensions: Moving image. mp4 mov (originally 8mm)
Artwork 1 Medium: Moving image.
Artwork 1 Commentary: Link to file: https://we.tl/t-lY4tDxH5vl

Negative Land is a 2min, black and white moving image piece. Presented without sound and within a formal abstract
narrative.

It follows ideas of Separation; above/below, Land; plot/field, Shadow; past/present place. I embraced working with
black and white and its ‘attitude’ and mystique, a signifier to exploring life’s simple, circular, construct
towards death.

Artwork 1 Image:

2
3
Artwork 2 Title: EYE OF DESIRE
Artwork 2 Dimensions: 4cm x 4cm x 6cm
Artwork 2 Medium: Sculpture. Card, book-cloth, matches, photograph and 8mm celluloid loop.
Artwork 2 Commentary: Film and photography combined into small sculpture form.

Eye of Desire presents itself as a matchbox of tiny voyeurism which can be carried in ones pocket, used to ignite a
flame. The female body part referencing surrealist notions of desire and its ocular temptation.
Artwork 2 Image:

4
Artwork 3 Title: DEARLY DEPARTED
Artwork 3 Dimensions: 30cm x 20cm
Artwork 3 Medium: BW photography, silver gelatin print
Artwork 3 Commentary: Dearly Departed represents a two-fold tale, initially compositional; that of a pyramid parent
hanger, offset with the grouping of hangers/coats in a 3.1 balance. Further interpretation demonstrates an aspect of
humanity that is about leaving. Its atmosphere of quietus, representing a space where people have gathered in
respect of a dearly departed.
The 3.1 balance here notes a leaving; one outside the group, but not yet having fully left.

Artwork 3 Image:

5
Catalogue3 ID0425
Artist ID: 0425

Artist Name: Elizabeth Tomos


Website: https://elizabethtomos.wordpress.com/
IG: https://www.instagram.com/elizabeth_tomos22

Artist Statement: My practice explores proprioception and the body as a means of image production, combining
mark-making practices (including printmaking) with performance and installation. An increasingly fast, performative
and mediated culture in which the body is very often marginalised, disenfranchised and undermined, particularly, as
a site for production of knowledge, requires much critical reflection. Somatic methodology and the philosophies of
embodiment talk about the body’s capacity to learn and to create knowledge outside of, and in critique of,
systems of power: the body as both tool, agent and object. The philosophical turn to practices of embodiment is a
means to engage politically in countering the neo-liberal and capitalist reductionism of human value to productivity
and units of commerce. Longitudinal performance tests the possibility of transactional engagement. It complicates
the possibility of both making and seeing ‘the work’. As the artist I have to pay attention to my body, learn
from it, respond to it in order to produce marks. The viewer too has to slow down and return multiple times to
‘see’ the work unfold. For example, I built a large screen-printing machine that records minute shifts in bodily
pressure across 10 metres of fabric. The large scale of the work deliberately exacerbates, makes strenuous and
draws attention to the movements of the printmaker. I performed with the machine over a six-day period initially,
the physical exhaustion eventually rendering me unable to print. I later collaborated with another printmaker to
perform in tandem on the machine, without speaking our bodies feel into synchronicity.

Notes:
Website = https://elizabethtomos.wordpress.com/2016/09/21/hand_tends_to_return/
https://elizabethtomos.wordpress.com/2015/10/12/cmyk-registrated-ontology/

1
Artwork 1 Title: Tandem
Artwork 1 Dimensions: N/A
Artwork 1 Medium: Performance, Installation and Screenprint
Artwork 1 Commentary: The uploaded image file is a PDF including performance and installation shots from a 2018
collaborative performance with Charlotte Richards (Printmaker). The collaboration utilised my hand-built screen
print machine (made in 2016, see below). Over the course of 5 days in Avenue Gallery in Northampton and then 3
days at Freerange in Bricklane we worked together to print a 10 metre run of calico a day. The 'snap' of the machine
is set to exacerbate the response to pressure. We had to move in tandem to successfully print. In order to keep this
an embodied process, we did not communicate verbally but rather let our bodies learn how to operate effectively.
For example, not long into the process we simultaneously crossed arms on the 'flooder' (you can see this evidenced
in some of the images). Instead of an open screen (like the original performance, see below), this time we edited one
of Charlotte's images. The image was an edited composite of digital scans of tree bark. Both of us make images using
handheld scanners. Charlotte uses it as a means to digitise natural elements. I use it as an extension of my body for
mark-making. We are both interested in 'digital glitches' and the way this distorts imagery. For me, this results in an
image that better reflects the embodied experience of touch. (Please see my Instagram for examples of my scans).
Artwork 1 Image:

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3
Artwork 2 Title: The Hand Tends to Return by a Shorter Path
Artwork 2 Dimensions: N/A
Artwork 2 Medium: Performance, Installation, Screenprint and Film
Artwork 2 Commentary: The uploaded image file is a PDF including installation shots of the original performance
with my hand built screen printing machine from 2016. You can see stills from the performance in progress and the
resulting 10m lengths of calico following the end of a 6-day long performance piece. From 9am-5pm each day I
performed alone, operating the hand-built screen printing press. Over the course of each day I printed 10m of calico
in yellow, then magenta, then cyan. The press used a blank open screen. Each 10-metre length documents my
success, and failure, to maintain pressure on the screen. As the hours and days continued my body learned to move
in ways that created interesting marks but equally as fatigue set in struggled to maintain the pressure. Although the
process and colours remained the same each day, each fabric length became a radically different portrait of my
body's movements.

A film of this performance can be found here:


https://elizabethtomos.wordpress.com/2016/09/21/hand_tends_to_return/
Artwork 2 Image:

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5
Artwork 3 Title: CMYK Registrated Ontology
Artwork 3 Dimensions: N/A
Artwork 3 Medium: Performance, Screenprint and Film
Artwork 3 Commentary: The uploaded PDF contains documentation of a series entitled "CMYK Registrated
Ontology". This encompasses a series of screenprints and a film that focus on the process of registration in
printmaking. The image used is a photograph of a washout booth backsplash taken during a residency at Frans
Masereel Centrum (famous printmaking facility). The process is, therefore, iterative, the image came out of the
printmaking process and is then channeled back into print. While printing the image, I not only 'registered' the print
but also my body in space. Each time I printed I cam back to the same positions. Minute shifts meant that over time
the print alignment came in and out of correct registration. A film of this performance can be found here:

https://elizabethtomos.wordpress.com/2015/10/12/cmyk-registrated-ontology/
Artwork 3 Image:

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Catalogue3 ID0454
Artist ID: 0454

Artist Name: Jake-Andrew Nason


Website: www.jakeandrewnason.com
IG: instagram.com/jakeandrewart/

Artist Statement: I'm a multi disciplinary artist and experimental musician with synaesthesia, and my practice is
centred around the way my mind perceives audio stimulus as colour, texture, shape and movement. My aim is to
explore sensory perception and the emotional and physical response to the relationship that exists between colour
and sound.

After being classically trained on a multitude of instruments from a young age, and coming from a musical
performance background, I realised there was something different about the way I experienced and thought about
music. It wasn't just an audio experience, the notes and tones were vivid colours, shapes and textures etched into
my conscious perception.

Working closely with music and sound, my work is created by translating my synaesthetic visualisation of sound
into a tangible form, and by layering the synaesthetic colours, textures, tones and movements onto canvas. From
these composition paintings, I manipulate the static final compositions digitally, creating cascading projected colour
video and sound sequences that are mapped digitally to fit their surroundings, becoming audio-synchronous visual
narratives, or a synthesised synaesthetic environment in which the viewer can explore or expand their own sensory
perception.

Notes:

1
Artwork 1 Title: Petrichor
Artwork 1 Dimensions: 100x100x4 cms
Artwork 1 Medium: Mixed media painting
Artwork 1 Commentary: “Petrichor― - one of my favourite words; meaning the smell of rain on the parched
ground after a long period of dry weather.

This piece is my response to that moment, as for me it creates an almost tangible feeling of melancholy and
reflection. Although the tones, textures and movement of the piece are dictated partly by Keaton Hensons song of
the same name, I wanted to physicalise and encapsulate the above feeling and allow the paint and application to
build a composition that responds to the feeling of renewal.
Artwork 1 Image:

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Artwork 2 Title: Exposure: How To Write A Painting
Artwork 2 Dimensions: Variable - installation on display 800x400x50 cms
Artwork 2 Medium: Video Projection/Sound Installation
Artwork 2 Commentary: This audio-visual projection was shown as the final part of my Masters Degree at Norwich
University of The Arts.

I began this composition by building a composition painting that was intended to be a new way of writing music. This
was transcribed from a series of chord colour charts, a way I'd been documenting how my mind reads musical notes
and phrases as colour, and then layering thousands of individual digital photographs of this painting together
sequentially how it was intended to be "performed" on piano. I then performed the piece on piano, and created a
synchronous video projection in which the audience were able to "walk" into the painting itself, whilst listening to
the piano piece at the same time.

This is part of my practice I'm currently focusing on, and have exhibited new installation environments more
recently, as the idea of building audio-visually synchronous environments and creating "altered space" through the
digitisation and expansion of my painting practice has allowed me to delve into the immersive element of art.
Artwork 2 Image:

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Artwork 3 Title: There Are Some Remedies Worse Than The Disease
Artwork 3 Dimensions: 150x100x4 cms
Artwork 3 Medium: Mixed Media Painting
Artwork 3 Commentary: This painting was produced to create a visualised crescendo on canvas. The name is taken
from the song that inspired it, by This Will Destroy You.

After experiencing this song live, I was overwhelmed by the crescendo in the last part of the track, and immediately
started painting as soon as I returned home. The textures and tones throughout the painting are constantly rising,
exploding out at the very top into an almost gaseous haze interspersed with fragmented synaesthetic visualisations
of overdrive and reverb. I wanted to create a painting that was almost confrontational in its size and presence, a
physical wall of sound.

Again, this translation of focal points in music and sound is something I'm concentrating on in my practice.
Artwork 3 Image:

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7
Catalogue3 ID0481
Artist ID: 0481

Artist Name: Janet Lees


Website: janetlees.weebly.com
IG: @janetlees2001

Artist Statement: I am an artist and poet working mainly with photography, film, text and collage. The three pieces
I’m submitting here could be called video poems – I call them snatches, because they are made with text
snatched from advertising, mass media and other randomly selected sources.

I’m deeply interested in the power of words to coerce, condition and control. My current film-based work
subverts the meaning of messages which have these drivers at heart – messages which on the surface are
relentlessly upbeat, reeking of promise – to tell the shadow narrative beneath. The infantilising of women, the
hollow heart of consumerism, the existential hell of a longed-for mini-break…stripped of the bling of the ad
campaign, the too-easily-swallowed Insta-affirmation, these are the alternate realities.

I like what happens to our brains when we see these moving images and read these words. It messes with the wiring:
this is not the message we expect, not the promised land we were led to believe in, not the ending we thought
we’d signed up for.

The script for ‘Happiness comes in many forms’ is made of text snatched from the Metro newspaper; ‘the
girls’ is a found poem comprised of book titles; ‘Waiting for everything’ is a combination of words from
two great exponents of metaphysical anguish: Samuel Beckett and Ryanair.

Notes:
Vimeo = https://vimeo.com/315881585 https://vimeo.com/315877548 https://vimeo.com/315894102 (Ashurst)

1
Artwork 1 Title: Happiness comes in many forms
Artwork 1 Dimensions: Video - 16:9
Artwork 1 Medium: Video
Artwork 1 Commentary: A video poem made of text sourced from the Metro newspaper and an animated image of
the sea. A kind of stream of consciousness on a consumerist loop; a ragbag anthem of all the things that will make us
happy.

To exhibit, would need an LCD screen of the optimum size for the exhibition space. Plus, if noise is an issue,
headphones for people to listen while viewing.

Vimeo link: https://vimeo.com/315881585


Password: Ashurst
Artwork 1 Image:

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Artwork 2 Title: the girls
Artwork 2 Dimensions: Video - 16:9
Artwork 2 Medium: Video
Artwork 2 Commentary: A video poem made of book titles. There is an large number of increasingly bizarrely named
books with 'the girl' in the title (the full length version of the poem featured in this film includes 'The smiling girl on
the cardboard moon', 'The onion girl' and 'The girl who gave birth to rabbits'). Why is it 'the girl' and not 'the
woman'? If the protagonists of these books were men, the book titles would include 'the man', not 'the boy'. What
happens to girls when they can no longer be called girls? What purpose do they serve if they don't have a given
name?

To exhibit, would need an LCD screen of the optimum size for the exhibition space. Plus, if noise is an issue,
headphones for people to listen while viewing.

Vimeo link: https://vimeo.com/315877548


Password: Ashurst

Artwork 2 Image:

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5
Artwork 3 Title: Waiting for everything
Artwork 3 Dimensions: Video - 16:9
Artwork 3 Medium: Video
Artwork 3 Commentary: A video poem made of words from 'Waiting for Godot' by Samuel Beckett and Ryanair
marketing materials. We are promised everything and sometimes we get everything. But still we are lost, lonely,
waiting.

Vimeo link: https://vimeo.com/315894102


Password: Ashurst

Artwork 3 Image:

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7
Catalogue3 ID0489
Artist ID: 0489

Artist Name: Alistair Blake


Website: alistairblake.co.uk
IG: alistair.a.blake

Artist Statement: I am concerned with the intersection of the ephemeral and the physical by drawing on transient
imagery from the internet.

By sourcing material from the internet and re-contextualizing inherently two-dimensional images and ideas into
physical objects, the acceleration of the online world is bypassed. When viewed within the gallery context, rapid
moving content is slowed. By transferring specific ideas and images into a physical space and allowing them to
interact, broader themes begin to emerge. A feminist agenda is revealed through the examination of online cultural
symbols and attitudes towards them by their re-contextualisation into a slower environment. As a result, the way in
which the online environment has shaped our perception can be examined.

Control is paramount. The work is custom designed and fabricated creating a contrast between the failings of the
human hand and an aspiration for perfect precision. Pedantic handling of the images and their presentation further
validate their appropriation. The new fundamental physicality invested in the objects serves to counter the very
nature of their origin, by this process of transformation materiality becomes intrinsic to their being.

Notes:

1
Artwork 1 Title: Betty as queen.
Artwork 1 Dimensions: 90 x 30 x 30cm
Artwork 1 Medium: Steel, Bronze, Bismuth nitrate, Titanium dioxide, Potassium sulphate.
Artwork 1 Commentary: Betty Boop, especially within the United Kingdom, has become, while universal, mostly
irrelevant, her cultural significance is in decline.

Through the very nature of her origin as only a sexual allegory Betty Boop has always been susceptible to the
projections of the viewer, if only through the weakness of her written character.

To most individuals encounters with Betty Boop are largely restricted to fleeting chance encounters within the
internets stream of consciousness, driven by the nostalgia or a chance find of a single individual.

Absent from any overarching writer Betty Boop is allowed to become more fragmented than ever before, able to be
bent to the purposes of the viewer, innocent or otherwise.

From the collective history and files shared on the internet, Betty Boop and the Lewis Chessmen are drawn forth, the
result of some teleporter accident. They are processed through the digital back into a physical form from trancience,
traces of their 3D printed origin remains imprinted on their surface, even when they are transferred back further,
now not only a physical form but the more archaic material of bronze.

Artwork 1 Image:

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Artwork 2 Title: The adventures of Betty.
Artwork 2 Dimensions: 10 x 30 x 40cm
Artwork 2 Medium: 36 page tabloid prints
Artwork 2 Commentary: Modern media is often criticised for poor handling of female characters, be that criticism of
the strong female character for being a wolf in sheep's clothing or the failure to expand an ordinary female character
beyond their stereotypical sphere.

‘There’s Something About A Soldier’ (1934) is an early exemplar of a media product wherein the woman is
the antithesis to excitement, adventure and the progress of the story. What role Betty Boops has in the action is
quickly eliminated when competent men become available, regardless her assistance in the war effort was
invaluable to victory. This is a story from a simpler time, when casually racist gags and chemical warfare were
acceptable.

News of this great victory has been adapted to the written form to reach a wider audience, now the feats of bravery
in the great mosquito war can be heard anywhere not merely from your local silver screen. Find this fully featured 36
page adventure at any reputable newsagents.

Artwork 2 Image:

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Artwork 3 Title: Betty fleeing.
Artwork 3 Dimensions: 32 x 100 x 180cm, 200 - 300cm throw.
Artwork 3 Medium: MDF, Bronze, Brass, Steel, PLA, Paint, Lenses, Acetate, High Power LED, Fan
Artwork 3 Commentary: ‘The Old Man Of The Mountain’ (1933) upset many catholics due to its sexually
suggestive nature, though its pretty solid implications of sexual assault didn’t seem to specifically cause any
upset. One can suppose it’s not a surprise, after all the cartoon clearly suggests that Betty Boop is at fault for her
predicament.

However, Betty doesn’t go up the mountain of her own volition, she has no agency or control over her actions,
she is a means to the writers ends. As the vessel of the character proceeds on its journey every opportunity is taken
to mock or punish her.

What strikes the imagination of the viewer is not the trivialisation of Betty Boop but how good of a dancer the old
man of the mountain is, how funny his animation is when chasing after Betty Boop. If you see past this comedic
undercutting, the character of Betty Boop doesn’t exist until she is fleeing for her life, it’s the only action
Betty Boop has any agency over.

Through trial and error and a rudimentary understanding of optics this image of Betty Boop is degraded, very much
to the standard of the youtube video from which it was found. It’s a momentary, stationary replication of the
image as it was first seen on the silver screen.

Artwork 3 Image:

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Catalogue3 ID0505
Artist ID: 0505

Artist Name: Sebastian Thomas


Website: https://www.sebastianthomas.org/
IG: https://www.instagram.com/sebastian_thomas_art/

Artist Statement: My current practice focuses on my interest in how our perception is constructed through language.
Language allows us a way to define what we are seeing, whether that is an image or an object. While it facilitates us
in describing and identifying the world around us, I’m particularly interested in how it can also potentially
obscure our view, creating a blind spot at the centre of our collective vision that conceals a truth. This thinking has
led me to a strategy of making that often involves breaking with convention and subverting our assumptions in order
to expose the problem at the heart of this dichotomy. Materially this is achieved through the appropriation and
deconstruction of images from the sprawl of surplus imagery that surrounds us, the elevation of flimsy and cheap
materials and the repurposing of discarded manufactured objects. Within my work this often leads to a blurring of
the line between 2D and 3D as I reorientate the pictorial plane, drawing out and contorting the substrate into the
third dimension. Prints become material with which to construct sculptures questioning languages ability to define
what we are seeing. Those pictorial planes that remain untouched are subjected to a form of structural
disintegration as the compositional elements repel each other like oil in water, dispersing to the edge of the paper.
In doing so it serves to highlight the blind spot, drawing our attention to a lack of subject but more importantly the
hollow nature of language.

Notes:

1
Artwork 1 Title: PROW CESST FROOT (BANAN)
Artwork 1 Dimensions: Dimensions variable
Artwork 1 Medium: Digital print, varnish
Artwork 1 Commentary: 2019
Artwork 1 Image:

2
Artwork 2 Title: The Hart of the Wud #1
Artwork 2 Dimensions: 70cm x 100cm
Artwork 2 Medium: Lithographic print, paper collage, coloured pencils
Artwork 2 Commentary: 2019
Artwork 2 Image:

3
Artwork 3 Title: The Ardship of Cambry
Artwork 3 Dimensions: 100cm x 70cm
Artwork 3 Medium: Lithographic print, paper collage, coloured pencils
Artwork 3 Commentary: 2019
Artwork 3 Image:

4
Catalogue3 ID0506
Artist ID: 0506

Artist Name: Valery Estabrook


Website: http://www.valeryjungestabrook
IG: www.instagram/valeryjungestabrook

Artist Statement: I am a multidisciplinary artist exploring culture and the human experience through digital media
and time-based installations. I often use my own life events as an entry point for wider topics with the aim of
creating intimate spaces for a public audience. For instance, in my work "Hometown Hero (Chink)" and "Thinly
Worn," I reflect upon my experience as a Korean-American woman in the United States, growing up in the American
South, and also as part of the global Korean diaspora. In my work "Five Twenty Two," I drew upon my father's death
to create work that addresses grief, memory, and healing. My hope is to contribute narratives that have been
historically minimized or altogether omitted — to add my small voice to the larger discourse to further expand the
definitions of what it means to be a minority, a woman, an American, a human.

I seek to push the boundaries of how we interact with and perceive time-based artwork by using unexpected
approaches and materials: nylon hosiery, upholstery fabric, silicone, for example. Although I consider myself a new
media artist, I often incorporate handmade processes into my work.

Multi-sensory presentations provide the audience with an immediacy of engagement, making complex narratives
personalized and accessible.The resulting work reveals hidden personal histories, allowing others to peer into a
private psychological space, with the ultimate goal of outward connection and contributing to ongoing dialogues.

Notes:

1
Artwork 1 Title: Five Twenty Two
Artwork 1 Dimensions: 97cm x 117cm x 7cm
Artwork 1 Medium: Kindle tablets, digital video, wooden shelving
Artwork 1 Commentary: In the "Five Twenty Two" series, I address the experiences of grief, loss, memory, and
healing. Following my father’s death from pancreatic cancer in 2017, I began to create daily video meditations
that would become the foundation for Five Twenty Two. I was pondering the many exchanges of comfort that
surrounded his death — not only as one of my father’s end of life caretakers, but also as a recipient from my
own loved ones when I was grieving. In situations where words were difficult to come by, physical gestures became
the primary mode of expressing care: holding a hand, brushing one’s hair, or a simple silent embrace. I became
particularly interested in ASMR and the idea of virtual touch as a form of comfort, and the phenomenon of haptic
feedback as a response to visual stimuli. Each tablet in the series presents a single meditation session in which I
reach out the viewer. While the camera is a literal physical barrier between myself and the viewer, it also acts as the
medium for our connection. This touch without contact refers to the loss of the physical body in death. Video also
acts as a means to capture and compress both time and place, and the act of recording my own “grief
sessions― became a way to reflect upon my evolving experience I moved through new phases of grief. While each
tablet is a separate numbered work, the series is presented in a matrix of 25 tablets; the result is a seemingly
unending and constantly changing loop of comforting gestures, intended to provide healing to viewers for whatever
personal pain they may be feeling.
Artwork 1 Image:

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Artwork 2 Title: Hometown Hero (Chink)
Artwork 2 Dimensions: 274cm x 518cm x 335cm
Artwork 2 Medium: upholstery fabric, custom recliner, custom TV, single channel video
Artwork 2 Commentary: "Hometown Hero (Chink)" presents a rarely depicted view into the tensions inherent in
being Asian American within the American South. The immersive installation consists of three parts: a single channel
digital video, a custom upholstered recliner, and a fabric-covered room furnished with other upholstered items. By
utilizing chenille upholstery fabric for the treatment of the entire space the installation seeks to inform the viewer's
sense of touch while subverting the expectation of comfort. Each object and surface is soft, inviting the participant
to touch and linger in the space. The video playing on the television monitor, attempts to deconstruct and reconcile
the dual identities of Asian American and Southern American. Meanwhile the large recliner, with its looming imagery
of the Confederate flag, dominates the space. It sits facing the television, acting as a physical stand-in for the casual
racism inherent in the desire to return to an idealized fictional version of America - the wish to “Make America
Great Again.―

The work reveals hidden personal histories, allowing others to peer into a space that many like me occupy: a state of
psychological exile, of in-between, of longing yet never belonging. By challenging the notions of heritage, Southern
nationalism and “traditional― American culture, I hope to facilitate honest conversations regarding race,
otherness, assimilation and indoctrination.
Artwork 2 Image:

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5
Artwork 3 Title: Thinly Worn
Artwork 3 Dimensions: variable, specific to installation site (each mask measures 30cm x 20cm x 20cm)
Artwork 3 Medium: nylon hosiery, acrylic paint, molded plastic jars, single channel video
Artwork 3 Commentary: "Thinly Worn" is a collection of nine hand painted masks and an accompanying single
channel video, that investigates the desire to change the physical self for the purpose of self-liberation. I was
primarily inspired by Korean tal (탈) masks: archetypal masks used in folk dances and plays. Although tal literally
translates to “mask,― the word is derived from a Chinese character meaning “to free oneself.― In Korean
folk traditions, these masks allowed the wearer to be free from social norms. The masks reveal the heart’s true,
hidden desire.

In this re-imagining of the traditional Korean tal, I too seek a kind of freedom. The masks allow other persons and
identities to take visible form. The materialization of these identities unpacks and dissects the personal experience of
being a mixed-race Korean American woman. Some of these characters emerge from racist encounters. Others shed
light on secret, sometimes shameful, desires and wishes-to-be. Externalizing these characters gives freedom to both
become and confront them. Protected and concealed by my mask, I am able to show the deepest and most
vulnerable parts of my psyche.
Artwork 3 Image:

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Catalogue3 ID0507
Artist ID: 0507

Artist Name: Jie Van Xie


Website: jievan.art
IG: https://www.instagram.com/jievan515/

Artist Statement: "The most beautiful things are always hidden in the Mystery and Enigma."
Inspired by all kinds of myths, legends and traditional decorative arts, try to explore and portray the mysterious
realm of the universe.

Notes:

1
Artwork 1 Title: Cerulean Clouds
Artwork 1 Dimensions: 45x32.7x2cm
Artwork 1 Medium: Digital Painting
Artwork 1 Commentary: Everything with form is unreal like cloud.
Seemingly tangible but it keeps shifting.
Artwork 1 Image:

2
Artwork 2 Title: Misty Rain
Artwork 2 Dimensions: 45x32.7x2cm
Artwork 2 Medium: Digital Painting
Artwork 2 Commentary: Everything with form is unreal like misty rain.
Artwork 2 Image:

3
Artwork 3 Title: Jade Wind
Artwork 3 Dimensions: 45x32.7x2cm
Artwork 3 Medium: Digital Painting
Artwork 3 Commentary: Everything with form is unreal like Wind.
It's invisible and difficult to name.
Artwork 3 Image:

4
Catalogue3 ID0526
Artist ID: 0526

Artist Name: Ilkwon Yoon


Website: yoonilkwon.com
IG: ilkwon.yoon

Artist Statement: My practice develops around themes related to negative aspects of fast-paced society. As such fast
lifestyle brings efficiency in terms of development, it is widely accepted by the modern generation. However, I am
concerned about the negative impacts of such fast-growing societies and its fast-paced lifestyle, including how
people constantly move forward without looking back, and how we have become insensitive to the little things
around us. My art invites the audiences to reflect on the way they live and challenge them to refelct on whether this
is inevitably the sole solution to live.
I work expensively with prints. By taking advantage of how unique printmaking processes allow me to work with
layers, I create artwork dividing the world into layers based on repective topics. The accumulative effor that results
from the printmaking processes echo with the time element in many of my artworks. I continuously experiment with
the possibilities of layering, including overlapping, extinction, and placement as ways of expression in my practice.
Therefore, I try to express the missed or the abandoned things by people in fast-paced society by using the
possibilities of layering in order to make people think about the need for a relaxed life.

Notes:
Youtube = https://www.youtube.com/watch?v=YgLURMsYMGs

1
Artwork 1 Title: Memory
Artwork 1 Dimensions: 155x155x155 cm
Artwork 1 Medium: Screenprinting on napkins, Paper making
Artwork 1 Commentary: The work entitled 'Memory' focuses on the characteristics of objects comprised of layers.
Napkins, stacked in countless ply, are quickly used and forgotten everyday objects. The screen-printed images derive
from photographs of the artist's primary school classmates. The artist reproduces the faces of those remembered,
partly remembered and completely forgotten, to communicate the process of fading memory. Although we may
have forgotten most of our classmates, the clarity of our memory depends on our attachment to the individual, and
the artist is interested in the disparities between these vestiges of memory.
Artwork 1 Image:

2
Artwork 2 Title: The Path of Eyes - Red Dragon
Artwork 2 Dimensions: 120x120x4 cm
Artwork 2 Medium: Lithography, Digital printing on acrylic sheets
Artwork 2 Commentary: 'The Path of Eyes' is a series of mixed media works addressing the value of the unnoticed
visual information that surrounds us on daily journey. From that which is routinely missed, to that which is literally
overlooked, we are all so busy getting somewhere that we are often not present in the moment. The artist travelled
in Berlin taking hundreds of photographs along the journey, wherever his gaze happened to pause or linger,
accumulating them into a fastidious mosaic of smaller images laid over the central image of his 'memorable place'.
The work echoes the journey itself; by elevating the 'unimportant' collateral scenes into the same field as the
consciously viewed subject, the artist asserts their value, endowing what we miss with as much significance as that
which we gaze upon in order to remember.
Artwork 2 Image:

3
4
Artwork 3 Title: Two Layers - Robin Hood Gardens
Artwork 3 Dimensions: 70x270 cm
Artwork 3 Medium: Interactive art, Digital printing on dissoluble and non-dissoluble papers
Artwork 3 Commentary: https://www.youtube.com/watch?v=YgLURMsYMGs

The representative image is different from the image in the video on Youtube that I shared. Because it is an
interactive art and the image dissolved by people already, the image is going to be replaced by the image of Robin
Hood Gardens that I uploaded if I can show this work at the exhibition. Audiences will be allowed to spray water
onto the image at the show to participate in the work.

The series of 'Two Layers' is about disappearing things around us. In the world numerous things disappear just over
night. The artist divide this world from the artist's perspective into two layers of things that disappear and things yet
to disappear and print them on dissoluble and non-dissoluble papers and compose one-screen. As a work that
captures the extinction process of layers printed on dissoluble papers on the screen, it demonstrates the process of
subjects disappearing inanely just under 1 minute and elicits contemplation on the accelerated life. Because this
work is intended to invite interaction, audiences are invited to spray the water on the screen in person and both
recognise and contribute to the disappearing process.
Artwork 3 Image:

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Catalogue3 ID0529
Artist ID: 0529

Artist Name: Paraskevi Papagianni


Website: http://www.paraskevipapagianni.com/
IG: https://www.instagram.com/paraskevi.papagianni/

Artist Statement: I was born in Athens, Greece. I have lived in Greece, the United States, the United Kingdom and
Spain.

I have studied Psychology, Art Psychotherapy and Contemporary Art Practice and have exhibited in Greece, Spain
and the U.K.

My current residence is in Barcelona, Spain.

I am a multimedia artist: I work mainly with collage, photomanipulation and assemblage.

My primary motivation to make art comes from story in its many forms (mythological, literary, cinematic and
personal) but also a need to fuse and reconstruct objects, images and language.

I am drawn to small details and encounters; the consoling and the uncanny, in both narrative and visual/structural
form.

My aim is to explore the many facets of personhood (history, illusion, encounters, power struggles, symbolic
resources, subversion, vitality), and to develop a practice that fosters empathy, consciousness and active
imagination.

Notes:

1
Artwork 1 Title: Encounter/ A Moment In A Person
Artwork 1 Dimensions: 4272 x 2848 pixels (72,3 cm x 120,1 cm)
Artwork 1 Medium: Mixed Media: Assemblage and Photography (Found Photograph, Glass, Dried Flower, Magnifying
Glass)
Artwork 1 Commentary: This work is part of a series of photographs titled "A Moment In A Person" in which I use a
magnifying glass to interact with found objects.

My inspiration was drawn from two essays:

The first by artist and writer Renee Gladman [Untitled (Environments)], explores drawing in relation to writing
through a series of real and fictional encounters.

In the second (Drawn To Each Other: A Love Affair With Sketches) architect Rachel Hurst examines the parallels
between sketching and falling in love.

What is an encounter with someone/something about? Fascination? Intimacy? Understanding?


What kinds of imagery/seeing, attempts at healing come about?

The series aims - through the lens of photography- to explore attraction, approximation, and representation
(meanings and processes linked to drawing) as they happen in ‘real’ time: the frustrations of balancing
magnified lovable details and the need to be truthful to the whole; but also the need to touch (by its nature partial)
as it unfolds first through the eyes.

Here the "object of love" is an old found photograph of a young man.

Artwork 1 Image:

2
3
Artwork 2 Title: Aqueous Deception 9
Artwork 2 Dimensions: 4961 x 3508 pixels (126 cm x 89,1 cm)
Artwork 2 Medium: Mixed Media (Analogue Photography, Digital Photomanipulation)
Artwork 2 Commentary: This artwork is part of a series titled Aqueous Deceptions, which explores our attachment to
reflections as a source of true representations.

On an aqueous surface the nature of reflection is altered through the changeable states of water, the intrusion of
objects and undercurrents of texture.

Fluidity as an essential quality of water can be applied to the accuracy and willingness of an observer with regards to
understanding: Often in our perception of symmetries in events, structures, and bodies we assume balances and
causalities which are not factual or consistent.

Artwork 2 Image:

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5
Artwork 3 Title: Transformational Change
Artwork 3 Dimensions: 960 x 718 pixels (24,4 cm x 18,2 cm)
Artwork 3 Medium: Mixed Media: Assemblage and Digital Photomanipulation (Plaster Cast, String)
Artwork 3 Commentary: The work is part of a triptych which explores the nature of change and the language and
concepts we use to understand it.

There are three variants of change as outlined in managerial/business terms:

1) Developmental Change: improving on what you are already doing.

2) Transitional Change: replacing something with something new which has already been tested.

3) Transformational Change: the future state is unknown and it can only be determined through trial and error.

This series aims to highlight the hopeful and simultaneously ominous aspects of change which make it an object of
both deep desire and fear as well as study and practice across various fields.

Artwork 3 Image:

6
7
Catalogue3 ID0530
Artist ID: 0530

Artist Name: Maximillion Speed


Website: www.maximillion.info
IG: @maxboxes

Artist Statement: The artist Maximillion describes himself as a ‘New Surrealist' carrying on the original 20th
century art movement's exploration of dream imagery and chance meetings. He creates these hauntingly beautiful
images using a newly discovered technique called ‘transient' collage, in which real objects are combined with 2D
images.
The resulting image is photographed using an iPhone camera, and the original collage is then disassembled, hence
the term 'transient'.
Some of these images are developed into limited edition giclee prints, including the addition of silver, gold or copper
foil. A selection of these prints are available on the website. In addition to selling prints on the website and to
galleries, a recent commission was secured to supply Nottingham coffee brand '200 degrees' framed prints for their
growing franchise of coffee houses.
A more recent development has resulted in exploring an iPhone app to add effects and movement to the collages,
which then become short video or gifs. These in turn become short films cut to music tracks. The films have been
projected at live music events and featured in Nottingham's recent Light Night festival.
Maximillion is collaborating with Drag queen Glitterhawk and performance artist Zera Tonin on combining large scale
projected art, with performance and dance. This will form part of a live surreal show entitled 'Cabaret of Dreams'
curated by Maximillion and featuring his art, as well as live music, distorted drag, puppetry and soundscapes,
creating an immersive artistic and theatrical experience.

Notes:

1
Artwork 1 Title: The Glamour Incubator
Artwork 1 Dimensions: n/a n/a to be displayed digitally on a monitor or projected
Artwork 1 Medium: mv4 video
Artwork 1 Commentary: This is a still image from a 10 second mv4 video file.
The image was first created as a 'transient' collage as described above. The collage was then photograped using an
iPhone camera. Using a variety of in-phone apps the image was manipulated to include special effects and
movement. These images are ten combined with others to make longer videos, usually cut to music tracks. These
images have been projected large scale and combined with dance and performance art.

Video available through this link


https://we.tl/t-SXv8T2ApBR
Artwork 1 Image:

2
3
Artwork 2 Title: Cold World
Artwork 2 Dimensions: n/a to be displayed digitally on a monitor or projected
Artwork 2 Medium: mv4 video
Artwork 2 Commentary: This is a still image from a 10 second mv4 video file.
The image was first created as a 'transient' collage as described above. The collage was then photograped using an
iPhone camera. Using a variety of in-phone apps the image was manipulated to include special effects and
movement. These images are ten combined with others to make longer videos, usually cut to music tracks. These
images have been projected large scale and combined with dance and performance art.

Video available through this link


https://we.tl/t-SXv8T2ApBR
Artwork 2 Image:

4
5
Artwork 3 Title: Ancient Rites
Artwork 3 Dimensions: n/a to be displayed digitally on a monitor or projected
Artwork 3 Medium: mv4 video
Artwork 3 Commentary: This is a still image from a 10 second mv4 video file.
The image was first created as a 'transient' collage as described above. The collage was then photograped using an
iPhone camera. Using a variety of in-phone apps the image was manipulated to include special effects and
movement. These images are ten combined with others to make longer videos, usually cut to music tracks. These
images have been projected large scale and combined with dance and performance art.

Video available through this link


https://we.tl/t-SXv8T2ApBR
Artwork 3 Image:

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7
Catalogue3 ID0538
Artist ID: 0538

Artist Name: Momo Meng


Website: www.momomeng.com
IG: www.instagram.com/momomengart

Artist Statement: I love exploring deep emotions of humans and animals, expressing them in my art. I create my
works to be the voice for the voiceless,the powerless, the hopeless, in order to fight against the absurd, the violence
and the inequalities. I wish my creations could raise audience's awareness, be the standing point for all of us to fight
for a better future, a better society which has variety, equality, healthy environment, and respect for all living beings.

Notes:

1
Artwork 1 Title: The Machine
Artwork 1 Dimensions: 157cmX62cmX5cm
Artwork 1 Medium: Digital fine art print
Artwork 1 Commentary:
“The Machine― touches many aspects of our society, including social values, environmental crisis, pollution,
animal cruelty, slave labour, war, poverty and so on. As you can see, our society is extremely vulnerable. We are
depending on that last tree to hold the balance of the whole structure, yet we are chopping it; we need a solid
foundation to function properly, yet we are bombing it; we are wiping out other species and killing unnecessary
lives, just so we can dump them away as garbage, meanwhile leaving the other side of the world rot to death from
hunger and poverty; we need variety to feel alive, yet we allow the society to feed us these shallow formulas of
success and happiness.

“The Machine― is my voice for the voiceless,the powerless, the hopeless. I want to use it to fight against the
absurd, the violence and the inequalities. May it also raise your awareness, be the standing point for all of us to fight
for a better future, a better society which has variety, equality, healthy environment, and respects for all living
beings.
Artwork 1 Image:

2
3
Artwork 2 Title: Breeding Lab
Artwork 2 Dimensions: 50cmX40cmX5cm
Artwork 2 Medium: Digital fine art print
Artwork 2 Commentary: “Breeding Lab― is the first part of my theme creation “The Trilogy of Society―.
The rest two parts of this theme are “The Machine― and “The Prison―.

“Breeding Lab― is a bizarre work. It was created to ask this provoking question: Are we truly the fruits of love,
or are we simply just productions of our society?

In “Breeding Lab―, human babies are produced from the tree of uterus inside of a snow globe shape
laboratory, which is owned by the Society Corporation. The lab serves the great duty to keep our society machine
running by providing it continuous new fuel to burn. Hundreds of thousands newborns were produced and flushed
down the fuel pipeline every single day to fulfill that great duty. The newborns were told they were the future. They
were promised hope, wealth, glory and power someday. They were allowed to dream big, because our materialistic
society adores children and flatters the youth. But one day, on the path of growing up, our society stops adoring us,
it starts to teach us to serve the “right― roles, do the “right― things at the “right― times, be realistic
and not dreaming. Day by day, we will gradually burn out and get discarded like waste simply just by getting old.

Anyhow, as we are approaching the AI era, young population is not as golden as it used to be. Over population turns
into a burden to our society, by then, we can’t even reach getting old to be discarded, when we were born, we
already will be cast away through the waste outlet from the “Breeding Lab―.
Artwork 2 Image:

4
5
Artwork 3 Title: Seek Shelter Immediately
Artwork 3 Dimensions: 50cmX40cmX5cm
Artwork 3 Medium: Digital fine art print
Artwork 3 Commentary: Don’t you think our society is very similar to The Walking Dead? Same chaos, same
brutality, same despair, the only difference is that in real life the living dead are not hungry for blood & flesh.
They’re more drawn to smartphones, smartwatches and tablets, making massive kills simply by
indulgence,ignorance, neglect, numbness, selfishness and silence.

An artistic form of expression criticizing smartphone addiction does not equal saying the development of technology
is bad. There's a fine line between using technology properly and misusing it. You should make friends with
technology, not be a slave to it. And this is what my work tries to express.
Artwork 3 Image:

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7
Catalogue3 ID0541
Artist ID: 0541

Artist Name: Seungwon Jung


Website: https://www.jungseungwon.com/
IG: @jung.seung.won

Artist Statement: My practice is focused on how people perceive time and past in the context of space. I explore and
investigate how our perception situates time in relation to space: the distortion and gap we sense in
memories—skipping and stretching temporal distance within the coordinates of our timeline.
My work involves contradictions and duality. However, I seek to discover how the two contrary layers can stand
together and overlap each other, rather than denying or removing one side. It is about creating tangible
representations of the intangible layers and an effort to define the indefinable.

Notes:

1
Artwork 1 Title: Memories Full of Forgetting
Artwork 1 Dimensions: 115 x 172 cm
Artwork 1 Medium: installation, digital print on fabric unthreaded by hand, magnet, paper, rock
Artwork 1 Commentary: Space can be found in the most concrete of objects—but there is also intangible space,
gaps in our own cognitive processes: memory distortions often mislead our own beliefs of the past, and our
understanding of the pathways in the human brain is still incomplete.

Memories Full of Forgetting (2017-2018) focuses on how people perceive memory in the context of space. I print
fragmental photographic images on fabrics, destruct them by removing the threads and again stitch them back,
collected the fragments layer by layer. Empty space and accumulation is central to my work. I begin with a complete
object—a length of fabric—and chip away it’s physical presence. Through the creation of empty space and
accumulation, I consider the gaps in our existence, memory and consciousness. The pulled out threads embody both
the process of forgetting as well as the imperfect form of retained memories. By stitching back the extracted strands,
reminiscences gather to reconstruct a storage of oblivion full of memories. My process highlights the omissions in
our knowledge, but also the ways their remaining traces can unconsciously influence how we shape the past.
Artwork 1 Image:

2
3
Artwork 2 Title: Time Grid
Artwork 2 Dimensions: dimensions variable
Artwork 2 Medium: penciled grid on wall, wood, woolen thread and digital print on fabric
Artwork 2 Commentary: Time Grid (2018) is part of my ongoing exploration of how people perceive time and past in
the context of space. Above the pencilled grid, wooden frames and surfaces are draped, wound around with fabric
and thread. The source images printed on fabric are abstracted photographs—taken in different time and
dates—of the same view that I could see through the fluted window.
Using the compositional logic of the grid as a template, I explore and investigate how our perception situates time in
relation to space: the distortion and gap we sense in memories—skipping and stretching temporal distance within
the coordinates of our timeline.
Artwork 2 Image:

4
5
Artwork 3 Title: Siccar Point
Artwork 3 Dimensions: 110 x 148 cm
Artwork 3 Medium: pigment print on paper (digital photograph converted to hand-knotted rug pattern)
Artwork 3 Commentary: Siccar Point (2018) considers the geological time in relation to personal time. Strata is the
vertical history of earth. Faults and folds, weathering and erosions leave traces on geological layers. These records
allow us an observation of the past and present, the distortion and gaps between them.
The work contains layers of interoperating analogue and digital representations. Using a software, I generated a
knotting rug pattern of a strata. A knot functions as a pixel. Each cell of the pattern is identical to a knot of the rug,
and each letter indicates the colour of the yarn. Making a knotted rug by hand from a digital image, the grid
becomes the structure of the work itself. Personal time and labour weaves into the image of geological layers.
Artwork 3 Image:

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Catalogue3 ID0549
Artist ID: 0549

Artist Name: Adriana Florea Baloiu


Website: https://www.adrianafloreabaloiu.com/
IG: https://www.instagram.com/adriana_baloiu/

Artist Statement: Starting with a state of constant contemplation upon human mind and behavior mixed with a
playful, but satirical point of view, my work illustrates stereotypes such as absurdism, superficiality, mass thinking,
historical obedience, mindless conformity as portrayal of society, pointing to nonsense, deviation and contradiction.
Following childhood memories with an interrogative, paradoxical melancholic eye, my visual discourse places itself
on an introspective perspective set between emotional and rational, reality and fantasy, from a micro-personal
context to general issues. Work strategies and research methods both fall under the same common interest in
contemporary criteria: creative, spontaneous, experimental, interdisciplinary, post conceptualist approach. Mediums
of visual exploration expands from painting, photograph, sculpture, collages, objects, installation to digital media.

Notes:

1
Artwork 1 Title: My work is finally unfinished
Artwork 1 Dimensions: 190x90x30
Artwork 1 Medium: Installation - welded wire, various iron elements
Artwork 1 Commentary: "My work is finally unfinished" speaks about the contradiction between human limits and
the endless resources of our mind. The chosen materials are used as metaphors to illustrate the human open cage.
The installation has two layers, one made from found/used pieces of iron attached on a welded wire mesh panel and
another one mirroring the first one though a game of lights and shadows creating a dialogue.

The title of my work is inspired from 'A monologue by Marcel Duchamp and/or Rrose Sélavy' by Marcel Duchamp.
Artwork 1 Image:

2
Artwork 2 Title: Echo
Artwork 2 Dimensions: 100x85x4
Artwork 2 Medium: Digital art, Lambda print on aluminium
Artwork 2 Commentary: "Echo" continues my series "Recipes Incubator", my latest solo project exhibited in 2018 at
the Romanian Cultural Institute in Lisbon. This series of works proposes a satire of behavioral patterns, human
psychology, as derivatives of the social mechanism, through a ludic monologue through which all fears and
obsessions about our inner and outer boundaries and the human sisyphic character come to life.

The show of the world is the show of the individual. One’s inner rhythm, assimilated by the constant, repetitive
outside rhythm, with the unchangeable grotesque voluptuousness, marks for me the pretext of traveling to
childhood, and borrow from memories a child’s gestural freedom to portray the unconditioned conformism that
is gradually setting up in our evolution.
Artwork 2 Image:

3
4
Artwork 3 Title: Fashion police brainstorming in Bahamas
Artwork 3 Dimensions: 50x45x2
Artwork 3 Medium: Digital art, Lambda print on pvc
Artwork 3 Commentary: "Fashion police brainstorming in Bahamas" speaks about social conventional patterns often
defying the absurd, laying in a never ending unchanging uniform. This amuses me, makes me sad and intrigues me. I
ironically reject them and seek a refuge in a childlike space: simple, colorful, ludic.

Artwork 3 Image:

5
Catalogue3 ID0555
Artist ID: 0555

Artist Name: Megan Visser


Website: www.meganvisser.com
IG: @ml.visser

Artist Statement: Megan Visser is a multi-disciplinary artist that works in London and recently graduated from UAL
Wimbledon College of Arts with a BA in Fine Art: Painting.

Her work uses combinations of sculpture, video and installation to form an inquiry into the subjects of gender,
eroticism and abjection. The videos often depict the manifestation of an ambiguous ‘character’ through camp
acts of beautification and ‘DIY’ self-care rituals, that politicize and question the reading of the way we, as
humans exert our attentions to selfhood.

She often depicts reoccurring motifs that reference feminist critique, medical handbooks, and art history via a form
of grotesque celebration. The comic pop-style aesthetics of her video also address current debates surrounding
identity and commodity with a satirical edge, in an increasingly anxiety induced society.

Notes:
See USB Stick for Video 2, 3

1
Artwork 1 Title: Deep Think (featuring 'Deep Breath' video)
Artwork 1 Dimensions: 120cm x 90cm x 25cm
Artwork 1 Medium: Video Sculpture
Artwork 1 Commentary: 'Deep Think' is the title of the green wall sculpture that encases the video piece 'Deep
Breath' on the tv. 'Deep Think' sculpture references medical scanners to children's tv shows to create a frame for
the video, and plays with recurring motifs within my practice.

To view the video 'Deep Breath' and other installation shoots please visit my website.
Artwork 1 Image:

2
Artwork 2 Title: Reflex
Artwork 2 Dimensions: Video
Artwork 2 Medium: Video
Artwork 2 Commentary: 'Reflex' is a video that is part of a wider research project exploring themes of reflexology
and D.I.Y relaxation techniques.

Please see website for better video quality.


Artwork 2 Image:

3
Artwork 3 Title: The Powder Room
Artwork 3 Dimensions: Video Installation
Artwork 3 Medium: Video Installation
Artwork 3 Commentary: 'The Powder Room' explores the manifestation of an ambiguous male/female
‘character’ through camp acts of beautification combined with witty and funny sound effects, that politicizes
the reading of the way we apply our concepts of self.

Please see website for better video quality.

Mixing together the sensual, surreal, and repellent with a comic twist to form the backbone of an inquiry into
subjects of gender, eroticism, and abjection. Using a variety of media to depict recurrent sexually suggestive tropes
to explore notional taboos via a form of grotesque celebration.

Artwork 3 Image:

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5
Catalogue3 ID0560
Artist ID: 0560

Artist Name: Ellyssa Paterson


Website:
IG: E.M.Paterson

Artist Statement: Becoming disabled recently seriously impeded my ability to hold a pen, or paintbrush, I could no
longer utilize so many previously enjoyed artistic mediums. Then I discovered Digital Art Apps. Using just my fingers
and thumbs I have found a most fantastical creative outlet that has fired my imagination as never before. No longer
a creative spirit stifled but rather, liberated and flying, passions relit and hope re-engaged. And I used to be the
ultimate techno-phobe. Spirit is found in maths.

Notes:

1
Artwork 1 Title: Frieze, Frees, Freeze.
Artwork 1 Dimensions: Its digital so can be various sizes
Artwork 1 Medium: Digital.
Artwork 1 Commentary: Having no brush doesn't matter with digital, you can still allude to the swish of the paint on
Canvas.
Artwork 1 Image:

2
Artwork 2 Title: In The Telling Smile
Artwork 2 Dimensions: Is Digital so can be various sizes
Artwork 2 Medium: Digital.
Artwork 2 Commentary: First Of A Series Of Three Pictures. There can be cuteness in the hardness of Maths.
Artwork 2 Image:

3
Artwork 3 Title: A Couple Of Moments.
Artwork 3 Dimensions: Digital.
Artwork 3 Medium: Digital.
Artwork 3 Commentary: The belongs to a Collection of pictures under the concept title, " Moments". Comprising 10
sets of three, each set captures the complexity of the mathematical concept of a "Moment" and how we express
time in segments we refer to as "Moments"
Artwork 3 Image:

4
Catalogue3 ID0561
Artist ID: 0561

Artist Name: Eichler Juergen


Website: holocenter.org/juergen-eichler
IG:

Artist Statement: Jürgen Eichler deals with three-dimensional colored light structures in space. They reflect special
properties of light that are rarely used in art: coherence and interference. These three-dimensional images are made
possible by the technique of holography. In the work, holographic elements with their pure spectral colors are
combined with colored photos. In front and behind the photos float delicate structures of three-dimensional images
in space, which change with the movement of the observer. The normal colors of the photo are superimposed with
the spectral colors of the hologram. A unique additive and substractive color mixing takes place, which depends
dynamically on the observer´s line of sight.

The holographic works deal with the nature of light, the different colors in space and the effects on the eye and
brain. It is about the properties of seeing and the question of the reality of the seen. The holograms have
interdisciplinary connections to painting and graphics, photography and sculpture.

His holographic studio, called Hololab, is located at the University of Applied Sciences (BHT-Berlin). Jürgen Eichler is
Professor of Physics and author of several articles and textbooks on Physics, Lasers and Holography.

His holograms have been shown at various exhibitions: Research Market Berlin (2013 and 2015), "Coherence and
Incoherence" at Holocenter, New York (2017) and "Percepcoes" at Gallery MBlois, Rio de Janeiro (2018). The work
"The Future of Holographic Art" was presented at the symposium "The Future of Light Art 2018" at the ZKM
Karlsruhe, Germany.

Notes:
See USB Stick for Video 1

1
Artwork 1 Title: Interference I, Nature and Technology, 2018
Artwork 1 Dimensions: 40 x 50 cm
Artwork 1 Medium: Self-made dichromatic holographic film on glass
Artwork 1 Commentary: In the film (artwork image 1) the three-dimensional character of the holographic image can
be seen. The camera of the smart phone is moved in the space of the image.
The work features three-dimensional structures of seaweed and spherical wire objects. It is intended to show the
connection between nature and technology, which do not always have to be at odds with each other.
The holographic image floats in three dimensions in front of a photo containing the colors of the entire light
spectrum. The colors start at the top with red, orange and yellow and end with green and blue below.

Artwork 1 Image:

2
3
Artwork 2 Title: Interference II, Nature and Technology, 2019
Artwork 2 Dimensions: 30 x 40 cm
Artwork 2 Medium: Self-made dichromatic holographic film on glass
Artwork 2 Commentary: The file (artwork image 2) shows a photo of the three-dimensional holographic image.
However, a photo can´t represent the third dimension. It is a collage of a hologram and a photo of a similar
hologram.

The work features three-dimensional structures of seaweed and spherical wire objects. It is intended to show the
connection between nature and technology, which do not always have to be at odds with each other.

The holographic image floats in three dimensions in front of a photo. The colors and the structures of the 2D photo
and the 3D holographic image are mixing in a very unique manner.

Artwork 2 Image:

4
5
Artwork 3 Title: Interference III, Hologram, 2018
Artwork 3 Dimensions: 20 x 30 cm
Artwork 3 Medium: Self-made dichromatic holographic film on glass
Artwork 3 Commentary: The file (artwork entry 3) shows a photo of the three-dimensional image of the hologram.
However, the third dimension can´t be represented.

The work features three-dimensional structures created by interference of light. It is based on the coherence of laser
light. Interference and coherence are properties of light which usually are not used in art.

The holographic image floats in three dimensions in front of a photo. The colors and the structures of the 2D photo
and the 3D holographic image are mixing in a very unique manner.

Artwork 3 Image:

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Catalogue3 ID0563
Artist ID: 0563

Artist Name: Magdalena Aguirre


Website:
IG: nuna_00

Artist Statement:
Finishing school, I enrolled to study architecture motivated by a desire to develop my creative passions. I worked
professionally as an architect in Chile and Spain for a span of about ten years; I realized that architecture was not
the path I was meant to take. During this time I gave birth to my first son, who was born with a genetic syndrome
that caused serious developmental problems, reason why I left my job to dedicate myself entirely to his care. In the
time since then, I have worked intermittently on a diverse array of personal projects related to creative processes of
which I am an enthusiast, such as digital engravings, which I was able to place for sale in art galleries and related
venues, My life now involves looking after my three children, their education, daily household work and sports,
alongside the small creative projects that manage to appease my lifelong and constant artisan and artist spirit.
My work, it is inspired by the observation of nature, specifically in the way they combine chance, spontaneous,
chaos with the structure of forms, patterns, colors, textures and materials, creating natural canvases of harmonious
and infallibly beautiful compositions; like a field of wild flowers, a picture of rocks left at random on the shore of the
beach or the stars thrown in the sky. My abstract compositions are the search for reproduction to create the
harmony within the apparent chaos, the balance within the apparent imbalance, the stillness within the apparent
storm.

Notes:

1
Artwork 1 Title: Tormenta / Storm
Artwork 1 Dimensions: 75x26 CM
Artwork 1 Medium: Digital Art, print in special paper for art.
Artwork 1 Commentary:
It is the result of the eighth derivative of the original drawing.
It represents conflict and obsession, in the way of achieving harmony.
Artwork 1 Image:

2
Artwork 2 Title: Avestruz / Ostrich
Artwork 2 Dimensions: 90x215 CM
Artwork 2 Medium: Digital Art, print in special paper for art.
Artwork 2 Commentary:
I work a very small detail of the original drawing.
Represents the infinity (universe) that exists in the micro world.
Artwork 2 Image:

3
Artwork 3 Title: susurro / whisper
Artwork 3 Dimensions: 90 x 67 CM
Artwork 3 Medium: Digital Art, print in special paper for art.
Artwork 3 Commentary:
represents the subtle, the breeze a whisper that cuts through the air
Artwork 3 Image:

4
Catalogue3 ID0570
Artist ID: 0570

Artist Name: Mei-Lin Lin


Website: http://www.flickr.com/photos/45204069@N03/
IG:

Artist Statement: Image creation is more than combining colors and shapes.
In the creation process, the creator endeavors to enable the artwork to narrate her observation of the boundless
universe.
Thus, in Mei-Lin Lin’s creations, she uses a combination of painting and photography layering, similar to image
superimposition in the multiple exposure technique of photography.
By integrating the various layers of images using post production techniques, a novel and colorful picture is created.
Using stark contrasting color blocks and unconventional methods, she hopes to guide viewers into her interpreted
world.

Notes:

1
Artwork 1 Title: valley
Artwork 1 Dimensions: 82*101
Artwork 1 Medium: Digital collage
Artwork 1 Commentary: Digital collage using Chinese characters and images.
Artwork 1 Image:

2
Artwork 2 Title: riverside
Artwork 2 Dimensions: 82*101
Artwork 2 Medium: Digital collage
Artwork 2 Commentary: Digital collage using Chinese characters and images.
Artwork 2 Image:

3
Artwork 3 Title: cracking
Artwork 3 Dimensions: 82*101
Artwork 3 Medium: Digital collage
Artwork 3 Commentary: Digital collage using Chinese characters and images.
Artwork 3 Image:

4
Catalogue3 ID0578
Artist ID: 0578

Artist Name: Francesca Castellano


Website:
IG: https://www.instagram.com/redcesca/?hl=en

Artist Statement: At the interface between circus and militant practice, my current work has developed through
performance but continually expands into a multi-media practice. I am fascinated by the critical roles that human
connections play in forming an identity.
Through collaborative performances and interventions in the public spaces, my intention is to highlight unconscious
emotive responses and possible hacking of such embodied thinking. Each performance provides a tool for
encounters where both artist and viewer are momentarily connected in a shared experience, free from the ever-
pressing fears of our time. Each simple gesture, such as eating, walking, writing, etc, is an attempt to inscribe the
language of possibility on the human mind and body, which may have become scarred or numbed in the urgency of
the everyday.
My process focuses in on various issues including surveillance, invisible labor, and cultural hijack and forms a
response to the relationship between individual and multiplicity within capitalist society. In my work I am driven to
explore the possibility of a shared emotional intelligence which can become the medium for reconnection to each
other and to the wider world itself, to reveal who we really are when everything else is removed.

Notes:
Youtube = Artwork 3 - https://www.youtube.com/watch?v=We9UweLE_GE

1
Artwork 1 Title: gesture
Artwork 1 Dimensions: 43 square
Artwork 1 Medium: Photography
Artwork 1 Commentary: The artist proposed this work in connection to the Repeal Movement which she
passionately supported in 2018, and which still influences both her activist and artistic work
Artwork 1 Image:

2
Artwork 2 Title: reappropriating reproduction #1
Artwork 2 Dimensions: 18 square
Artwork 2 Medium: Photography and Collage
Artwork 2 Commentary: This is one of a six artworks series entitled "Reappropriating Reproduction".
The artist, an enthusiastic participant to the Urbex Movement (Urban Explorer), regularly breaks into the
institutional derelicts that are scattered in our cities. These series of photographs were taken, using a Hasselblad
camera, in the old Magdalen Asylum in Cork City, where she is based. The photos were developed and then
manipulated with the collaged images of women and children partaking in the collective activities which are central
to feminist discourse.
Artwork 2 Image:

3
Artwork 3 Title: encounters
Artwork 3 Dimensions: n/a
Artwork 3 Medium: video from performance
Artwork 3 Commentary: This is a video edited from the collaborative performance "encounters", please follow the
link: https://www.youtube.com/watch?v=We9UweLE_GE
Artwork 3 Image:

4
Catalogue3 ID0583
Artist ID: 0583

Artist Name: Roland Brass


Website:
IG: https://www.instagram.com/wanderingradiant

Artist Statement: I am an amateur artist, based in Maidenhead / London, and British, aged 37. Art has always been a
hobby of mine and it has played a much greater role in my life over the past year following a personal / life-changing
event. It provides me with total escapism and a kind of therapy. I specialise in digital art, using programs like
ProCreate or ArtRage on the iPad or iPhone (which I can more easily fit into my busy life)! I consider this to be an
emerging and growing medium, and with the popularity of tablets and smart phones, it will only expand more, and
therefore I submit my work to the New Media Award as well. I also do fine line black & white illustrations, and am
experienced in acrylics. My images show how I feel, what I see and what I hear. Therefore my subject matters are
broad but that have a strong meaning. Key themes relate to everyday life, fitness, music and travel. I like trying to
transform the ordinary to extraordinary, or look at something under a different light to show it from a different
angle. I am incredibly passionate, ambitious and highly motivated, and it is my goal to try to showcase my work and
inspire others in 2019. This would make me very proud indeed! I have FIRE in me to do this! Finally, my day job is in
Town Planning. Thank you for considering my entries.

Notes:

1
Artwork 1 Title: Sound
Artwork 1 Dimensions: 60 x 45 x 4
Artwork 1 Medium: Digital Art on iPad (ArtRage app)
Artwork 1 Commentary: This artwork is called "Sound" because is it my interpretation of sound. It specifically relates
to a song called "Lateralus" by an alternative progressive metal band called "Tool". To make this clear it includes the
bassist however the shift in the colour spectrum across the canvas, and the chinks (of light and sound) and other
markings are my attempt to show the thump and groove. I sat on my sofa for several hours with the song on repeat
to make this happen. I got there in the end!
Artwork 1 Image:

2
Artwork 2 Title: Mts
Artwork 2 Dimensions: 60 x 45 x 4
Artwork 2 Medium: Digital Art on iPad (ArtRage app)
Artwork 2 Commentary: The splashes and splurges of thick colour on the canvas try to capture the scale of this
impressive colourful mountain range in Romania.
Artwork 2 Image:

3
Artwork 3 Title: Mt Times Square
Artwork 3 Dimensions: 60 x 45 x 4
Artwork 3 Medium: Digital Art on iPad (Procreate app)
Artwork 3 Commentary: I visited New York for the first time in November 2018 on a solo holiday. I didn't want to
come home as I had an brilliant time. This is my attempt to capture the colour, light and energy that bounces around
Times Square. Partly inspired by Monet's painting of Leicester Square at Night (1901). This picture has a lot of
awesome memories wrapped up in it.
Artwork 3 Image:

4
Catalogue3 ID0586
Artist ID: 0586

Artist Name: Gus Murrieta


Website: https://www.behance.net/GusMurrieta
IG: @gus.murrieta

Artist Statement:

Notes:

1
Artwork 1 Title: Nº2 (full body spell series)
Artwork 1 Dimensions: 60x60cm
Artwork 1 Medium: print graph
Artwork 1 Commentary: A body that spell, light game where shadows play a crucial part because of the energy and
dance it project. A unique connection with the universe that reflect an awkward reality.
Artwork 1 Image:

2
Artwork 2 Title: Sound (Symphony series)
Artwork 2 Dimensions: 100x100cm
Artwork 2 Medium: print graph
Artwork 2 Commentary: An energetic song that empowers and reflects musical harmony. Lights and shadows that
reveals the power of the music vibes.
Artwork 2 Image:

3
Artwork 3 Title: hubbub Nº2 ( the dark roar of the jungle)
Artwork 3 Dimensions: 60x60cm
Artwork 3 Medium: print graph
Artwork 3 Commentary: Hubbub is the vibration of the mexican jungle and the negative of colors and lines that
create the space to review the magic atmosphere of the dark roar of the jungle.
Artwork 3 Image:

4
Catalogue3 ID0589
Artist ID: 0589

Artist Name: Richard Carr


Website: www.richardcarr.ie
IG:

Artist Statement: Manifesting itself in many ways, my work hovers between notions of installation, the sculptural
and the participatory. It evolves out of a core relationship with listening as a critical practice, and sound as a physical,
spatial and tangible material. While my practice is predominantly sound based, it is consistently informed by a visual
art history and context.

My work usually begins with a place, person or notion of sonic interest, the development of the work then takes
place within the intimate setting of my studio. When exhibited, the work straddles a range of intersecting formal,
spatial, sonic and art historical interests. Combining multiple recording methodologies, alongside contemporary
audio technologies, my practice draws out the relatively silent and various histories of sound-making and listening.

Notes:

1
Artwork 1 Title: Dumb Listenings
Artwork 1 Dimensions: Variable
Artwork 1 Medium: Installation
Artwork 1 Commentary: VIDEO DOCUMENTATION LINK
https://vimeo.com/286683235

Melkorka is a princess; she is the first daughter of the Irish King Mýrkjartan of the magnificent
kingdom of Medieval Ireland. However, she loses all this the day she is kidnapped by the Vikings
and brought as a slave to Iceland. Pretending she is dumb, Melkorka takes a personal vow of
silence lasting a few years. Relying on the practice of listening, she carves out a place for herself
in this new world – all without uttering a word. Tracing the story of Melkorka, Dumb Listening’s
developed through a number of research/listening trips to various parts of Iceland.

Dumb Listening’s was developed for the Museum of Contemporary Art London (2018) and was
selected to feature as part of Culture Ireland’s national GB18 programme. It evolved out of a core
relationship with listening as an intuitively critical practice and sound as a physical, spatial and
tangible material. While it was one sonic installation, it comprised of three ‘sonic objects’
entitled: Next! What’s your name? Say Money!, Small-town trickeries and Partner is probably too
strong a word.

They can be exhibited together as Dumb Listening’s or individually under their own names. They utilise Audio-
Spotlight systems allowing them to be exhibited alongside other work.
Artwork 1 Image:

2
3
Artwork 2 Title: Dozing of a City
Artwork 2 Dimensions: Variable
Artwork 2 Medium: Audio-Visual Installation
Artwork 2 Commentary: VIDEO LINK
https://vimeo.com/274480556

This is an audio-video installation which was part recorded in my studio and the Phoenix Park,
Dublin a few months prior to the Papal visit to Ireland. Pope Francis’ visit to Ireland was a highly
controversial event due to decades of revelations and investigations into clerical abuse from the
Roman Catholic Church.

While the Phoenix Park became the listening ground for c.125,000 people to listen to Pope
Francis say Mass, thousands more people gathered in the Garden of Remembrance in solidarity with clerical abuse
survivors and walked in silence to the site of the country’s last functioning Magdalene Laundry. On this day,
Dublin City turned into a divided, multi-layered and contested space for the ear.

In this context, Dozing of a City aims to enquire into the liminality of these divisions and provide
a quiet, contemplative and visceral space for the ear. When exhibited, it can be presented in a
darkened room, with two flat-screen TV’s back to back in the centre. The sound can be played via
loudspeakers. Alternatively, it can be presented in a lit space via headphones with one TV
mounted to the gallery wall.
Artwork 2 Image:

4
5
Artwork 3 Title: Secret
Artwork 3 Dimensions: 24.8x24.8x24.8cm on plinth
Artwork 3 Medium: Installation
Artwork 3 Commentary: VIDEO DOCUMENTATION LINK
https://vimeo.com/101979520

Secret invites the audience to participate with one another in an engaging, playful and subtly
flirtatious 'secret'. Inside the Box are two Omni-directional micro-phones setup to create one
participatory binaural feed to the two sets of headphones. Creating tensions between object and event, the work
created remains a private construction between the two participants, only
lasting as long as they engage with each other. By tapping, touching, scraping and rubbing the
box, the ‘secret’ is created by the participants through the construction of a sonic dialogue.

Secret was exhibited alongside Bill Viola at PERIPHERIES 2014, Gorey School of Art, Wexford, the F15 festival in
association with IMMA, featured in the Dec-Jan (2014/2015) issue of
Aesthetica Magazine and was a finalist for the HotRon Prize at VISUAL Centre for Contemporary Art.

The experience for the audience can vary depending on who you participate with. Is it a friend, someone you are in a
relationship with or a stranger? For a first-time participant the experience
can be tentative as they engage in a shared personal dialogue, performing for each other through interacting with
the box. Participants move their hands from one ear, over the head and around the other giving an almost physical
sensation to the other participant. As participants spend time with the work it can become a communicative device
where participants respond/react to sounds they are creating for each other.
Artwork 3 Image:

6
7
Catalogue3 ID0594
Artist ID: 0594

Artist Name: Freya Tewelde


Website: www.freyatewelde.com
IG:

Artist Statement: The Fossil and the Readymade, investigates the territorial differences of a dense and complex
world. The work attempts to re-evaluate regimes of systemic power that bind the positionality of the individual in
relation to cultural and global forces that govern our societies today. ‘The Fossil’ exposes the invisible dual
states of citizenship and ‘the Readymade’ explores multiple forms of representation that reside outside a
desire for transparent autonomy. In expressing my intentions through The Fossil and the Readymade, I continue to
playfully cleanse an existence of bodily subjects that articulate a move beyond the affliction of hegemonic states
whereby I am directly exposing contradictions, differences and singularities.Â

The Fossil and the Readymade adopts a use of video as a medium conveyed across a visual instrument towards the
emotions and the senses, working through movements of time and memory through the use of mundane objects.
The objects vary from boxing to fighting oneself; untangling chains of lights; fitting into small shoes; suffocating with
various layers of clothing; to roller blading in the dark whilst wearing shoes, a hat and mask carousing oneself. The
work performs elements of homo-eroticism, absurdity and self-questions through various moments of belonging and
disassociation in beauty that co-opts humour as a vehicle to convey the endless cycle of seeming futile actions.Â

Notes:
Youtube = https://youtu.be/X44CU0KSOmM

1
Artwork 1 Title: What left of me
Artwork 1 Dimensions: 205x50cm
Artwork 1 Medium: Monotone photo on tracing paper
Artwork 1 Commentary: Distorted monotone photographic image, floating on to a transparent quality tracing paper
Artwork 1 Image:

2
Artwork 2 Title: Rebirth
Artwork 2 Dimensions: 150x50x30
Artwork 2 Medium: Plaster, clay, jeans trouser
Artwork 2 Commentary: Three identical heads with different shades resting onto a lived jeans trousers.
Artwork 2 Image:

3
Artwork 3 Title: Suffocation
Artwork 3 Dimensions: 19x25
Artwork 3 Medium: Video
Artwork 3 Commentary: A morph suited figure layers and un-layers clothing to point of suffocation
Artwork 3 Image:

4
Catalogue3 ID0607
Artist ID: 0607

Artist Name: Ho Lam Au


Website: www.auholam.com
IG:

Artist Statement: AU Ho Lam, Suzanne was born in Hong Kong. She graduated from the Bachelor of Arts (Fine Art)
programme co-presented by the Royal Melbourne Institute of Technology University, Australia and Hong Kong Art
School. Her creativity integrates ceramics, crafts and photography as the medium between the state of nature spirit
and human’s inner being.

Suzanne is an artist and a natural healing therapist, through the ceramics creation process to manifest the
expression of the human healing thoughts power and reveal ceramic’s own contemporary uniqueness and the
spirit of art.

Her continuous research over the past few years lead to the discovery of a unique ceramics repairing technique. She
explores ceramics and materials through the transformation of the nature recovery process by permeating the fine
fibrous filaments and connecting with the sensory nerves. The hierarchical layers within the materials recorded the
energy, frequency and temperature, subconsciously transforming the hidden energy force.

Notes:

1
Artwork 1 Title: SpectrUM
Artwork 1 Dimensions: H24 x W36 x D10 cm (each included wooden frame on wall x 3 pieces)
Artwork 1 Medium: Cyanotype on Ceramics
Artwork 1 Commentary:
<Spectrum> The cyanotype replaces photographic film in documenting the transformation on ceramics.

Regardless of any place and matter, "consciousness" is present, therefore there must be a "change", and this
“transition― process confirms the presence of “energy― within the materials.

As contradictions accumulate over time, consciousness progressively undergoes a subtle inner to outer transition,
and energy is sustained to affect changes in future. The colour change of “Red― and “Yellow― into
“Blue― is a metaphor of abstract emotion.

Artwork 1 Image:

2
3
Artwork 2 Title: Breathable
Artwork 2 Dimensions: H240 x W130 x D250 cm each
Artwork 2 Medium: Ceramics
Artwork 2 Commentary: <Breathable> The artwork examines the concept of dismantling, the process of change and
reorganizes to completely displace the original cognition. The flowing of the clay is blended into the transformation
to give rise to it subtle qualities. The complement with handicrafts elements such as “cutting, stitching, filling,
plastering, layering― to enhance the form of change. Ceramics transform the internal and external to the original
white space.
Artwork 2 Image:

4
Artwork 3 Title: Self recovery
Artwork 3 Dimensions: W25 x H20 x D12cm
Artwork 3 Medium: Ceramics
Artwork 3 Commentary:
<Self recovery> The artwork series presents the different states from clay to ceramics, with the initial flow,
penetration, forming, breakdown, through to the high temperature in re-firing to form new association and repair.
The hierarchical layers recorded the energy and frequency recovery across time and space.

Artwork 3 Image:

5
Catalogue3 ID0609
Artist ID: 0609

Artist Name: Robin Watkins Davis


Website:
IG: https://www.instagram.com/rart.insta/

Artist Statement: I am 20 years old and a contemporary artist, I am also the UK's youngest qualified yoga teacher, I
trained at 16 years old.
Recently, I finished my art foundation at Stroud college where I was awarded a distinction and an award for
'creativity and innovation,' for my project 'shift' where I explored my fascination for the transformation effects
movement and art can have. The project explored my love for art and yoga and led me to create some of my most
daring work to date, it pushed my boundaries and completely altered my opinions on art and what it meant on a
personal level. I enjoy experimenting with materials, becoming very involved in the material and the way it feels and
interacts with the surface it is on.

After finishing my foundation in summer 2018, I have been running my own business, sharing yoga to young people
in schools and prisons, supporting people with their mental health. This work gives me the time in the day to
continue making artwork. In the beginning of January 2019, I had my first solo art exhibition which in Painswick. The
exhibition was a fantastic experience and I learnt a lot from it. My dream is to exhibit my installation 'shift' again and
offer transformation movement and art workshops to accompany the my main art installation.

Notes:
See USB Stick for video

1
Artwork 1 Title: 'Shift' Main Art Installation
Artwork 1 Dimensions: 350cm x 350cm x 350cm
Artwork 1 Medium: Body paint, perspex
Artwork 1 Commentary: 'Shift' art installation consists of seven pieces of perspex, the perspex has been re-used from
old bus shelters. The seven perspex pieces are suspended from metal rods on a wooden frame. Printing onto the
perspex are various movements and prints of my body, some abstract, other inspired by yoga or dance postures.

Printing with natural based printing ink.

(video of art work being emailed to you via wetransfer)


Artwork 1 Image:

2
3
Artwork 2 Title: Experimental body print on Charcoal 'shift'
Artwork 2 Dimensions: 200cm x 50cm
Artwork 2 Medium: Charcoal
Artwork 2 Commentary: This was the first time I ever printed with my body, an experimental drawing with Charcoal
on drafting paper. It was this piece that inspired be then develop 'shift' the main installation.

The charcoal resists the drafting paper and it never fully sits onto the paper, I became fascinated with resistance and
kept pushing the materials until I then moved onto to using paint and perspex (see entry 1)

Artwork 2 Image:

4
Artwork 3 Title: 'Twirling Around'
Artwork 3 Dimensions: 200cmx300cm
Artwork 3 Medium: charcoal on drafting paper
Artwork 3 Commentary: This piece is a development from (entry 2) and instead of capturing a singular posture or
expression it captures a journey, a dance, a movement.
This piece is made with drafting paper which I have hand stitched together, charcoal is then applied to the drafting
paper and by body issued as the eraser to remove the material. This was such a joy to make a very messy!
Artwork 3 Image:

5
Catalogue3 ID0610
Artist ID: 0610

Artist Name: Andrew Walworth


Website: andrewwalworth.co.uk
IG: andrewwalworth

Artist Statement: This artwork produced as a dynamic lenticular flip contradicts the qr barcode form and uniquely
allows for a dialogue in this edition between the personality and the political. Trump against Pelosi. Right versus Left.

A QR code is well known for its use as a static single read image and not open to contradictions or change eg for
simplicity you may support Donald Trump or are pro a Hard Brexit and are not given to listen to any contradiction of
that held view even though it may lead to a state of cognitive dissonance.

The possibility of an alternative voice on the same surface of the seen image avoids any problems with an artwork
reinforcing an opinion already held. A situation which would nullify the prospect of adding to debate one way or
another.

I have used a qr form on a Labour Party t-shirt that connects to a video showing the disconnect between the Party
leaders and the Jewish Board of Deputies.

I have produced paintings relating to past and current wars which highlight the effects of violence and prejudice on
the personal and political level (‘Art for An Ambulance’ at the Fishing Quarter Gallery in 2016 & ‘PopUp
Gallery’, Studio 1, 2-4 Greenside Road, London W12 in 2017) and have curated an exhibition on that theme that
included works by myself, a second-generation Holocaust Survivor Lorna Brunstein and film maker Richard White
(Beaumont Gallery ‘Cut Flowers’ 2017)
. "..Dada poet Hugo Ball’s claim that: “For us, art is not an end in itself … but it is an opportunity for the true
perception and criticism of the times we live in.―
The artwork is a response to the antisemitic hounding of Louise Ellman by the Labour Party

Notes:

1
Artwork 1 Title: BeginningEnd
Artwork 1 Dimensions: 42x42x0.2
Artwork 1 Medium: Plastic Lenticular flip
Artwork 1 Commentary: Video Link: https://youtu.be/qeigqRjNgxY

Open up Camera on iphone/tablet or use a QR reading app on any phone.


Hold up to Front of image. Press popup link to video.
Move to the RIGHT side of image which alters as you move round and repeat the process to view different video.

First video is live Twitter feed of Donald Trump. The second video is live Twitter feed of Nancy Pelosi
Artwork 1 Image:

2
3
Artwork 2 Title: Yet Again
Artwork 2 Dimensions: 61 x 46 x 0.5
Artwork 2 Medium: Cotton
Artwork 2 Commentary: This is an official Labour Party t-shirt with a hand drawn QR code screened onto it.
The qr code is linked to a video containing an image of the contraversial mural in Shoreditch by Kalen Ockerman and
a snippet of a response from Jonathan Arkush from a meeting held with Jeremy Corbyn which relates to his reaction
to the mural and his management of antisemitic forces in the Labour Party.
Artwork 2 Image:

4
Artwork 3 Title: 0
Artwork 3 Dimensions: 0
Artwork 3 Medium: 0
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0617
Artist ID: 0617

Artist Name: Paul Hagan


Website: https://ni4.com.au/
IG:

Artist Statement: Time in our lives is a constant evolving sequence of events. All of us are interconnected within the
dimension of time. I believe our thoughts are a causative mechanism for the future events in our lives. Evaluating
negative and inappropriate thought patterns is essential for the healthy development of society. These images
illustrate the formation of time in our reality and the subsequent need for the adherence to the best possible set of
values we can as a whole. These images capture some city scapes and the interpretation of them through the state
of the city currently. Developed through digital media using a variety of techniques they encapsulate the formation
of our reality through interpretation.

Notes:

1
Artwork 1 Title: Reality and its formation.
Artwork 1 Dimensions: 101.6 x 57.15 x 1
Artwork 1 Medium: Digital Media
Artwork 1 Commentary: The Matrix of Time is illustrated in this image through the evolving shapes representing the
elements of its formation. Imposed on the city scape it conveys the wealth and class the city has within its grasp. The
future determined by its occupants it forms the reality we think of as a collective body of people we can perhaps
improve our own futures. The lights and colours illustrate the constant movement of time as it forms over the city
and the resultant reality that forms.
Artwork 1 Image:

2
Artwork 2 Title: Transfiguration Matrix
Artwork 2 Dimensions: 101.6.x 57.15 x 1
Artwork 2 Medium: Digital Media
Artwork 2 Commentary: This image illustrates an interpretation of the city through a distortion and realisation of
aestheticism and attempts to capture the nature of the city at night. Through colour space shape lighting and design
the city is portrayed as a living reflection of the current state that the city resides in. The dark colours capturing the
often-unfriendly atmosphere contrasted by the Lights and cars composited to create an image of Sydney at Night.
Artwork 2 Image:

3
Artwork 3 Title: The City 7
Artwork 3 Dimensions: 101.6 x 57.15 x 1
Artwork 3 Medium: Digtal Media
Artwork 3 Commentary: This image of everyday building and objects is a distorted interpretation amalgamated into
a surreal image that encapsulates many of the aspects of the city at Night. Our thoughts contribute to the realities
that form some many I feel have the wrong attitudes and perpetuate wrong in society. And as such teach wrong to
our children. This image is a representation of those process interpreted by design and shape.
Artwork 3 Image:

4
Catalogue3 ID0630
Artist ID: 0630

Artist Name: X. A. Li
Website: xa-li.com
IG:

Artist Statement: I am a multimedia artist and computer scientist based out of Chicago, USA. I use digital media,
sound art, and text to explore how individual personhood interacts with complex economic and technological
systems, especially the juxtaposition of messy realities against simplified versions constructed for consumption. My
work frequently employs computer algorithms and large datasets to investigate the unintended narratives of human
experience emerging from the vast corpus of information generated through contemporary life.

Notes:
See USB Stick for Video

1
Artwork 1 Title: In Touch
Artwork 1 Dimensions: 160cm x 250cm x 1cm
Artwork 1 Medium: Website, video, sound
Artwork 1 Commentary: In Touch displays live surveillance footage from around the world ranging from billboards,
offices, to cities, paired with a looping composition constructed entirely from audio datasets and operating system
sounds. The footage is streamed in real time from unsecured cameras refreshing randomly every few seconds,
creating an ever-changing tableau of raw scenes alternatingly static and unpredictable. While the cameras are
publicly accessible and of public locations, individuals in each scene appear unaware that they are being surveilled or
that the footage is globally visible. This work contemplates the physical versus digital connectivity of the modern
world, to what extent the intimacy and access afforded is genuine, simulated, or something else entirely.

Video streams are from insecam.org. Raw sound data is from the ESC-50 dataset.

A/V: Projector or LCD screen, speakers (sound can also be performed live in an extended version of what's on loop)

Link: https://drive.google.com/open?id=1KmtFub-6ECfrr7c9C9Z4KMnnHu4sdTzQ
(Sharing as a video for ease of access; the real installation would be hosted on a live website).
Artwork 1 Image:

2
3
Artwork 2 Title: The Ease of Desire
Artwork 2 Dimensions: 140cm x 250cm x 1cm
Artwork 2 Medium: Video
Artwork 2 Commentary: Products are marketed as desirable, complete, and self-contained. The extractive processes,
labor, and supply chains required to deliver consumer objects are conversely invisible by design. This project renders
commercials—particularly those with a personalized, emotional affect, marketing a feeling moreso than the object
itself—in video mosaics composed of industrial imagery and confrontational footage. The sample provided uses
frames from the documentary "The Biggest Factory in the World" to recall a Victoria's Secret commercial.

A/V: Projector or LCD screen

Link: https://drive.google.com/open?id=1KqWX-PnTgiYky6YHQ_khJ4LHO52N860O
Artwork 2 Image:

4
5
Artwork 3 Title: Eternal Face (Self Portrait)
Artwork 3 Dimensions: 25cm x 25cm x 1cm
Artwork 3 Medium: Digital image
Artwork 3 Commentary: Eternal Face is an algorithmic self portrait. The original photo is processed to identify facial
feature points and subset the image into divided facial regions — a nose, the corner of an eye, a crinkled lip. Each
region is then passed into an algorithm that attempts to reconstruct the face based on visual continuity, interpreting
the human based on the limited information provided.
Artwork 3 Image:

6
Catalogue3 ID0635
Artist ID: 0635

Artist Name: Viviana Troya


Website: VIVIANTROYA.COM
IG: @VIVIANABTROYA

Artist Statement:

Notes:
Vimeo = artwork 2 - https://vimeo.com/319532452, artowrk 3 - http://vimeo.com/252038934

1
Artwork 1 Title: Hatchery
Artwork 1 Dimensions: 180x92x35 CM
Artwork 1 Medium: Sculpture
Artwork 1 Commentary: Medium: Metal, ceramic and acrylic paint.
"Hatchery" is an installation made with ceramic representations of the Virgin Mary’s head that resemble an egg.
The pieces are put in a metallic structure that takes the form of an incubator. The work speaks about mass
production of both culture and goods, exploring the forces, intrinsic and entrenched, that glue society together:
food, religion, humor, and reproduction.
Artwork 1 Image:

2
Artwork 2 Title: Waiting Time
Artwork 2 Dimensions: Live video
Artwork 2 Medium: Moving Image
Artwork 2 Commentary: Medium: Security camera live streamings of waiting rooms.
"Waiting Time" is a live stream featuring numerous security cameras from all around the world, showing spaces in
which people are expected to "wait".

Artwork 2 Image:

3
Artwork 3 Title: Scrolling
Artwork 3 Dimensions: Variable
Artwork 3 Medium: Multichannel video without sound
Artwork 3 Commentary: A hand missinteracitng with raw objects by scrolling. In each scenario, the action takes place
until the hand is physically impaired to continue with the movement.

Excerpt: http://vimeo.com/252038934

Artwork 3 Image:

4
Catalogue3 ID0637
Artist ID: 0637

Artist Name: Matthew Tsang


Website: https://www.matthewtsang.hk/
IG:

Artist Statement: My works investigate the relationship between time, change, process and materiality response to
an ever-expanding world – through population, technology, economy and society in general. And my works mainly
with a variety of natural materials including wood, ice and charcoal and utilises processes including burning, melting
and freezing. Most of the artworks are presented in installation, video, photographs and sculptural objects.

Notes:
Youtube = https://www.youtube.com/watch?v=63Zv57Clm7Y or Manual Entrant Video

1
Artwork 1 Title: Before Collapse
Artwork 1 Dimensions: 140 x 275 x 200 cm
Artwork 1 Medium: Installation
Artwork 1 Commentary: We live in a world which keeps expanding - be it population, technology, economy or
society. Will there be a saturation time after which things will start to collapse? Are we heading to a tipping point
beyond which only ruins will remain? In my work "Before collapse" the charcoal objects were originally suggestive of
the human being, but in their transformed state became signs of fragility, melancholy, absence and loss. Perhaps the
more important questions what will come next after their collapse.

Charcoal is a medium that carries the idea of flux, as it represents an interim physical state between solid wood and
ash. Carbon, of which charcoal is made up, is in turn an important constituent of all life forms. I deliberately cast the
feet in a contemporary and yet timeless style of footwear to order that the image looks current but at the same time
hints back to classical statuary. This is a reference to our civilization, reminding that eras have passed after eras and
humans are going to repeat our history time and time again.
Artwork 1 Image:

2
3
Artwork 2 Title: Time Drift
Artwork 2 Dimensions: 275x275x200 cm
Artwork 2 Medium: Installation
Artwork 2 Commentary: “Time, like mind, is not knowable as such. We know time only indirectly by what
happens in it, by observing change and permanence, by marking the succession of events among stable settings, and
by noting the contrast of varying rates of change.― - George Kubler, "The Shape of Time".

The material used in this artwork was an unintended by-product of the charcoal making process. Aluminium foil was
used to wrap the wood as a simple solution to creating an oxygen-free environment. The foil was used simply
because it was readily available and could survive the burning process. During the unwrapping, I discovered that the
paint or varnish on the furniture had left their mark on the foil. The destruction transformed the coatings and left
them as residues burnt into the surface of the foil. Here, by staying open to the accident, the process had given me
traces of time in visual form. The colours were not just browns and blacks from burning, but iridescent greens, blues
and purples. The transformation had produced its own abstract images and forms.

The foil was delicate and came off the furniture in fragile pieces. It was another transformation from the shiny,
straight-sided machine manufactured rolls to delicate organic shapes, it seemed as if the metal was returning to a
more natural state despite human interventions either in its manufacture or the burning process.

I wanted the viewer to be able to not just look at this piece but to have an effect on it. The traces on the foil invite
the viewer to inspect them closely and see the traces of time. The viewer’s movement will be enough to cause
some gentle movement in the installation, perhaps just a flutter, so it will not be static. Time passing will be made
visible in another subtle way.

Artwork 2 Image:

4
5
Artwork 3 Title: Black ice dissolve
Artwork 3 Dimensions: 0
Artwork 3 Medium: video, 06:13
Artwork 3 Commentary: Youtube link of "Black Ice Dissolve"
https://www.youtube.com/watch?v=63Zv57Clm7Y

We Transfer download link for "Black Ice Dissolve" Low-resolution version:


https://we.tl/t-qezcXHuLYq

This video artwork recorded black coloured ice melting onto and staining paper. The particular paper was scored in a
mathematical grid format. Although I controlled the set up, there was still an element of uncertainty in the process
leading up to the final product. The outcome could only partially be predicted, the final image depended on the flow
of melt water and the surface texture and absorbency of the paper on the day. I wanted this to capture the almost
oppositional ideas of the certainty of the process (ice melting) along with the uncertainty of the final image
(coloured stain patterns).

The idea was to convey both the concept of uncertainty during the creative process itself, as well as the minutiae of
unpredictable variables within a stable overall process of change. This could also stand as a metaphor for the human
variables of change, our individual uniqueness, set in a framework of inevitability, the regenerative life cycle of which
each of us is just a part.
Artwork 3 Image:

6
7
Catalogue3 ID0647
Artist ID: 0647

Artist Name: Bo Aakerstrom


Website: boaakerstrom.com
IG:

Artist Statement: I am a graphic designer who left university with a BA(Hons.) in "Graphic Design with an Art Focus".

While commercial design is one of my services - both for print and web publishing, I have a fascination with surface
pattern design - in particular repeating patterns, which have a multitude of applications in the real world, as well as
in art.

My belief is that art has many roles in our society - it can challenge and entertain, be a catalyst for change as well as
creating an atmosphere in out environment.

Notes:

1
Artwork 1 Title: Cross
Artwork 1 Dimensions: 59.4x42
Artwork 1 Medium: Digital print
Artwork 1 Commentary: An A2 poster with a repeating pattern in the form of a cross.

The design is inspired by Celtic art, but not in an original Celtic style.

The three layers suggest body, soul, and spirit.


Artwork 1 Image:

2
Artwork 2 Title: Hashtag
Artwork 2 Dimensions: 59.4x42
Artwork 2 Medium: Digital print
Artwork 2 Commentary: The humble hash symbol is having a renaissance currently, with usage far beyond its original
meaning.

Depicted here on an A2 poster which is a play with white space as the symbol is not actually there, only the coloured
gradient which adds depth to the design.
Artwork 2 Image:

3
Artwork 3 Title: Summertime
Artwork 3 Dimensions: 59.4x42
Artwork 3 Medium: Digital print
Artwork 3 Commentary: Waiting for the summer sun to arrive, to give us warmth and life, however, our suns surface
is a volatile place and here the chaos is represented by a pattern moving outwards to fuel the rays we crave.

This is an A2 digitally printed poster.


Artwork 3 Image:

4
Catalogue3 ID0661
Artist ID: 0661

Artist Name: Shawanda Schiefer


Website:
IG:

Artist Statement: I am a visual digital artist currently living in Las Vegas, Nevada. My passion for art was first
established through my love for fashion design, sketching and creating clothing at the age of 6 and gathered
inspiration from famous fashion designers of my generation. I draw my inspiration from the shape and form of the
female physique. I consider myself a pinup artist or sexual empowerment artist. I use sex as a medium reference to
show, to invoke and to influence women to take control of their sexual desires through suggestive positions, sexual
dominance and physical manipulation. I incorporate those themes and messages in each art piece as a reminder
that women are in full control of their desires and sexual freedom. My goal is to create art that is striking and
beautiful, with an homage to fashion and illustration. I start my process of visual art by incorporating images of
seductive women that are edgy. I collect pictures from magazines and stock photos as inspiration. I work in a semi-
realistic manner depicting portraits and figures of females. I want the women to be strong; to be in control and to
exhibit femininity with a focus on feminism that speaks to all genders regardless of sexual preference and gender
identification.―

Education:
Graduated from the University of Las Vegas Nevada, with a Bachelor’s degree in Accounting and MBA in Finance.
Today, I regard myself as self-taught artist, having developed my style and expression from non-traditional mediums.

Notes:

1
Artwork 1 Title: Becoming
Artwork 1 Dimensions: 40.64 X 40.64
Artwork 1 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 1 Commentary: Becoming is the process of passing into a state of being more or greater than who you
currently are. The process of evolving or changing your current state of mind and realizing your full potential as a
person. The backdrop is painted in layers of color bursting with energy, while blending beauty and light- indicating
the mental and personal state of awakening as one becomes.
Artwork 1 Image:

2
Artwork 2 Title: Dietrich
Artwork 2 Dimensions: 40.64 X 40.64
Artwork 2 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 2 Commentary: Dietrich was inspired based on several classic movies and posters including Marlene Dietrich
and how technology has changed from smoking cigarettes to trading it in for another similar vice– vaping (E-
cigarettes) using sexuality in the forefront. The words in the background indicates the mixed messages and
communication we hear in the news and the world around us.
Artwork 2 Image:

3
Artwork 3 Title: Exhibitionist
Artwork 3 Dimensions: 40.64 X 40.64
Artwork 3 Medium: This piece was illustrated, painted and airbrushed digitally on canvas.
Artwork 3 Commentary: The Exhibitionist explores the lines of sexual liberation and sexual display. Asking the
question, is exhibitionism the new normal in sexual behavior, since society is infatuated with constructing and
disseminating provocative images to seduce the eye?
Artwork 3 Image:

4
Catalogue3 ID0665
Artist ID: 0665

Artist Name: Raquel Palis


Website: www.forevermoreac.ca
IG: https://www.instagram.com/raquelpalis/

Artist Statement: Based in Toronto, Canada, Raquel Palis and Paulo Ramos are the Forevermore. Their work
combines paintings, augmented objects and sounds, expanding the static bi-dimensional physical state of lines,
colours, and shades to a tri-dimensional kinetic representation, exploring unforeseen movements and sounds with
augmented reality practice. Sometimes minimalist and hypnotic, sometimes a shocking extravaganza of textures and
sounds, the computer graphics generated images resembles a surreal world.

INSPIRATION & VISION:

Paulo absorbs the essence of Raquel's mosaic of events-based in social questions as a Brazilian immigrant point of
view, expressed in the paintings, and drift himself through contemplation and reflection, then builds his own
imagetic interpretation of Raquel's artworks. They do it exhaustively, exploiting the digital inevitability, creating
connections between each one’s analyses through art and technology. They're motivated to improve the viewer's
outlook on a questionable and dystopic and surreal world, beyond the existence of the virtual object. The works
expose the discrepancy between the analog and the virtual by fusing these divergent universes on art expression
form. The forevermore artworks immediately arouse the viewer's interests and surprisingly turns into an explosion
of sublime-emotions once these worlds are displayed to the viewer The Artmented app, used to display the
augmented reality artworks, is under constant evolution once new artworks are finished. Pushing the boundaries of
contemporary art, engaging demographics for innovative use of technology and its invention of a new word
aesthetics, empowering the public in order to get them closely of the narrative beyond the digital.
We also investigated the individual contemporary digital routine, influenced by the mass communication platforms
and how we can make this everyday journey meaningful. The 3D computer graphics activated through Augmented
Reality as a medium, empowers the public sensations and stimulates them to reach personal perceptions

Notes:

1
Artwork 1 Title: Mozinerine
Artwork 1 Dimensions: 45.7 cm x 61 cm
Artwork 1 Medium: Augmented reality Sculpture over Acrylic on canvas
Artwork 1 Commentary: Acrylic on canvas artwork suggests cooperative arrangements, and how these individuals
unique in form, effect and variation are at the same time intentionally co-related among each other aiming to be
complimentary even when sometimes raises an illusionary sensation of repetitiveness. Leading the audience to a
central composition which it is the syntax of collectives or organizations in a contemporary context, influenced by
the industrial shift.
The Augmented reality in Mozinerine can be manipulated by the audience drifting the finger on the screen, creating
unique patterns, lead the audience a constantly co-create of our work.
We create digital and analog assets in one context fusion of two discrepant worlds. We truly believe that our art will
be displayed without a mobile device or an awkward headset, just with elegant regular glasses in a common reality.
Please download Artmented and to activate it.
Artwork 1 Image:

2
3
Artwork 2 Title: Orgramica
Artwork 2 Dimensions: 45.7cm x 61 cm
Artwork 2 Medium: Augmented reality Sculpture over Acrylic on canvas
Artwork 2 Commentary:
Artwork 2 Image:

4
Artwork 3 Title: 0
Artwork 3 Dimensions: 0
Artwork 3 Medium: 0
Artwork 3 Commentary:
Artwork 3 Image:

5
Catalogue3 ID0666
Artist ID: 0666

Artist Name: Camille Pinkerton


Website:
IG:

Artist Statement: I am a 19-year-old student/artist pursuing a career in fashion design. I believe fashion design - if
done correctly - can be an art form, elevating many things including the conversation, the human experience, the
mood. Today I am entering a few different of my works, two of which have nothing to do with fashion design.

Notes:
See USB Stick for Video 1

1
Artwork 1 Title: Drone Dream
Artwork 1 Dimensions: Video
Artwork 1 Medium: Video
Artwork 1 Commentary: I set out to create a magical, dreamlike short film to remind us how small and insignificant
we humans are.
Artwork 1 Image:

2
Artwork 2 Title: Blueface
Artwork 2 Dimensions: 53 cm x 43 cm
Artwork 2 Medium: Acrylic
Artwork 2 Commentary: This is a self-portrait, painted during a time in my life of great transition and anxiety.
Artwork 2 Image:

3
Artwork 3 Title: The Girls
Artwork 3 Dimensions: 24 cm x 19 cm
Artwork 3 Medium: Pen and watercolor
Artwork 3 Commentary: These are a few of the designs I hope will be part of my collection someday.
Artwork 3 Image:

4
Catalogue3 ID0668
Artist ID: 0668

Artist Name: ReGis Oliveira


Website:
IG:

Artist Statement: Professor of Visual Arts at the Federal Institute of Maranhão - Brazil. Researcher on digital art,
focusing on virtual and augmented realities. Doctorate of the program in Performative Arts and the Moving Image of
the University of Lisbon.

Notes:

1
Artwork 1 Title: Self-portrait nº 1 or "Abaeté"
Artwork 1 Dimensions: 59,4 x 42 x 0,5
Artwork 1 Medium: giclee on acrylic
Artwork 1 Commentary: Selfie-portrait nº 1 or "Abaeté" is the result of the recent research that I do in the
doctorate to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I am
influenced by Frida Kahlo and the phenomenon of selfie. Abaeté (which in the Tupi Brazilian indigenous dialect
means true man) is a self-portrait that brings together the cultural and historical traits common to my reality. The
artist's image acts as a kind of dividing line between a violated nature and the expansion of progress.
Artwork 1 Image:

2
Artwork 2 Title: Self-portrait nº 2 or Wanted
Artwork 2 Dimensions: 42 x 59,4 x 0,5
Artwork 2 Medium: giclee on acrylic
Artwork 2 Commentary: Self-portrait nº 2 or Wanted is the result of the recent research that I do in the doctorate
to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I am
influenced by Frida Kahlo and the phenomenon of selfie. In this self-portrait, I try to reflect on the phenomenon of
intolerance in relation to differences of identities.
Artwork 2 Image:

3
Artwork 3 Title: Selfie-portrait nº 3 or My Real Appearence
Artwork 3 Dimensions: 59,4 x 42 x 0,5
Artwork 3 Medium: giclee on acrylic
Artwork 3 Commentary: Selfie-portrait nº 3 or My Real Appearence is the result of the recent research that I do in
the doctorate to merge traditional genres of painting, such as self-portrait, with digital technologies. In my research I
am influenced by Frida Kahlo and the phenomenon of selfie. In this self-portrait, I discuss how society can be
manipulated, especially by the media and social networks, to adopt a pattern of behavior that leads to social
acceptance. Regional identities are replaced by standards imposed by the media.
Artwork 3 Image:

4
Catalogue3 ID0669
Artist ID: 0669

Artist Name: Vitalii Kuzovkov


Website: https://www.youtube.com/channel/UCk4qVXmz19bbeFKUfF9_HbQ?view_as=subscriber
IG: https://instagram.com/vitaliikuzovkov?utm_source=ig

Artist Statement:

Notes:
Youtube = https://www.youtube.com/watch?v=r1bbQp3cn1o, https://www.youtube.com/watch?v=gBUfKEfkoDc

1
Artwork 1 Title: Deception
Artwork 1 Dimensions: 63x50
Artwork 1 Medium: Paper, pencil
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: The Dolphin
Artwork 2 Dimensions: 0
Artwork 2 Medium: https://www.youtube.com/watch?v=gBUfKEfkoDc
Artwork 2 Commentary: Welcome to watch this artwork on my YouTube channel following the link below:
https://www.youtube.com/watch?v=gBUfKEfkoDc

Hope, you will enjoy it. Thank you.

Artwork 2 Image:

3
Artwork 3 Title: Bo
Artwork 3 Dimensions: 0
Artwork 3 Medium: https://www.youtube.com/watch?v=r1bbQp3cn1o
Artwork 3 Commentary: Welcome to watch this artwork on my YouTube channel following the link below:
https://www.youtube.com/watch?v=r1bbQp3cn1o

Hope, you will enjoy it. Thank you.

Artwork 3 Image:

4
Catalogue3 ID0703
Artist ID: 0703

Artist Name: Beverley Duckworth


Website:
IG:

Artist Statement:

Notes:
Vimeo = https://vimeo.com/260771429

1
Artwork 1 Title: Remains (Hair)
Artwork 1 Dimensions: 50 x 50 x 3cm
Artwork 1 Medium: Photography
Artwork 1 Commentary: When it forms part of our bodies, hair is seen and cared for as an item of beauty, but
separated from us it becomes an object of disgust. Using hair tangles collected from my comb, I created this
kaleidoscope or mandala (which on closer inspection contains bodily references).

Artwork 1 Image:

2
Artwork 2 Title: Hollow
Artwork 2 Dimensions: 29.7 x 42 x 3cm
Artwork 2 Medium: Photography
Artwork 2 Commentary: The female pelvis is a channel where life begins, but for some it can also be a reminder of
loss, absence and aging. I took this photograph of a life size sculpture that I made of a female pelvis, with a light box
placed behind it. The sculpture is made from a mix of flax and milk protein fibres individually layered and
interweaved.

Artwork 2 Image:

3
Artwork 3 Title: Capsula
Artwork 3 Dimensions: 3m 4 sec
Artwork 3 Medium: Moving image
Artwork 3 Commentary: https://vimeo.com/260771429 (link to my video)

Vacuum cleaners are repositories of DNA. Fragments of our bodies – dead skin and hair - are regularly sucked into
the stomach of the machine. I performed an endoscopy on my vacuum cleaner to explore the traces of my body held
within it. This resulted in a video which takes the viewer on a fictional journey into the hoover personified as my
body.

(My video would require a monitor or could be projected onto a wall)

Artwork 3 Image:

4
5
Catalogue3 ID0723
Artist ID: 0723

Artist Name: Jaime Urencio


Website:
IG:

Artist Statement: Through my work I celebrate an abundance of color and life. I aim to convey a playful tone that
allows both the artist and the viewer to escape from the hardships of life and indulge in forms that do not demand
to be justified or explained.

My most recent projects have used fish as inspiration. I drew one hundred species of fish throughout a period of one
hundred days in 2018. These fish were drawn uninterruptedly across 9 different cities and 3 continents. The items in
this submission are a continuation of that work.

I enjoy an eclectic use of materials in the pieces that I produce, grounded in the belief that contemporary artists
must exploit all available resources for expression. I am interested in the role of technology as an enabler in the
creative process. These pieces of work combine digital drawing with acrylic and ink on canvas board and are glazed
with epoxy resin.

Notes:

1
Artwork 1 Title: Ryukin 1 0219
Artwork 1 Dimensions: 40 X 40 X 2
Artwork 1 Medium: Mixed media (Digital drawing, acrylic & ink on canvas board and resin)
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: Oranda 0219
Artwork 2 Dimensions: 36 X 36 X 1
Artwork 2 Medium: Mixed media (Digital drawing, acrylic & ink on canvas board and resin)
Artwork 2 Commentary:
Artwork 2 Image:

3
Artwork 3 Title: Ryukin 2 0219
Artwork 3 Dimensions: 40 X 40 X 2
Artwork 3 Medium: Mixed media (Digital drawing, acrylic & ink on canvas board and resin)
Artwork 3 Commentary:
Artwork 3 Image:

4
Catalogue2 ID0753
Artist ID: 0753

Artist Name: Ellen Paige Leach


Website: https://www.ellenpaigeleach.co.uk/
IG: https://instagram.com/ellenpaigeart

Artist Statement: My work is a direct response to my surrounding environment, by exploring the concept of the
digital along side the landscape I aim to create a dialog between technology and nature. The Internet has become
central to our experience of the world. My work follows the ever changing technologies that consume our daily lives.
A glitch or error in an otherwise perfect landscape has the power to highlight the cracks in artificial internet
identities. As a global community we are all at once networked and yet curiously detached. Using ever changing
digital devices as a medium to create malfunctioning imagery I invite the audience to see errors in a different light.

Notes:

1
Artwork 1 Title: Data at Rest - Series #3
Artwork 1 Dimensions: 62.4 x 30.8 x 3.5
Artwork 1 Medium: New Media on Aluminium
Artwork 1 Commentary: Data at Rest is a series of images reminiscent of a distinct moment, place and atmosphere.
Series #3 is a Triptych formed of photographs taken from Bedruthan Cliffs, Cornwall, England.

Utilising digital techniques my process involves breaking images apart until they become something new. Working
with scripts and coding means the outcomes are always unpredictable and random. Using Photoshop to finalise, my
focus stays on shapes and colours of the land and sea to create malfunctioning landscapes.

Each individual panel of the triptych is 20.8cm x 30.8cm. There are 3 panels.

This work is in a limited edition of 5.


Artwork 1 Image:

2
3
Artwork 2 Title: Gunwalloe #1
Artwork 2 Dimensions: 80 x 120 x 0.3
Artwork 2 Medium: New Media on Aluminium
Artwork 2 Commentary: 'Gunwalloe #1' is one of 10 pieces that feature in the Gunwalloe Collection. These pieces are
formed from landscape photographs that were taken at Gunwalloe, Cornwall, England.

Utilising digital techniques my process involves breaking images apart until they become something new. Working
with scripts and coding means the outcomes are always unpredictable and random. Using Photoshop to finalise, my
focus stays on shapes and colours of the land and sea to create malfunctioning landscapes.

This work is in a limited edition of 5.


Artwork 2 Image:

4
5
Catalogue2 ID0771
Artist ID: 0771

Artist Name: Laura Cowley


Website: lauradaisycowley.com
IG: lauradaisycowley

Artist Statement: Laura Cowley makes work that explores the intersection of the machine with the natural. The work
questions the assumed distancing of digital processing. Looping projections are evasions of closure, denials of decay
and highly authored repeated moments that highlight a tension between the natural and forms reproduced by
technology. Technology can create a facsimile of an experience and the work explores the possibility that
replacement, via technology, might be good enough and whether our instinctual distrust of the artificial is
warrented. Haraway’s idea of the myth of the cyborg discusses the false dichotomy of nature and machine, or
human and machine. Engaging with digital methods is a way of embracing the machine and artificiality. Digital
processing and the labour involved are further explored in the ongoing Union for the Useless project. The Union
aims to address a frustration with the centring of people’s potential to work as being inextricable from their
worth, particularly in light of the utopian potential of emerging technologies on societies relationship to work and
labour. The lens of projection through which the work is created is distorted (and perhaps clarified) by the
experience of disability.

Notes:
See USB Stick for Video 2

1
Artwork 1 Title: Little Good to Ourselves
Artwork 1 Dimensions: 260x147
Artwork 1 Medium: Printed canvas, curtain ties
Artwork 1 Commentary: The Union for the Useless is a hypothetical organisation to represent people who are not
part of the world of paid work or who exist precariously on the margins of full time employment. The Union
celebrates a supposedly toxic aspect of identity. It asks whether by embracing this maligned identity, rather than
distancing ourselves from it, some kind of community or even self acceptance might be found. The banner uses
humour to engage with the fact that not being ‘in work’ is something that most will experience and to
negotiate the feelings of shame that often accompany these moments. This work is part of a larger Union for the
Useless project which engages with Benjamin’s thought on the power of Chaplin’s films where ‘the
laughter that these films provoke hovers over an abyss of horror.’ The project affirms that there is potentially a
radical moment in acknowledging the negative, particularly if it can be laughed at.
Artwork 1 Image:

2
3
Artwork 2 Title: Ordinary Time
Artwork 2 Dimensions: 150x60
Artwork 2 Medium: (New Media) Video installation, portable projector disguised in key box
Artwork 2 Commentary: This light installation is a continuously looped projected animation lasting just eight
seconds. The Themes of metamorphosis and renewal are contrasted with stifling repetition. The work is preoccupied
with contemplation, artificial light, Bergsonian ideas of repetitive moments, and full utilising the quickest glance
someone experiencing the work might grant to it.
Each frame and each layer is drawn by hand but processed digitally and re-introduced into new environments using
a portable pico projector. The projector was also positioned low on the wall, so that people observing the work head
on, cast their own shadow onto the piece. The movement in the piece lasts just four seconds, and then loops
continuously in a meditative rhythm.
The image provided is of the projection as it appears installed in a gallery space. The following link is a 1 minute clip
of the file which is projected to create the instalation.The full file loops seamlessly. I have a suitable projector and
the projection itself is designed so that it can and always has been shown in light gallery spaces. Mains power supply
is needed.
WeTransfer link: https://we.tl/t-rioikahP23
Artwork 2 Image:

4
5
Catalogue2 ID0773
Artist ID: 0773

Artist Name: Valeria Abendroth


Website: www.valeria-abendroth.com
IG: valeria abendroth

Artist Statement: The artistic topic of Valeria Abendroth is to explore how culture, society and the advancement of
technology influence personality-development.
"With cosmetic, technical and pharmaceutical means, we change to comply with social norms. The intellectual and
physical abilities of a person are exposed to enormous competitive pressure. We are encouraged to strive always to
the perfect existence. « says the artist.
Valeria artistically processes her knowledge into these themes through the use of media such as sculpture,
installation and video.
As a Russian-born artist who grew up in Germany, she is particularly interested in Russian female identity. Beauty,
cultural influence, the role of the women and her self-discovery, is what comes out in her poetic and appealing video
works. Through the combination of culturally influenced topics and the current way of life, she arises a dialogue that
works as interface between tradition, present and future.
In the same way Valeria's sculptures reflect on the meaning of our body in the present and the future. The media she
works with are declines mostly coming from the medical field, such as synthetic materials, waxes and silicons. Her
biomorphic sculptures, as reminiscent of human body parts, become integrated parts of the spatial installations
where reality and fantasy merge in the space.
Valeria's artworks are at the same time traditional and experimental. The visualization of her works is often playful,
through the use of this peculiar materials and original aesthetics she arouses curiosity and opening up new ways of
perception for the viewer.

Notes:
Vimeo = https://vimeo.com/229784486

1
Artwork 1 Title: memory I
Artwork 1 Dimensions: 22,5cm x 25cm
Artwork 1 Medium: Linoleumcut
Artwork 1 Commentary: The linoleum pictures are one of my newly developed technique which is derived from the
conventional linoleum section. The flat high-pressure tool (the linoleum plate) originally intended as a printing block
in art production, becomes a filigree relief.
The raised linoleum cutouts produce different light incidents and give the work an interesting play of light and
shadow.
The cutting happens in a near meditative state. Due to the required precision, concentration and sensitivity creates a
close relationship between me and the portrait.
Looking at the work, a delicate, mysterious lady appears.
The linoleum pictures symbolize the idea that every human is not interchangeable, but unique individuals who
require a closer look to recognize the true beauty. The process of cutting into the surface of the material is like
digging and searching for the real thing.

Artwork 1 Image:

2
3
Artwork 2 Title: мне нравитѕѕ (engl.: i like it)
Artwork 2 Dimensions: variable, 3 channel video installation, 14.36 min
Artwork 2 Medium: videoinstallation
Artwork 2 Commentary: Here, three women sit side by side in an empty room, wearing neutral clothes and each is
wearing a headdress. They talk to each other and sing traditional Russian folk songs, which are about love, home and
humor. I connect these pictures with audio excerpts of a conversation with my grandmother, where she talks about
beauty and explains the meaning of two Russian love songs. The music consists out of pieces by Rachmaninov and
Tchaikovsky in addition to short excerpts of electronic sounds.
So I describe the search for identity at the interface between tradition, present and future.

In this video work "Мне нравитѕѕ - Mne Nravitsa" (I like it), unconscious cultural experiences are
discussed on the development of personal and social identity.
I developed a stylized form of the Kokoschnik, which is a Russian headdress in the traditional solemn women's
costume of the 16th century. I use this attribute as a symbol for the identification. The original design of this
headdress was transformed by me by being cut out of transparent plastic with the laser technology.

The installation can take different dimensions. It can either be projected by 3 projectors directly on 3 walls or on 3
fabric screens. Or it can be shown on 3 tv screens standing close to each other.

Link to the video on WeTransfer:

https://wetransfer.com/downloads/9fc7c39c5e538c4e8229742fc5009b9720181125105111/3c475e25f808eb863e80
6035ddfd0d6b20181125105111/69426b

Link to the video on my webpage:

https://valeria-abendroth.com/portfolio/%D0%BC%D0%BD%D0%B5-
%D0%BD%D1%80%D0%B0%D0%B2%D0%B8%D1%82%D1%81%D1%8F-i-like-it/

Link to the video on vimeo:

https://vimeo.com/229784486
Artwork 2 Image:

4
5
Catalogue2 ID0777
Artist ID: 0777

Artist Name: Carly Englander


Website: carlyenglander.com
IG: @carlyenglanderart

Artist Statement: I am interested in human experience that is shaped through the modern day. Primarily working in
video, performance, and installation, my work is heavily informed by my personal life in an effort to reveal
consistencies and inconsistencies within relationships. I seek to familiarize the universal experience of vulnerable
emotion. Through technology, I recognize the methods of interacting are rapidly changing. My work mimics these
changes because it is essential to the process an informs of the structure of the current human condition.

Notes:
See USB Stick for Videos

1
Artwork 1 Title: Spit and Plastic
Artwork 1 Dimensions: 21.0 x 29.7
Artwork 1 Medium: A4 paper
Artwork 1 Commentary:
https://wetransfer.com/downloads/accb3eb9a2f6038ea3bca984dcc7aabf20181125180744/dc42952d08cbe058213
e304739ea566620181125180744/b64323

Spit and Plastic is an audience driven video installation. It exists on the wall as a QR code printed on A4 paper. To
view the work, the viewer must choose to open their smart phone and place their camera over the code. If the
choice is made, the viewer will be confronted on their device. The two-minute video aims for discomfort, using
repeated cuts and edits to mimic the viewer’s feelings when watching someone spit towards the screen. I create
a relationship between myself and the willing participant through technology. The potential reactions are open to
interpretation. Allowing each individual to hold the work in their hands creates endless possibilities for constructing
his or her understanding.

Artwork 1 Image:

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Artwork 2 Title: Both of Us
Artwork 2 Dimensions: 112.6 x 38.1
Artwork 2 Medium: 2, 15:00 video, looped
Artwork 2 Commentary:
https://wetransfer.com/downloads/8daa69f8db0ce558267b2524ee0ad50920181125180527/826921c54f2728032bf
0012bfdb67b8420181125180527/8b2bbf

Opening my relationship to the public, I present my daily conversations with my long-distance partner in 2,15
minute-looped videos that interact with the space. For documentation, I’ve include a link to a 5 minute version
with both videos represented, however, a physical installation would require two, 28-inch monitors to display the
individual films. The installation mimics our routine of FaceTiming, which is the closest we get to physical
communication for the majority of the year. By removing audio, I ask the viewer to focus on the expressions on our
faces as different moments pass by across the screens. While one video highlights our positive experiences, and the
other the negative, the position of the viewer becomes very important as they view these episodes in unison.
Synergy, an important part of relationships, is replicated through the positions of the screens and the navigation of
the viewer through them.

Artwork 2 Image:

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Catalogue2 ID0779
Artist ID: 0779

Artist Name: Miles Johnson


Website: http://www.milesrjohnson.com
IG: https://www.instagram.com/starship_7/

Artist Statement: I work with technology at the center of my practice due to its transformational ability.
Reinterpreting objects and experiences using technical methods (oftentimes in conversation with more traditional
processes) allows me to connect with others by creating new lines and forms of communication.

My work is an examination of activism. Empowering people is everything. To do this I ask questions about the
challenges of people confronting the status quo. One such specialism in my work is the exploration of the challenge
of being black in America. My work invites interrogation in the sense that those who view it are prompted to interact
with and reflect upon a story or concept within a broad context. By engaging with the work, the viewer can situate
themselves within it, thus creating space for them to develop their own meaning and a more personalized
understanding of the issues the work seeks to address.

Notes:
Vimeo = https://vimeo.com/252133994 http://www.milesrjohnson.com/portfolio/erics-story/ https://
vimeo.com/261116894

1
Artwork 1 Title: Eric's Story
Artwork 1 Dimensions: Dimensions Variable | min 100cm x 100cm x 100cm
Artwork 1 Medium: Augmented Reality Mobile Application
Artwork 1 Commentary: Eric’s Story is an augmented reality iPad application that tells the story of Eric Garner, an
African American man who was strangled by a New York City police officer in 2014. The application features eight
news clips, organized chronologically, that portray the event from various points of view. It also presents the names
of 29 unarmed African Americans killed by police in the United States since 1999. The goal of this application is to
prompt people to reflect upon the story of Eric Garner in a platform that juxtaposes the events of 2014 against
one’s everyday life. In so doing, the application underscores the singular tragedy of Garner’s death while also
illuminating how commonplace events like this have become in the United States. Eric’s Story was chosen to be
presented at University of The Arts London’s Xhibit 2018. Please see this link to view a video of the work:
https://vimeo.com/252133994.

Installation Information:
Eric’s Story is an augmented reality application designed and built by me, that presents 8 video clips in a circle
around the participant in 3D space. It runs on an iPad and requires headphones. The interaction is designed to take
place in a 3-5 meter circle (but the video spacing can be calibrated to the space given). I will provide an iPad and a
secure stand for the installation. The device will need to be charged daily. To view more photos of the work in a
gallery setting please visit: http://www.milesrjohnson.com/portfolio/erics-story/.
Artwork 1 Image:

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Artwork 2 Title: Here & Now Protest Posters
Artwork 2 Dimensions: 110cm X 110cm x 10cm
Artwork 2 Medium: Digital Posters
Artwork 2 Commentary: Hear and Now Protest Posters is an interactive insulation that involves 3 posters painted
with conductive ink. The posters are recreations based on images from the 2014 Eric Garner protests in New York
City. Eric Garner was an African American man who was strangled by police, despite being unarmed. Upon touch the
posers play sounds from the protest. The goal of this installation is to give context to the posters. Further, I hope to
present the excitement of standing with like-minded individuals as well as the anger and disillusionment felt by
people at that time. This piece was shown at the 2018 Fringe Arts Bath Festival from May 26 to June 10. Please see
this link to view a video of the work: https:// vimeo.com/261116894.

Installation Information:
The posters used in this installation require power for the circuit board handling the interactions. The work also
requires headphones for visitors to listen to the sounds of the protests. I will provide headphones and all other
installation materials.
Artwork 2 Image:

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Catalogue2 ID0781
Artist ID: 0781

Artist Name: Askild Winkelmann


Website: www.askild-winkelmann.com
IG: https://www.instagram.com/ask1ld/

Artist Statement: Fractal theory and processes that involve infinite repetition changing slightly over time are primary
interests of multimedia artist Askild Winkelmann. This is combined with a fascination for the interconnected
networks of contemporary life, especially concerning digital technology and social media. In Winkelmann’s view
globalisation has provided access to vast knowledge and opportunity but has also served to make the ‘real’
world a challenging and confusing place in which the imagination can be pushed into the background. By taking a
step back and concentrating on similarities in time, space and structure in her immediate environment (as well as, at
the other extreme, the extraterrestrial), Winkelmann find ideas and visuals she then develops in her work.
Believing that every world can become a mesmerising place, Winkelmann takes footage of her surroundings and
then pulls it apart. She then merges the resultant fragments to create layered projection artworks. A similar process
of layered fragmentation is Winkelmann using to create paintings on transparent perspex and glass. By combining
materials and media- painting, video/light installation- Winkelmann pushes her boundaries in order to find the right
way to embody the illusory effect of a new vibrant sensorial environment. Playing with light effects and chiaroscuro
interests Winkelmann in particular, especially the way in which they can be harmonised to create energetic
atmospheres that do not allow spatial orientation. By carefully directing light onto unpredictable reflective surfaces,
she creates images that continually renew themselves - a process of overlaying dynamic, painterly images that
create the sensation of depth.

Notes:
Vimeo = https://vimeo.com/287528167 https://vimeo.com/287530153

1
Artwork 1 Title: Through the Sphere
Artwork 1 Dimensions: 250cm x 270cm x (Screen depth 5cm)
Artwork 1 Medium: Video Installation
Artwork 1 Commentary: To curate:

Due to the size being max. 275cm x 275cm x 5cm sizes I will have two videos instead of the three shown on the
Photo attached. The two screens will be in a 100-degree angle with a beanbag between to have an immersive
experience. Preferable have the projectors installed far up, so they don't interact with the viewers. These are
suggestions but it will depend on the space, and the work is quite flexible due to the media.

I have all the equipment needed for the Video Installation which includes:
The Beanbags, Framed Canvas as Screens, 2 Projectors and Laptop / USB.

We Transfer Link to the video and one image showing how I would want the viewer to see it:

https://we.tl/t-nkOxszO6Q1

Introduction to the Video Installation:

Through the Sphere, is a video installation that consists of formerly of three videos displayed on three connected
screens.

The balance between the organised, here the symmetry and the uncontrollable, the lucky chance and dynamic
movements is captivated on the screens. The idea is to take up the fractal theory, that everything repeats itself,
especially that patterns and structures have lived, live and will live further is of great importance in these works. The
idea that there is an infinite amount of possibility may be frightening, but as there is continuity within the broad
range, it keeps the sanity intact. Furthermore, that even though death and other things are inevitable knowing that
takes away the pressure and heaviness.

The imagery seen in the videos are distorted by the use of prisms, overlaying of images and one-way mirrors creating
mesmerising reflections. Different approaches were chosen to develop a coexisting world next to the real one.
Furthermore, the idea is to show that the real world, as the footage is used in the video is entirely from actual
events, is as much magical as an imaginary one. The video clips vary from the first laser experiments, over to
bioluminescent jellyfish recorded at varies aquariums, to videos that I have re-filmed.

In the screen that will not be in the exhibition the left video (on the photo) is focusing on the simplicity of the laser
and reflection in regards to the fractal theory. Something small can create something overwhelming big.
The right video is focusing on the light and shadow play of glass and distorting perspectives, hence the roof videos, in
combination with everyday footage hidden.
The centre video is a mixture out of both. Furthermore, it reflects nature as there are traces of plants involved in it
and simplicity in it through settle colours.

Just in case here are the links to the Videos:

To see all three videos:

https://vimeo.com/287528167

https://vimeo.com/287530153
Artwork 1 Image:

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Artwork 2 Title: Parallels
Artwork 2 Dimensions: 130cm x 160cm x 5cm
Artwork 2 Medium: Mixed Media on Perspex Sheets
Artwork 2 Commentary: Parallels is a wall piece that focuses on the depths created by layering.
The artwork consists of two large perspex sheets and smaller ones that are arranged consciously and unconsciously
in between the big ones.

As mentioned in my artist statement the fractal theory has a significant impact on my work. While looking at the
rings of a tree which represent its age, I realised how these layers reflect growth, depth and wisdom such as the
experiences one gain over time. My parents were raised and tried to raise me with Prussian Virtue, meaning
fortitude without pity, not showing weakness is the key to power. These virtues can be of advantage, but
communication gets lost sometimes. By doing abstract art on a surface, I do not have to express my emotions which
is very hard for me verbally but I can use my whole body to speak my mind's language without feeling weak but
somewhat empowered. In general, it is easier to keep the inner quiet and be everybody's cup of tea. Who does not
wants to be loved? By layering using different materials, consistencies allowing drying marks as well as marks
disappearing through new layers I want the reflect growths perhaps my emotional catharsis. Moreover, I made the
first layer still quite visible to represent that there is no need for hiding.
By changing the light, e.g. yellow or ultraviolet light, hitting the art piece, different colours emerge and come to the
foreground whereas other make space. This work is about facing myself and moving parallel with myself as the rings
of a tree are parallel to one another.

It has a ready built hanging system, and I would preferably have to change light bulbs placed, which I can provide, to
highlight the different colours. Depending on the space and the moment it can be hung portrait or landscape. At the
moment it should be landscape.

I have attached some images via Wetransfer if you would like to see details and how the work looks in portrait:

https://we.tl/t-LWTeWQov05

Artwork 2 Image:

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Catalogue2 ID0783
Artist ID: 0783

Artist Name: Megan Preston Elliott


Website: www.meganprestonelliott.com
IG: https://www.instagram.com/meganprestonart/

Artist Statement: My practice engages with several mediums including installation, performance, sculpture, video
and audio. Investigating the multiple realities of the contemporary word, my work draws on research into the
interactions between the self and technology. Within this, I consider the role that fictional narratives play in
influencing, reflecting and confusing our understanding of reality. I am chiefly interested in narratives surrounding
the body, particularly women’s bodies, drawing on my own personal experience to produce playful, tactile and
psychologically charged work.

The absurd environments I construct seek to induce an in-between state by blurring dichotomies, such as interior
and exterior space, desire and repulsion, the masked and the revealed. My ideas for installations often evolve from
the creation of sculptures and my interest in the contrast between physical and digital media. Within the
environments that I create, I juxtapose the physicality and tactility of the handmade against smooth, seductive
screens and surfaces, replicating our lived experience.

Notes:
See USB Stick for Video

1
Artwork 1 Title: Hand Tree #1 (Can't See the Wood for the Trees)
Artwork 1 Dimensions: 200 x 50 x 43
Artwork 1 Medium: MDF, reconstituted foam, synthetic fibre dye, digital print on vinyl
Artwork 1 Commentary: The work explores the notion of being distracted in a digital world, focusing on small details,
unable to see the bigger picture. The hands have been designed to appear as someone else's hands; if you were to
look down at your own hands, the thumbs would be on the outside. In doing so, I explore the symbol of the hand as
at tool for distraction. The hands reference illusion - it is the body part that we use to disguise things (in magic, or by
physically placing our hands in front of something to hide it). The hands command attention, much like the hands of
a magician. I am interested in exploring what is going on behind the surface and behind the illusion.

The construction of the hand tree references stage sets in theatre. This is made obvious to the viewer, as their
construction is evident; the viewer can walk behind them and see the stand and the wood, which has been left bare.
My interest in theatre stems from Wolfram Lotz’s idea that theatre is the place where reality and fiction meet;
the collision between the supposedly ‘real’ and ‘fake’ and the illusory experience of theatre permeates
my practice

This artwork is part of a set of four hand-trees, which can be seen here:
https://www.meganprestonelliott.com/selected-works
Artwork 1 Image:

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Artwork 2 Title: Wish Away
Artwork 2 Dimensions: 125 x 100 x 100
Artwork 2 Medium: Wire mesh, plaster, acrylic paint, two-channel stereo, digital HD video, 32-inch LED screen, ply
wood, wood shavings, pine cones
Artwork 2 Commentary: ‘Wish Away’ is a bodily, well-like construction with a screen and speakers embedded
at the bottom, playing a film of coins dropping into water. It explores the idea that we exist in a world in which we
can eliminate, or ignore, problems by merely desiring or pretending that they do not exist. On social media, we can
construct our own perfect ‘realities’ and we become disengaged with the physical world. Not only do we
ignore our own personal problems, but these fictional narratives created online skew our view of the world at large,
veiling deeper political and social issues.

The work seeks to bring the viewer back to the physical world, using video and audio to challenge the senses and
engage the viewers body, stimulating an active participation with the work. The screen with water and coins in
contrast with the tactility and physicality of the well itself highlights our interactions with the digital world and the
illusory nature of space within a screen.

New Media Award:

I would like this work to be considered for the New Media Award. I can supply the screen and speakers as part of the
work. Due to the nature of the work, there needs to be no direct light above the piece, as this spoils the viewing of
the screen at the bottom of the well. It needs to be near plug sockets - a corner of a room or next to a wall would be
most suitable.

I am happy to supply a We-Transfer link of the film that is embedded at the bottom of the well.
Artwork 2 Image:

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Catalogue2 ID0792
Artist ID: 0792

Artist Name: Victor Vimbert


Website: Www.victorvimbert@gmail.com
IG: @victor.vimbert

Artist Statement: What is the future of painting ?


How does reality looks like in 2019?

It is those questions that I am trying to solve in my project. Using new technologies as a medium of expression, I
search for the unseen, the sparkle of light deep down the abyss of the unconscious.

Recreating a reality that is mine, in which I mix the contradictions that live within myself : agressivity and
sensitiveness, homosexuality and heterosexuality, feminine and masculine ; in a ever changing visual system that
aims to reveal the unseen, and on a deeper level, convey messages of hope, self acceptance and love to the viewer.

Thank you for considering my application.

Victor Vimbert

Notes:

1
Artwork 1 Title: Meta - moteur
Artwork 1 Dimensions: 80x80x2
Artwork 1 Medium: Digital mixed media
Artwork 1 Commentary: Meta motor lying on a bed of flowers. The entity that seems to levitate out of the motor
conveys poems, and a deep cry for help,
Artwork 1 Image:

2
Artwork 2 Title: Screening the truth
Artwork 2 Dimensions: 80x80x2
Artwork 2 Medium: 0
Artwork 2 Commentary: Screening the truth is a metaphor used to convey the idea that with the growing impact of
social medias on our lives, we tend to search for our identities deep within the platforms. We are used to direct
responses, and develop an « Instagram syndrome » where we base our self esteem upon the results we obtain
on the platform : a highly followed person will be able to navigate in the world more easily than an unknown one, all
this making absolutely no sense knowing that everyone is equal. But, it seems that we doesn’t take this into
account, and the integration can be harder for people who don’t belong to any category.
Artwork 2 Image:

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Catalogue2 ID0797
Artist ID: 0797

Artist Name: Jason Roger Jones


Website: http://jasonroger.com/index.html
IG: https://www.instagram.com/jason_roger_jones/

Artist Statement: These new works are attempting to construct a dialogue between tutor and stakeholder. The
motion graphics performs the role of the stakeholder and the tutor performs the role of…the tutor. The digitally
constructed photomontage interior allows for the dialogue to be placed in context, and this context will change in
the future (churches/offices/domestic homes). Themes and interests include exploring the ideas such as
‘pedagogy as medium,’ the ‘lecture performance’ and Felix Guttari’s statement ‘how can you
bring a classroom to life as though it were an artwork?’ There is a subtle yet nagging dissatisfaction with the still
image, therefore I’m attempting to propel drawings, secondary images and text in motion through animation.
These ‘stakeholders’ or ‘learners’ serve as a voiceless dynamic contributor within a conversation,
dialogue, discussion or exchange. The constructed montage operates as a temporary set, providing a digital platform
from which the motion graphics (stakeholder) and tutor have equal status. The work is not challenging our obsession
with the screen, instead the work is embracing the screen as an equal partner. The animated digital drawings serve
as a consumer of the lecture, the one, reliable recipient of the tutors knowledge. These stakeholders are indeed
sponsors, and investors within a constructed reality. This constructed reality invites you onto the set, to take position
and play a role. The limitless possibilities exist within the digital construction of the set and the content of the
monologue, which is evolving rapidly and is moving from non-script to script and back again.

Notes:
Website = http://jasonroger.com/VIDEO.html

1
Artwork 1 Title: So, the situation involves five different objects…
Artwork 1 Dimensions: multidimensional (monitor or projector)
Artwork 1 Medium: HD Video / Motion Graphics / Digital Drawing
Artwork 1 Commentary: Artwork image - screenshot

4:40 minutes HD video

Link to the artwork: Artists Web Site

http://jasonroger.com/VIDEO.html
Artwork 1 Image:

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Artwork 2 Title: So, lets make a start, lets try and work through the process...
Artwork 2 Dimensions: multidimensional (monitor or projector)
Artwork 2 Medium: HD Video Motion Graphics / Digital Drawing / Prezi
Artwork 2 Commentary: Artwork image - screenshot

6:31 minutes HD video

Link to the artwork: Artists Web Site

http://jasonroger.com/VIDEO.html
Artwork 2 Image:

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Catalogue2 ID0804
Artist ID: 0804

Artist Name: Marija Orlovic


Website: www.mo-pictures.com
IG: https://www.instagram.com/orlovic.marija/

Artist Statement: My aim is to present my view of "beauty" and the emotional state of experiencing beauty.

To experience and feel the beauty is always something special. I experience it as an ever-changing, polymorphic
element of eternity that can be experienced in just a moment.

The experience of beauty for me takes place at the point where finitude and eternity touch.

That's what I try to visualize with my pictures, photos and videos. The tools of digital technology are my means of
expression. With my camera I search for traces of untouchedness, originality and innocence in nature. In my short
videos (30 seconds to one minute), I try to capture moments that are banal, but convey in their core the conflation
of finitude and eternity as an experience.

Notes:

1
Artwork 1 Title: landscape USA 25
Artwork 1 Dimensions: 3500x4600 Px
Artwork 1 Medium: digital artwork
Artwork 1 Commentary: My photos from the Southwestern United States were boring because they did not mirror
what I felt and felt when I made them. When you arrive in the desert after three days of Las Vegas, you experience it
as an enchanted landscape or as a fearful deadlock. Both are possible and I tried to express that in my landscapes
from the USA.
Artwork 1 Image:

2
Artwork 2 Title: landscape USA 31
Artwork 2 Dimensions: 3500x4600 Px
Artwork 2 Medium: digital artwork
Artwork 2 Commentary: My photos from the Southwestern United States were boring because they did not mirror
what I felt and felt when I made them. When you arrive in the desert after three days of Las Vegas, you experience it
as an enchanted landscape or as a fearful deadlock. Both are possible and I tried to express that in my landscapes
from the USA.
Artwork 2 Image:

3
Catalogue2 ID0807
Artist ID: 0807

Artist Name: Andrea Kim Valdez


Website: www.kimvaldez.co.uk
IG: https://www.instagram.com/kimvaldez5601/

Artist Statement: Still life involves a long look at the everyday objects that surround us. It focuses on what is here,
now. It is also about the artist’s choice. Whilst a landscape is a reaction to something external, a still life is
composed, objects are chosen and their relationship explored from the very start. Like re-arranging the furniture,
still life focuses on things small or everyday, We see things as new, live more fully in the present moment.

The processes of drawing on an Ipad parallel the process of composing a still life. Objects can be drawn in colour
from the beginning, imported from other drawings, re-sized, turned, moved around the canvas, undergo colour
changes, until they arrive a satisfyingly new relationship.

Notes:

1
Artwork 1 Title: Crazy Zebra Milk Jug
Artwork 1 Dimensions: 53*43
Artwork 1 Medium: Archival Print of Ipad Drawing
Artwork 1 Commentary: ‘Crazy Zebra Milk Jug’ is a slightly anomalous work from a series of Ipad drawings
‘Room for Wildlife’ which place endangered animals drawn at London Zoo into an unnatural domestic
environment. In the case of ‘Crazy Zebra Milk Jug’ the zebra had already been objectified and suborned into
domestic life.

Artwork 1 Image:

2
Artwork 2 Title: Cat on a Purple Chair
Artwork 2 Dimensions: 63*52
Artwork 2 Medium: Archival Print of Ipad drawing
Artwork 2 Commentary: The cat chooses her place to sit. The artist chooses how to situate the cat.
Artwork 2 Image:

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Catalogue2 ID0818
Artist ID: 0818

Artist Name: Tom Johnson


Website: tomjohnsonart.tublr.com/archive
IG: @tomjohnsonart

Artist Statement: My work operates between painting, learning, making and our relationship with objects in time.

The work comprises wall mounted process outcomes, colour fields and fabricated or assembled objects. Digital
patterns are translated into physical material with g-code and machine tools, CNC routed, laser cut or 3D printed.
These structured surfaces are made inconsistent, resolving themselves with colour, ornament and surface history.

The most recent work is related to how artwork and interactions translate back and forth between digital and
corporeal operation. Viewed and considered in rooms, online, in the present or somewhere in an archive or media
feed. I try to combine components to allow the audience legible framework for focus in a moment. I am interested in
our interactions artefacts in a world of digital replication and repetition.

Notes:

1
Artwork 1 Title: the memory decides the eye has played it false.. ????????
Artwork 1 Dimensions: 29.5x42x3cm
Artwork 1 Medium: cnc, 3D print, wood, paint, gold leaf, varnish
Artwork 1 Commentary: a wall mounted mdf panel, machined with a computer controlled router, painted and
ornamented with digitally sculpted, 3d printed and gilded snails.
Artwork 1 Image:

2
Artwork 2 Title: a holding pattern in the forest ?????????
Artwork 2 Dimensions: 16x30x4cm
Artwork 2 Medium: cnc, 3D print, wood, paint, varnish
Artwork 2 Commentary: a wall mounted plywood panel, machined with a computer controlled router, painted and
ornamented with digitally sculpted, 3d printed and gilded snails.
Artwork 2 Image:

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Catalogue2 ID0822
Artist ID: 0822

Artist Name: Pascal Ungerer


Website: www.pascalungerer.com
IG: pascal.ungerer

Artist Statement: I am a London based artist originally from Cork, Ireland. I recently completed an MFA in Fine Art at
Goldsmiths University London (2018). I have an inter-disciplinary practice with a focus on lens based media. I work
primarily with photography, digital collage, sound and video. My practice is primarily concerned with spatial cultures
in the context of peripherality, contested space, social history and geo-politics. I have a particular interest in
marginal habitats, which are obsolete or dysfunctional and don’t fit into conventional socio-geographic norms. I
often construct digitised fictional landscapes that form an intersection between time, narrative and place, and use
them as a means of recontextualizing liminal and peripheral topographies. I use these marginal environments as a
metaphorical space within my work to address socio-political, historical and ecological concerns.
I have exhibited and screened my work through out Europe, most recently at Roman Road Gallery London, GESTE
2018 Paris, and LOOP Barcelona 2018.
I have won and been shortlisted for many awards most recently for the Bloomberg New Contemporaries 2018, and
was a finalist at the The Solo Award in 2017.

Notes:

1
Artwork 1 Title: Broken Ground 01
Artwork 1 Dimensions: 56x84x2
Artwork 1 Medium: Digitally Altered Photographic Image presented as Giclee Print
Artwork 1 Commentary: This image is from an ongoing project called ‘Broken Ground’. This work looks at
obsolete industrial mining infrastructure across Europe. Much of the work uses experimental analogue and digital
techniques partially destroying or altering the imagery to expose the fractured and degraded landscape this
infrastructure often inhabits.
Artwork 1 Image:

2
Artwork 2 Title: Broken Ground 02
Artwork 2 Dimensions: 56x84x2
Artwork 2 Medium: Digitally Altered Photographic Image presented as Giclee Print
Artwork 2 Commentary: This image is from an ongoing project called ‘Broken Ground’. This work looks at
obsolete industrial mining infrastructure across Europe. Much of the work uses experimental analogue and digital
techniques partially destroying or altering the imagery to expose the fractured and degraded landscape this
infrastructure often inhabits.
Artwork 2 Image:

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Catalogue2 ID0833
Artist ID: 0833

Artist Name: Amelie Mckee


Website: www.ameliemckee.com
IG: @amelie.mckee

Artist Statement: Amelie Mckee (b.1996) operates across a wide range of disciplines from manipulating photographs
to crafting complex mechanical installations. Her practice investigates the conditions posed by interpretation and
how an object or an idea can undergo status changes and simultaneously exist within different realities and
interpretations. She plays with Para fictions as a mean to reveal and challenge pre-existing formats and their role in
the process of storytelling. Her work questions the essential quality of things and their existence within newly
created frames of reference.
This approach opens up new perspectives and potential for a variety of interpretations, through the proposal of
complex narratives she aims to open up different modes of thinking.

Notes:
Vimeo = https://vimeo.com/277796986

1
Artwork 1 Title: 40524839
Artwork 1 Dimensions: 160x80x70 cm
Artwork 1 Medium: Kinetic Sculpture: Found objects, print, wood, Perspex case
Artwork 1 Commentary: “40524839― plays with the visual codes of the display format crossing over the
museum display and the cabinet of curiosity. It questions their respective roles in the act of storytelling.
The various elements of the piece (found objects, digitally constructed photographic print) establish a myth centred
around the historical figure of Joseph Bazalgette, a 19th-century English civil engineer. It draws him away from the
figure of the public utility hero and presents absurd details about his private life such as the involvement of his son
Willoughby Bazalgette in the Michelin company and the Cuban casino life of the 1950s.
The work plays with the mechanisms of information display as a way to reveal the authority of such formats and
their relationship with power, value and its simulation.
The fabricated elements of the piece presented as evidence material expose with humour the limits of discourse as a
mean of edification.

watch the video to see it work--> https://vimeo.com/277796986


Artwork 1 Image:

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3
Artwork 2 Title: The thief gave a great consideration to detail yet forgot to erase his footsteps
Artwork 2 Dimensions: 60x200x12 cm
Artwork 2 Medium: Photography: Aluminium Light box transparency film
Artwork 2 Commentary: “The thief gave a great consideration to detail yet forgot to erase his footsteps―
belongs to a large body of work the “NSERP―, (North Sea Extended Research Program) conceived by artists
Amelie Mckee and Ambar Quijano.
In the political context of fake news, the piece addresses the unclear slippage between fact and fiction. Using a range
of journalistic and scientific formats the artwork forms a complex narrative that takes for origin the mediatization of
the bottlenose whale trapped in the river Thames in 2006. The piece includes documentation related to the events
“Fossils of Today― and “The North Sea’s programme conference―.
It intertwines Factual information and Imagination in a way where it becomes difficult to distinguish the true from
the false. The work enables different entry points into a complex story further addressing information modes of
consumption.

Artwork 2 Image:

4
5
Catalogue2 ID0839
Artist ID: 0839

Artist Name: Paul Brown


Website: www.riseart.com/artist/paul-brown
IG: @paulbrownart

Artist Statement: I grew up in the North of England in Yorkshire, attaining a degree in Graphic Design from Liverpool
Polytechnic before moving to London to study for a post-graduate diploma in Illustration at St. Martin's College of
Art.
After a successful career working as a freelance Illustrator for magazine and book publishers was cut short through
illness, I began to focus on my own personal abstract work.
A love of colour, drawn line and the relationships formed through layering them up and adjusting their interactions
within the picture space, offers endless new and vibrant possibilities for the work. Reacting to what's already laid
down and drawing upon a subconscious library of gathered reference and inspiration, guiding the evolution of the
image in progress.

Notes:

1
Artwork 1 Title: Gone
Artwork 1 Dimensions: 59cm x 53cm x 0cm
Artwork 1 Medium: Digital Giclee print on 300g.s.m. paper
Artwork 1 Commentary: An image that came about through the death of my long term partner after a 2 year fight
against cancer. There's a darkness that's weighing heavily, a pressure of emotion. Fighting for sanity in the centre
like the blazing firebox of a steam engine, trying to drag that dead weight of steel forwards. A contrast of emotional
exhaustion and the frantic attempt to rationalise and come to terms with what life has thrown at me.
Artwork 1 Image:

2
Artwork 2 Title: Inside Unseen
Artwork 2 Dimensions: 77cm x 67cm x 0cm
Artwork 2 Medium: Digital Giclee Print on 300g.s.m. paper
Artwork 2 Commentary: Following the death of my partner and trying to come to terms with events both
emotionally and practically it's become apparent the impression of calmness I seem to convey to others whist
struggling inside. There's an emotional turmoil, not helped by the presence of a long standing brain injury, that
people I come into contact aren't very aware of. The sense of loss, the profound change to your daily life and outlook
for the future and the constant reminders of the time you shared with someone so special to you.
Artwork 2 Image:

3
Catalogue2 ID0841
Artist ID: 0841

Artist Name: Russell Chater


Website: www.russellchater.com
IG: russellchater

Artist Statement: Whitewashed windows have long held a fascination. In addition to continuing ongoing interests in
display and obfuscation, they seem to me to speak of both the poetic and formal concerns of painting, i.e: sign and
symbol; gesture and mark making; the frame and grid; depth; surface; transience - and the need to leave a trace.

Often straddling the boundaries between drawing, painting and photography, works aim to nod to the full scope of
art history: from primitive cave painting to post millennial concerns in painting (and elsewhere).

Works play with text and symbol to create dialogue and interplay both within and between the works. Ultimately the
works (all works?) act as memento mori

Oscillating between a series of contradictions (the impulsive and the considered; the expansive and the intimate; the
figurative and the abstract; the crude and the poetic...), a complex simplicity is aimed for: elementals to resonate
with the viewer.

Please note: further images/information available on request. Thank you for your consideration

Notes:

1
Artwork 1 Title: Fibonacci's Haunt
Artwork 1 Dimensions: 55 x 89 x 8cm
Artwork 1 Medium: Painting: Acrylic perspex, Acrylic paint, Spray paint, LED light, Standoff screws
Artwork 1 Commentary: These works use whitewash simply as a starting point - creating my own vocabulary of
symbols. As well as inverting white to black and introducing colour, stencils are also introduced in addition to the
directness of the finger one would normally find creating the marks - although my use of materials like spray paint;
strip lights and standoff screws retain high street and display connotations.

The wash doubles as both a ‘ground’ (though neither fully background or foreground; deep or flat) as well as a
symbolic spatial element in its own right: revealing and hiding; questioning and reiterating the other symbols
present. Symbols of time are often employed to convey notions of transience. Here my focus is more on symbols of
space: times’ eternal companion.

Incorporating a Fibonacci spiral in this work echoes both the loops and spirals of the wash and presents another
abstracted depiction of space/depth. The spiral symbolically represents a twisting journey - culminating in an end
point.

Please note: An LED strip light is attached in the cavity (created by the length of the standoff screws) behind the
work. Although the work does not need dark conditions, access to a power socket is required. Image(s) to make this
clearer available on request.
Artwork 1 Image:

2
3
Artwork 2 Title: Keep Smiling Through
Artwork 2 Dimensions: 25.4 x 20.3 x 1.9cm
Artwork 2 Medium: Photography: Direct to media print on acrylic perspex with acrylic pen hand finish
Artwork 2 Commentary: These works (taken from found whitewashed windows in the high street) are printed direct
to the back of glass effect perspex. With a permanent pen I trace over selected areas - meticulously following marks
that were likely made quickly. The thickness of the perspex (5mm) results in a 3D/optically jarring effect and
heightens the sense of both surface and depth. The works are about surface; intention; mark making; memorialising:
a poignant relationship with the marks behind.

Please note: A discreet mdf baton is pressure stuck to the back which allows the works to be hung easily. Image(s) to
make this clearer available on request.

Artwork 2 Image:

4
5
Catalogue2 ID0852
Artist ID: 0852

Artist Name: Johanna Flato


Website: https://www.johannaflato.com/
IG: https://www.instagram.com/johannaflato/

Artist Statement: Johanna Flato (b. 1992, San Antonio, Texas) is an interdisciplinary artist currently based in London,
UK.

She investigates the ways in which 'site' is mediated, multiplied, and manipulated through language and technology,
creating research-based, iterative projects through which the tensions and thresholds of these interplays are made
visible. Her materials include maps, text, voice, and algorithms; variable outcomes span experimental micro-
organizations, essays, social media series, digital videos, sculptures, and installations.

Flato's most recent strand of research — collectively titled "On End[s]" — uses various technological processes
(including 3D scanning and modelling, voice synthesis, natural language processing, and machine learning) in an
attempt to ‘embody’ and mine for meaning the presumed gibberish of placeholders like ‘lorem ipsum’
filler text and the default avatar image.

Through these overlapping approaches, she explores the tensions between meaning-making and nonsense, pleasure
and pain, embodiment and constraint, and our shared proclivity (computer and human alike) to loop and glitch.

Flato received a B.A. in Studio Art and Humanities from Yale University, Connecticut, USA in 2014 and an M.A. in
Contemporary Art Practice from the Royal College of Art, London in 2018.

Notes:

1
Artwork 1 Title: Generate Lipsum Corpus
Artwork 1 Dimensions: each stand (x2): 200 x 50 x 50cm [installation dimensions variable]
Artwork 1 Medium: live-generated script of infinite duration, extruded aluminium, acrylic, mirror film, raspberry pi
computer, projectors, assorted cables
Artwork 1 Commentary: “Generate Lipsum Corpus― is an exploration of the mediation of language by
technology, and as a form of technology itself. The installation consists of two custom-built, free-standing
‘teleprompters,’ and digital projections of an infinite, live-generated text stream across the floor. Depending
on the viewer’s position in relation to the works, the angled planes of semi-mirrored perspex either appear
transparent and ‘empty,’ or else they manage to catch and suspend a stream of text. This text is an
algorithm’s attempt to describe pleasure and pain based on a contradictory body of a hundred texts from across
genres, eras, and forms.

Using machine learning and natural language processing, the artist creates a state in which rhetorical patterns from
material spanning philosophical creeds, romance novels, scientific writing, and poetry contort, morph, and
recombine into something chimeric. The work offers the viewer no opportunity to see an overarching thread, to
comprehend the corpus in its entirety. However, taken in bits, poetic juxtapositions congeal.

The combinations of scrolling text that the viewer encounters are unique and the viewer holds the potential and
authority to activate it, translating it into speech.
Artwork 1 Image:

2
3
Artwork 2 Title: Recite Lipsum Corpus
Artwork 2 Dimensions: custom screen (x2): 62 x 36 x 7 cm; custom screen (x1): 30 x 36 x 7 cm [installation
dimensions variable]
Artwork 2 Medium: 3 x digital video (30 min 0 sec), stereo audio, mirrored glass, de-bezeled computer monitors,
galvanised steel, tin-plated steel, tripods, assorted cables, computer
Artwork 2 Commentary: “Recite Lipsum Corpus― is a two-part audio-video work innovatively employing two-
way mirrored screens. Glitchy, digital 3D scans of the artist’s encased head — at once reminiscent of a classical
marble bust, a chroma suit, a bondage mask, and a blank avatar — slowly rotate in the mirrors, overlapping with
the viewer’s own reflected image. Meanwhile, donning headphones, the viewer hears (in the left ear) the artist
reciting in spliced and broken loops — from often-mistaken memory, for thirty minutes — a meditation on the
ethics of pleasure and pain, while in the right ear, a computerised male voice drones on in automated, unwavering
Latin. The busts in the mirror morph between visemes (phonetic mouth contortions), slipping in and out of sync with
the recitation.

This dueling left-right arrangement reflects the source of the text: a unique 1914 first edition of Cicero’s “De
Finibus Bonorum et Malorum,― or “On the Ends of Good and Evil,― in which the Latin original text is shown
side-by-side with its English translation. The ubiquitous ‘placeholder’ text that we use to auto-fill a blank page
today was plucked, scrambled and decontextualised from this philosophically earnest context; this project attempts
to re-pair these emptied words to their ‘meaning’, a process through which new tensions inevitably arise.

In this work, the artist attempts to embody these found juxtapositions of meaning-making and gibberish, pleasure
and pain, embodiment and constraint, effort and automation. By using mirrors and the intimacy of corded
headphones, she embeds the viewer in this liminal state as well.
Artwork 2 Image:

4
5
Catalogue2 ID0854
Artist ID: 0854

Artist Name: Yang-En Hume


Website: www.yang-enhume.com
IG: instagram.com/yangenhume

Artist Statement: I have been using anonymous objects to explore how the past, particularly personal histories are
remembered and constructed. I am interested in the lives of ordinary women whose identities are lost to history,
and the unseen domestic craft and labour they have participated in for centuries. My practice is influenced by artists
such as Doris Salcedo, Mona Hatoum and Ibrahim Mahama whose use of evocative objects explore memory and
collective histories.

I am fascinated by flea markets and their seemingly endless mounds of ephemera that induce a sense of familiarity
while concealing the lives from which they originate. I have been creating solar photograms from lace collected at
French flea markets. The partially obscured prints reflect the fragmented way that found objects reveal details of a
person’s life. I have begun experimenting with animating these prints, imbuing them with ‘breath’.

Notes:
See USB Stick for Video 2

1
Artwork 1 Title: Suspension
Artwork 1 Dimensions: 59 x 42cm
Artwork 1 Medium: Solar ink on Paper
Artwork 1 Commentary: A solar photogram made from a piece of lace found at French flea markets.
Artwork 1 Image:

2
Artwork 2 Title: Suspension in Motion
Artwork 2 Dimensions: Digital File
Artwork 2 Medium: Video
Artwork 2 Commentary: A video made from digital images of my lace solar photograms.
Artwork 2 Image:

3
Catalogue2 ID0864
Artist ID: 0864

Artist Name: Garfield Of London


Website: www.GAH-FreeToBeYou.com
IG: https://www.instagram.com/gahfreetobeyou/

Artist Statement: ╤ Focus on the Symbol and Listen to your Breath ╤

My name is Garfield Of London and I am a mental well-being Conceptual Artist. My contemporary art practice
‘The Art of GAH!’ focuses on anchoring and triggering positive memories & emotions of happiness and is
driven by my investigation into emotion, memory, self-liberation, and transformation.

Central to my work is ‘The Symbol of GAH!’ a visual aesthetic signifying – good thoughts – good words –
good actions.

It is my intention to present the tradition of Symbolism Art into a daily practice. This revival of a past tradition is to
be experienced as an act of meditation.

I have created an interactive dynamic to encourage the viewer to engage with ‘The Symbol of GAH!’ as that
act of meditation as they focus on the symbol and listen to their breath.

By incorporating in my work the Person Centred psychodynamic model of American psychologist Carl Rodgers, the
viewer's experiences are generated from both personal interpretation and discovered hidden meanings.

The engagement with my work helps to create intense personal moments for the viewer by means of conveying
dreams and the unconscious with surreal abstraction, luring the viewer round and round towards a sense of
personal freedom.

‘The Art of GAH!’ is a combination of wall hangings, sculptures, mixed media art, installations, fragrance,
meditation, video, and music.

╤ TAKE the TIME to be KIND to your MIND ╤

Notes:
Weblinks = https://www.instagram.com/p/Bo_oWdDhWog/ https://www.instagram.com/p/BnsVoWBBxh0/

1
Artwork 1 Title: Illumination
Artwork 1 Dimensions: H 80cm x W 80cm x D 10cm
Artwork 1 Medium: Mixed media wall hanging
Artwork 1 Commentary: A mixed media wall hanging Conceptual Functional Sculpture with lights & music, with the
intention of inducing a positive trance state.

https://www.instagram.com/p/Bo_oWdDhWog/
Artwork 1 Image:

2
Artwork 2 Title: ICU - Beginning and the End
Artwork 2 Dimensions: H 70cm x W 60cm x D 5cm
Artwork 2 Medium: Mixed media wall hanging
Artwork 2 Commentary: A mixed media wall hanging Conceptual Functional Sculpture with video, with the intention
of inducing a positive trance state.

https://www.instagram.com/p/BnsVoWBBxh0/
Artwork 2 Image:

3
Catalogue2 ID0872
Artist ID: 0872

Artist Name: Charlie Lewin


Website: www.artistrl.co.uk
IG: www.instagram.com/artistrl

Artist Statement: My life experiences of escaping a cult and an arranged marriage inform my artwork.
I am a multifaceted artist, exploring and working with paint, pastels and digital media.
Currently, I am most interested in portraiture.
I work and study in London, Uk
I am also a part time student at Middlesex university studying Fine Art.

Notes:

1
Artwork 1 Title: Portrait of Emunah
Artwork 1 Dimensions: 60x45x2cm
Artwork 1 Medium: Soft chalk pastels
Artwork 1 Commentary: I held this child just a few hours after she was born. I have looked after (as her nanny) her
almost every day for the past 6 years. She is precious to me. Her name means Faith. She has a wild side and is not
afraid of anything but she also is super sensitive and kindhearted and I wanted to show that side of her by using
softer medium and more subtle tones.
Artwork 1 Image:

2
Artwork 2 Title: Little Red Girl
Artwork 2 Dimensions: N/a
Artwork 2 Medium: Digital art
Artwork 2 Commentary: This is part of a digital series I created, illustrating the story of escaping my arranged
marriage just five days before the wedding.
The illustration is of me around age 3/4. The red face represents not only the anger and rage that comes from a life
lived under oppression, but also that, as a female in this community, I had no voice. I was literally invisible. I had no
choices and my opinions weren’t allowed to be heard. Now that I have escaped, I want to show that my voice
and opinions matter.
This is a New Media Art Award entry.
Artwork 2 Image:

3
4
Catalogue2 ID0904
Artist ID: 0904

Artist Name: Sookie Brarou


Website: https://www.sookiebrarou.com/
IG: https://www.instagram.com/the_crispy_cactus/

Artist Statement: My name is Sookie Brarou and I am a Belgian collage artist. Engineer by training, I like to play on
scales and confront image fragments coming from divergent contexts. I decompose and recompose. I create scenes
where, in a world different from ours, intriguing characters interact with their environment and question our society
in an indirect way. Space, climate change and femininity are the themes that fascinate me the most. 

My last
collages were made from stock pictures, which were reworked digitally. The creative process is always unique in the
sense that scales, cuts and hues are worked until the image fragments feel like they were meant to be assembled.
2018 was a particularly successful year since I had the opportunity to participate in my very first international
exhibitions. Thanks to the Gamma Young Artist Competition, I had the chance to receive the award of the Best Artist
of the Year in Tokyo and take part in the finalists’ exhibition in Seoul. I am currently working on collaborations
with photographers and I look forward to the next opportunities to prove myself.

Notes:

1
Artwork 1 Title: Eclipse I
Artwork 1 Dimensions: 80x62cm
Artwork 1 Medium: Digital collage, silkscreen-printed on paper
Artwork 1 Commentary: This is the first work of a moon-themed collage series, where the moon seems to be
personified and a correlation is made between the notion of eclipse and human emotions such as timidity and
decency. An elegant hand is raised in front of it as protection from unwanted external influences.
Artwork 1 Image:

2
Artwork 2 Title: Eclipse II
Artwork 2 Dimensions: 80x62cm
Artwork 2 Medium: Digital collage, silkscreen-printed on paper
Artwork 2 Commentary: Second work from the moon-themed series.
Artwork 2 Image:

3
Catalogue2 ID0907
Artist ID: 0907

Artist Name: Gulja Holland


Website: www.guljaholland.com
IG: @guljaholland

Artist Statement: I am a Maltese visual artist specializing in painting. My overall style is expressionistic and merges
abstraction with a digitally informed figuration. The two works submitted form part of an ongoing series entitled
‘Altered Egos’. The scope of these works is to express the multitudes that exist within each of us. I call these
works ‘photo-paintings’; a term I borrow from Gerhard Richter in reference to my works which combine
photography and paint. What appeals to me so much about combining the two mediums is that they create dynamic
compositions which border between representation and abstraction in a way that fuses the outward and inward
dimensions of the subject being depicted. I tend to depict people I know very well, for practical reasons and owing to
the familiarity between us. I am more at ease using a familiar face when communicating elements of the human
condition.

The best compliment I have ever received from a critic is as follows:

‘Looking at Holland’s work feels like you’re staring at your own reflection in the most surreal of mirrors,
and been left in solitude to wonder: which canvas truly is the fairest of them all.’

Other artists who have had a considerable influence on my practice include Edvard Munch, Francis Bacon, Andy
Warhol, and Marlene Dumas.

I feel I am very much at the start of my career and hope to develop my practice much further. Hopefully, these works
give a good indication of my ongoing development of style and motifs.

Notes:

1
Artwork 1 Title: Ego I.
Artwork 1 Dimensions: 60x68x5
Artwork 1 Medium: Oil and digital artwork on stretched canvas
Artwork 1 Commentary: Ego I. is the first ‘photo-painting’ I created. At first, the image appears as an abstract,
but upon closer inspection, a face emerges. The self-portrait merges both digital and physical gestural painted
marks. It reminded me very much of Edvard Munch's 'Madonna'; an image which is very much imprinted in my mind
and may have well influenced the work on a subconscious level as I am a big admirer of Munch.

Here, the influence of pop art on my own practice can be seen in my repetition of source imagery as it forms part of
25 works shown at my first solo exhibition, all of which present an altered version of one of two images.

In imposing a limitation of reference imagery I am able to focus more energy on how I am painting something and
better express the subjectivity of our experiences and understanding of one another.

Artwork 1 Image:

2
3
Artwork 2 Title: Checka in Motion
Artwork 2 Dimensions: 55x55x5
Artwork 2 Medium: oil and digital artwork on stretched canvas
Artwork 2 Commentary: 'Checka in motion' forms part of the 'Altered egos' exhibition. The exhibition consisted of 25
works which reference and incorporate one of only two photographic images. Each varying copy of the image
presents a slightly altered reality and understanding of the subject. I chose this work as I think it if one of my
stronger works in terms of composition and color balance.

Artwork 2 Image:

4
Catalogue2 ID0919
Artist ID: 0919

Artist Name: Holly Drewett


Website: www.hollydrewett.com
IG: @hollydrewett

Artist Statement: My practice is centred around drawing, informed by research in sensory responses and the
body’s automated systems and hierarchies.

I often document specific sites in sound; using both surround and contact microphones I obtain recordings of
inanimate objects as well as ambient noise. Imagery is then generated through listening. The initial drawing process
is done blindfolded, generating a visual response not dominated by site, but shaped by other sensory reactions. This
culminates in a body of work using the notion of expanded drawing; shaped by our relationship with our
environment.

Notes:

1
Artwork 1 Title: Decipher sounds like
Artwork 1 Dimensions: 270 x 100 cm
Artwork 1 Medium: Ink on paper, print on organza
Artwork 1 Commentary: This piece is based sound recording from a bridge/footpath. The initial drawing was made in
response to the sound and was produced whilst blindfolded. Using this as my primary source, I further expanded the
drawing.

It is installed in a stairwell at Worlds End Studios, the positioning of the piece relating to the initial recording.

It has the potential to be exhibited using a fabricated structure.

Artwork 1 Image:

2
3
Artwork 2 Title: Intersect
Artwork 2 Dimensions: 130 x 230 x 6 cm
Artwork 2 Medium: Giclée on canvas
Artwork 2 Commentary: This work is informed by sound and our sensory environment. It explores hierarchies of
making in relation to the digital.

This is a unique print.


Artwork 2 Image:

4
Catalogue2 ID0923
Artist ID: 0923

Artist Name: Marta Frä…Ckowiak


Website: https://www.artstation.com/martafrackowiak
IG: marta7frackowiak.art

Artist Statement: Born on 20.09.1994 in Tychy (Poland), she graduated from the Faculty of Arts at the University of
Silesia in Cieszyn, currently a PhD student at the same faculty, a teacher at the Higher Technical School in Katowice,
and teaches Social Media and Marketing and Copyright. She deals with digital graphics (in particular: painting
digital, concept art and illustration), workshop graphics as well as 3D graphics.
She actively participates in cultural life. She conducts and organizes numerous artistic workshops. Is
initiator and originator of the International Print Triennial in Cieszyn - "In Search
impossible" and the International Competition for a small graphic form" Fairy Tales ". Takes
active participation in exhibitions and national and international festivals: 55 exhibitions
collective: among others in Poland, the Czech Republic, Ukraine, Italy, Macedonia, Romania, Serbia, Egypt and
Mexico

Notes:

1
Artwork 1 Title: Bad dog
Artwork 1 Dimensions: 28x50 or 36x100
Artwork 1 Medium: digital art (digital painting)
Artwork 1 Commentary: Work on the subject of fear, strangeness, magic. A surreal, sleepy misery.
Picture done using a graphic tablet for artists in the digital painting technique.
Artwork 1 Image:

2
Artwork 2 Title: Do you like fish?
Artwork 2 Dimensions: 28x50 or 36x100
Artwork 2 Medium: digital art (digital painting)
Artwork 2 Commentary: Work about fear. The water phantom persecutes in dreams.
Picture done using a graphic tablet for artists in the digital painting technique.
Artwork 2 Image:

3
Catalogue2 ID0946
Artist ID: 0946

Artist Name: Cecilia Granata


Website: http://www.ceciliagranata.com
IG: cecilia.granata

Artist Statement: The structure of my work builds around a concept, a story or a topic that I care about and want to
explore.I proceed on a rational path to shape the idea into a visual form where each element supplements the
different nuances, suggestions and allusions. From there I decide if I should approach the process in an evocative,
symbolic, or more direct way. Depending on the subject or my mood.I always work within the complete acceptance
of a post-modern context but never forget the aim for a pleasurable aesthetic experience.

Notes:

1
Artwork 1 Title: What the thunder said
Artwork 1 Dimensions: 61 x 61 cm
Artwork 1 Medium: Acrylic on canvas
Artwork 1 Commentary: First piece of a series of illustrations representing different mental states. Originally created
as a digital piece, this was later made into the painting that you are seeing. This simple visual metaphor explores
depressive emotions, redeeming them through beauty and accepting chaos as part of the wonderfully complex and
multi layered experience of life. The theme of the cloudy storm is echoed throughout the painting as patterns,
jewelry and hairstyles, becoming the main character.
Artwork 1 Image:

2
Artwork 2 Title: Stay Gold
Artwork 2 Dimensions: 61 x 61
Artwork 2 Medium: Digital Illustration, Adobe Photoshop
Artwork 2 Commentary: Part of a series of illustrations exploring different states of mind. Feeling the sunshine inside
out. This simple visual metaphor takes advantage of the repetition of sun motifs to reinforce the main theme.
Artwork 2 Image:

3
Catalogue2 ID0966
Artist ID: 0966

Artist Name: Richard Devonshire


Website: https://www.richard-devonshire.com/
IG: https://www.instagram.com/richard_devonshire_artist/

Artist Statement: Richard Devonshire is an artist who works in the medium of digital art as well as traditional
painting and drawing.

Richard is drawn to and inspired by the subjective work and language of a myriad of artists, sculptors and fine art
photographers.

Richard has an experimental approach to his work. By using virtual physical cameras and lighting systems he creates
photorealistic 3d virtual imagery using computer graphics software and a rendering engine that uses global
illumination algorithms.
The composition and virtual studio lighting follow tried and tested traditional methods.

Richard Devonshire's work and style is ever evolving and he is on a constant learning curve. Most recently he has
focused on the study of the natural world and it's relationship with mathematics in his artworks.

Notes:

1
Artwork 1 Title: Sunlight Bathed The Golden Glow
Artwork 1 Dimensions: 64cm x 60cm x 2cm
Artwork 1 Medium: 3D rendering, Giclée print on Smooth Cotton Rag paper
Artwork 1 Commentary: Honey bees are disappearing globally at an alarming rate due to pesticides, parasites,
disease and habitat loss. If these little insects that help provide so much of the food we eat were to vanish, what
would we do without them?

Sunlight Bathed The Golden Glow was created and textured using 3d computer graphics software and rendered
using a rendering engine that uses global illumination algorithms.

Artwork 1 Image:

2
3
Artwork 2 Title: Fibonacci Sphere
Artwork 2 Dimensions: 47cm x 47cm x 2cm
Artwork 2 Medium: 3D rendering, Giclée print on Smooth Cotton Rag paper
Artwork 2 Commentary: The Fibonacci sequence, which begins 0, 0, 1, 1, 2, 3, 5, 8, 13, 21 and builds by adding the
first number to the second over and over again, is one of the most recognizable ideas in mathematics. This sequence
leads to things like the golden ratio, spirals and self-similar curves. They appear everywhere in Nature, from the leaf
arrangement in plants, to the spiral patterns in sunflowers, the bracts of a pine cone, or the scales of a pineapple.
The Fibonacci numbers are therefore applicable to the growth of every living thing, including a single cell, a grain of
wheat, a hive of bees, and even the proportions of the human body.

The Fibonacci Sphere was created and textured using 3d computer graphics software and rendered using a rendering
engine that uses global illumination algorithms.

Artwork 2 Image:

4
5
Catalogue2 ID0972
Artist ID: 0972

Artist Name: Timothy Forster


Website: www.timothyforsterarts.com
IG:

Artist Statement: I am an Artist based in Ilkley West Yorkshire working predominantly in Film and Watercolour.

I am interested in the intangible encounters we have with landscape and their relationship with the social
objectification of space.

My work endeavours to compare and contrast physical and mechanical methods of communication; sketching vs
film, the hand vs the machine in an attempt to create environments where past and present experiences intertwine,
confuse and support one another.

Notes:
See USB Stick for Video

1
Artwork 1 Title: Bardon
Artwork 1 Dimensions: Film Based Work
Artwork 1 Medium: Film
Artwork 1 Commentary: ‘Is Landscape a scene we are looking at, or a world we are living in? Is landscape all
around us or just in front of us? Do we observe or inhabit landscape’?

​John Wylie

wetransfer link: https://we.tl/t-Q3T9KEWakp

Please note, in order to achieve the required MB submission, this film has been reduced in length by 2 minutes. This
work can either be displayed via projector or Screen Installation. If projector I am able to provide equipment.
Original file size can be provided on request.
Artwork 1 Image:

2
3
Artwork 2 Title: Bardon
Artwork 2 Dimensions: 13cm x 18cm x 1cm
Artwork 2 Medium: Watercolour
Artwork 2 Commentary: ‘Is Landscape a scene we are looking at, or a world we are living in? Is landscape all
around us or just in front of us? Do we observe or inhabit landscape’?

​John Wylie
Artwork 2 Image:

4
Catalogue2 ID0975
Artist ID: 0975

Artist Name: William Brown


Website: https://william-brown-bzhc.squarespace.com/
IG:

Artist Statement: Artist: William A. Brown



Status in the Art World: Under the Radar
Education: MFA
University of Florida, BA Emory University,
Work: Emory University Faculty (Sr. Lecturer Emeritus)
Works produced as an artist:
Avant-Garde films and videos 1976- present. Still Photographs: 1972-1976, 2006-
present. Documentary Work- 1976-present.

Showing History:

William A. Brown (M.F.A) is one of the first practitioners of video art in the Southeast United States and founder of
cultural organizations, including Nexus Gallery (now the Atlanta Contemporary Arts Center), and Image Film &
Video. Mr. Brown’s experimental work has been shown at regional, national, and international venues
continually since the mid 1970s. Showings include: Americas Film Festival, New York, 2017, Echofluxx 16, New
Media, Music, and Art Festival, Prague, Czech Republic, 2016. Tallahassee International Juried Competition, FSU
Museum, 2016. Anthology Film Archives, NYC, Experimental Documentaries screening, 2012. Corcoran Gallery,
School of Art & Design, Transients Video Show 2011. Atlanta Film and Video Festival: 2004, 2003, 2001 (two films),
2000, 1999, 1976, 1977, 1979. (First award in video, 1976). Boston Cyber Arts Festival 2001 (epilogue video).
L'immagine Leggera, Palermo, Italy, 2001 (Jury Award). Hamburg Short Film Festival, 2000, Tokyo International Video
Festival, 1984. World Wide Video Festival, The Hague, Netherlands, 1983. Oberhausen Film

Notes:
Vimeo = https://vimeo.com/288357183 https://vimeo.com/270985503

1
Artwork 1 Title: The South in Black & White
Artwork 1 Dimensions: n/a
Artwork 1 Medium: Single or 3 channel Video NEW MEDIA
Artwork 1 Commentary:

https://vimeo.com/288357183

The South in Black & White is a personal and expressionistic look at the Southern United States. I’m struck with
the notion that a media artist working alone, like a painter or writer, can create a new form of moving image
designed to be viewed on a wall that has the immediacy of cinema, and the poetic density of painting and
photography.

The South is recently infamous for giving Donald Trump the votes he needed to become president- he won every
state in the South except Virginia. The South has long been known for its crooked populist and racist politicians, but
the election of Donald Trump has profound implications for the entire planet. I thought it was important to create a
work that looks at the South though three prisms- that of the New South, the traditional South, and the populist
South.
Artwork 1 Image:

2
3
Artwork 2 Title: Dissolving Las Vegas
Artwork 2 Dimensions: n/a
Artwork 2 Medium: single or 3 channel video NEW MEDIA
Artwork 2 Commentary: Video URL: https://vimeo.com/270985503

Short Synopsis: Dissolving Las Vegas is an expressionistic montage of video images shot over a four year period in Las
Vegas, Nevada. This city is accurately described as the first 21st century city and is the brightest city on earth when
viewed from space. By combining neon signs, non-stop revelers, street hustlers, desert A-Bomb tests, and some of
the most excessive architecture and art on the planet, I’ve created a 14 minute multi-layered expressionistic
video painting describing a city built by cowboy capitalists. It’s a neon oz fueled by the particular American need
for instant gratification, wealth, excess, and forbidden pleasures- all on an industrial scale. Music track by the great
neo-surrealist musician Bruce Hampton.

Artwork 2 Image:

4
5
Catalogue2 ID0979
Artist ID: 0979

Artist Name: Laura Chopin Emsley


Website:
IG: instagram.com/laurachopinemsley

Artist Statement: *acciaccaturaÂ


almost invisible
almost inaudible, untraceable
preceding something more important, valuable, or defining
but there, nevertheless
unnoticed, but documented
be mindful of the mundane

**c minorÂ
melancholicÂ
or the parallel major
a sudden shift

*** dynamics
left to the players discretion somewhat
up for interpretation
guided by the melody and tone
but also memories and instances
forgotten happenings
past becomes present

****4/4
or common time
every day time
grocery shopping time
its raining again time
stockwell to kings cross time
brushing your teeth time

Notes:
See USB Stick for Video

1
Artwork 1 Title: and what we find will be categorised
Artwork 1 Dimensions: H84xW250
Artwork 1 Medium: ink on paper, pins
Artwork 1 Commentary: A piece of text with supporting 'documentation' of an unknown event mysteriously
captioned 'Tottenham Hale Excavation' Further documented and placed alongside the original, the piece of work
captures the human impulse to document and categorise- when the documentation of a process becomes more
important than the process itself.

The piece of text reads:

'and what we find will be categorised,


the ones that can be carried for a very long time without arms aching,
or the ones that can be posted to other continents for a very small postage fee,
the ones that are the colour of grass but the colour of grass at night when you're standing under a streetlight in the
park but you don't cast a shadow onto the grass you cast one the other way onto the footpath,
and all the things that make no sound when you drop them with quite some force or at least no sound within the
hearing range of all the people who don't know the name of their rabbit because they stole it from their neighbour
whilst they were on holiday,
the neighbours cried for weeks and took 3 days off work'

It is otherworldly and strange yet rooted in a familiar reality. Its arbitrary categories, inspired by a Chinese
encyclopaedia in Jorge Luis Borges' essay 'John Wilkin's Analytical Language', are tenuously linked and form a
trustworthy bond with the evidential image placed alongside it.
Artwork 1 Image:

2
3
Artwork 2 Title: the apple tree
Artwork 2 Dimensions: approx. H100xW150, projected onto wall with digital projector
Artwork 2 Medium: video
Artwork 2 Commentary: Video: https://we.tl/t-l1WSJDeKzA

On July 20th 2018, I was volunteering at the Hancock Museum in Newcastle for The Great Exhibition of The North.
The following events (supposedly) took place:

It was about 12 o'clock.


A woman approached me.
"I found this on your gallery floor."
MY gallery floor: the power I possessed was palpable.
She handed me a school jumper with an apple tree on it.
I took the jumper home with me.
It used to belong to a girl called Julia.
I hope she doesn't get too cold.

'the apple tree' follows me and my guilt in the aftermath of this happening.
Artwork 2 Image:

4
5
Catalogue2 ID1027
Artist ID: 1027

Artist Name: ÉAnna Mac Cana


Website: https://eanna19.com
IG:

Artist Statement: After I returned from one year of Filmmaking at Manchester Metropolitan University I was
diagnosed with a serious illness. During the summer of 2017 I sustained hospital treatment. After being discharged
from hospital at the end of summer, I began to make moving image based work dealing in themes of mortality, faith,
loss and superstition rooted in old Irish traditions and family history. I react to my own past and reality, to intertwine
with my cultural heritage. To draw parallels, to look into the past to try to find something I could never see at the
time. In doing so I think it is important to be vulnerable, to expose and embrace darker thoughts. In addition it is a
way in which I am able to push on from personal trauma in exerting the thoughts and feelings I have. I search for a
negative space in my work. I try to thread the line between optimism and pessimism, dreams and nightmares, reality
and fiction. An unstable ground.

I currently record my scenes using one faulty and one working Sony Analog DCR-TRV33E camera. The use of night
vision mode on this camera has enabled me to reduce the colour palette and enhance the nocturnal and nightmarish
thoughts I want to convey.

Notes:
Vimeo = https://vimeo.com/263946326 (Password: DBAM2)

1
Artwork 1 Title: Bed
Artwork 1 Dimensions: Resolution: 720 x 576p
Artwork 1 Medium: Video
Artwork 1 Commentary: 'Bed' is a still taken from a larger body of work, 'Och Ochón', which was shown at the
Crescent Arts Centre Gallery, Belfast, March 2018.
Artwork 1 Image:

2
Artwork 2 Title: Och Ochón
Artwork 2 Dimensions: Resolution: 720 x 576p
Artwork 2 Medium: Video
Artwork 2 Commentary: 'Och Ochón' is a still taken from a larger body of work of the same name, 'Och Ochón',
which was shown at the Crescent Arts Centre Gallery, Belfast, March 2018.

This work takes its generative force from the long standing Irish custom of keening (or Caoineadh) which has waned
as a practice in Ireland. Keening is to lament over the deceased, usually taking place at a wake, but sometimes at a
funeral. Accounts of keening vary and was typically an impromptu act, usually performed by an older woman. Many
incidences involved wailing rather than singing. Keening is older than the Christian missionaries who came to Ireland,
and it shares
it’s history with the Jews and Arabs. It is seen as a human response to death.
Artwork 2 Image:

3
4
Catalogue2 ID1039
Artist ID: 1039

Artist Name: Antonio Bezerra


Website: bez.pt
IG: www.instagram.com/bzzerra

Artist Statement: Using my own data, collected daily by my google profile, I created an immaterial but
simultaneously real landscape, to which I joined the sounds of my daily routes, brutally manipulated until they were
no more than ghostly reverberations. The result is the audio-visual manifesto of a cyberspace footprint that we all
leave constantly, on a daily basis, about the future of which there are still not many ideas. With, or without
awareness of us doing so.

My work reflects about the future of humanity and the ubiquity of technology. In the interception between physical,
metaphysical and virtual reality, the Man and his data.
Millions of bytes of information stored in an anonymous cloud that sees everything, everything hears, everything
knows. In addition to what organic memory allows, there is now the information recorded in cybernetics that never
stops recording. Always accessible. Forever.
Man adapts to his new life with the machine.
In a future that is made today, it wins the supremacy of technology.
What's left of mankind? Bionic art for hybrid beings, ever closer to immortality.

#noprivacy is a digital sculpture and a video installation, intimately linked to the real world through the geolocation
data that originate it, and the enormous amount of metadata that overlaps it.

Keywords: Data-driven Art, Data Mining, Big Data, Digital Sculpture, Video Art, Sound Landscapes, Visualization,
Anthropocene, Post-humanism, Technological Singularity, Human Rights.

Notes:
Vimeo = www.vimeo.com/user34536433

1
Artwork 1 Title: #noprivacy_01_2
Artwork 1 Dimensions: 1920 x 1080 px
Artwork 1 Medium: Video Installation
Artwork 1 Commentary: VIDEO: vimeo.com/user34536433
Artwork 1 Image:

2
Artwork 2 Title: #noprivacy_02_122
Artwork 2 Dimensions: 112 x 200
Artwork 2 Medium: Archival pigment print on cotton paper
Artwork 2 Commentary:
Artwork 2 Image:

3
Catalogue2 ID1049
Artist ID: 1049

Artist Name: Darran Mcglynn


Website: www.darranmcglynn.com
IG:

Artist Statement: I am an artist from Donegal who completed a BA(Hons) Fine Art at the University of the West of
England, Bristol, in 2013. My varied practice incorporates sculpture, installation, language and printed media and is
notable in its use of humour to explore our relations with our surrounds. Central to my practice is the human
experience and I am interested in how we navigate the contemporary landscape - both real and imaginary
cartographies superimposed through the distorting prism of digital media, fake news and targeted marketing - the
commercialisation of the real world for mass consumption, and the reality of facing the indifferent nature of our
environment.

When I employ language as a medium I treat it sculpturally; constructing works from nuances, double meanings,
contextualisation and slips of the tongue (and imagination). Certain words and phrases jump out at me and I
manifest them into another form, literally and physically, to capture the zeitgeist. Language is so much more than
the bearer of information; it acts as a bridge between the imaginary and reality. It’s in this context that people
can add and take away their own interpretations based on their own experiences.

Notes:

1
Artwork 1 Title: Pedalo
Artwork 1 Dimensions: 120x170x160
Artwork 1 Medium: Sculpture
Artwork 1 Commentary: Pedalo (2019) is a sculpture made from faux fur, steel, softwood, inkjet print on backlit
photo film, plate glass and light fittings. The illuminated photograph of tourists cruising leisurely on a pedalo in a
warm ocean, while swimmers float in the background - one on an inflatable ring - confronts us with an image of
ourselves as consumers in an ever more packaged and mediated world. The photograph has a grainy quality and tilt-
shift effect born from the production process that suggest inauthenticity and voyeurism - the figures appearing
almost like miniature set models. The soft faux fur nods to domesticity and is set in contrast to the hard coldness of
the dark steel legs and frame of the stained softwood light box.
Artwork 1 Image:

2
3
Artwork 2 Title: Cascade
Artwork 2 Dimensions: 260x31x3
Artwork 2 Medium: Sculpture
Artwork 2 Commentary:
Cascade (noun) 1. a small waterfall, typically one of several that fall in stages down a steep rocky slope 2. a process
whereby something, typically information or knowledge, is successively passed on.

Cascade (2019) is a sculpture made of softwood, MDF and paint, inspired by the commodification of the natural
world, and particularly the phenomenon of selfie sight-seers. Cascade reminds us of the fragility of the natural eco-
system when mass tourism is turning precious sites and cities into relative theme parks, damaging fragile
environments, eroding local culture and traditions and displacing the people that live there, all in search of the
perfect selfie.

Artwork 2 Image:

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Catalogue2 ID1052
Artist ID: 1052

Artist Name: Jess Pemberton


Website: www.jessicapemberton.com
IG: https://www.instagram.com/jess_pemberton/?hl=en

Artist Statement:

Notes:

1
Artwork 1 Title: Fruits of Nature
Artwork 1 Dimensions: 42 x 59.4 x 0.5 CM
Artwork 1 Medium: Analogue and Digital Collage with Digital Drawing
Artwork 1 Commentary: We are the spawn of the now.
We are Nature.

Lets take some responsibility.


Artwork 1 Image:

2
Artwork 2 Title: Factory Settings
Artwork 2 Dimensions: 42 x 29.7 x 0.5 CM
Artwork 2 Medium: Analogue Collage
Artwork 2 Commentary: Revealing the often hidden nature of dark mental states and how they're fed by our
environment.
Artwork 2 Image:

3
Catalogue2 ID1054
Artist ID: 1054

Artist Name: Geeta Roopnarine


Website:
IG: https://www.instagram.com/ggroopnarine/

Artist Statement: Geeta Roopnarine is an interdisciplinary artist whose work spans the intersection of art, science
and technology. She is interested in the idea of memory and how it transforms, the interconnectedness of things and
the heterotopic ‘otherness’ of space. Her history includes diverse cultures such as Indian, Trinidadian and
Greek and she draws upon the images, myths and philosophy of these backgrounds to create works that come
together in unstable equilibrium. Her recent work is informed by neuroscience and uses the transformation of data
to pose questions about the mind-body ‘dichotomy’ and the architectural space inhabited in this world.
She was born in Trinidad and Tobago, received a BA in Fine Art from the Athens School of Fine Arts and an
MA in Computational Arts from Goldsmiths University. She lives in London and Athens.

All the works submitted here are based on computational algorthims, interaction or 3D printing.

Notes:
Youtube = https://youtu.be/3vgACgC6zck https://www.youtube.com/watch?v=dobZzKcIFlI PDF =
http://www.weebly.com/editor/uploads/1/0/0/1/10015543/644150254886261971_groopnarinethecityat4am.pdf

1
Artwork 1 Title: The City at 4 am
Artwork 1 Dimensions: Variable: Installation depending on the space
Artwork 1 Medium: 3D printed sculpture, Arduino micro controller, LED lights, images on paper, video collage, steel
and brass.
Artwork 1 Commentary: The City at 4am
This work consists of four works that metaphorically engage in dialogue with each other.
The City at 4am uses bio-sensing to create a narrative space that explores a meditative interaction between
body and mind and to playfully suggest that the ‘pulse of the city’ even when it sleeps, is powered by the
heart rate variability of its inhabitants. It is inspired by Eastern philosophical teachings, where the mind is seen as
manifesting itself from moment to moment, one thought at a time, as a fast-flowing stream. The ‘cityscape’
sculpture is created by 3D printed transformations of visual data. These range in scale from Hubble images of
galaxies, portraits and to those of single-celled radiolarians and they are generatively designed using mathematical
functions.
Other images interact with words and computational algorithms to raise questions of complexity and
fragmentation of the ‘Self’. A group of images, algorithmically transposed, ask questions about the tipping
point of being and transforming. A video collage pose questions relating to the inner states of the mind and renders
a portrayal of a mind in motion. Finally, a laser-cut algorithmically rendered QR Code installation in steel and brass
invites the reader to ponder on the nature of encrypted data, both as ubiquitous objects in the external and in our
inner world. This, in turn, relates back to our ‘encrypted’ pulse being transformed in a medium that we can
see and appreciate.
This title of this work was inspired by Alberto Giacometti’s ‘The Palace at 4 am’.
Video: https://youtu.be/3vgACgC6zck

Materials: 3D printed sculpture, Arduino micro controller, LED lights, images on paper, video collage, steel and brass.
This work needs a media player and medium-throw projector for the video and a plinth for the laser-cut brass and
steel installation

Note: As I can only upload one file, I made a pdf but the images are available for viewing if needed.

Artwork 1 Image:

2
3
Artwork 2 Title: Butterfly
Artwork 2 Dimensions: Variable depending on the space.
Artwork 2 Medium: Video
Artwork 2 Commentary: Butterfly Video
This work talks about the ebb and flow of our lives, and of the silent conversations we have within ourselves. The
things we notice grow and group together, and then move away and fade, allowing other things to take place in
continuous motion. It is about the passing of time and the mesmerising patterning of our lives.

https://www.youtube.com/watch?v=dobZzKcIFlI

This work needs a media player and medium throw project to display.
Artwork 2 Image:

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Catalogue2 ID1055
Artist ID: 1055

Artist Name: Maria Alexandra Gonã§Alves Candeias


Website:
IG: candymax1711

Artist Statement: In addition to the initial concept of VJ videos, I have always idealized the presentation of this
project in an installation / performance with projection of its images in real time, on a screen, in a building, like video
mapping, or in a choreography, like dialog between body and light, accompanied with live music or with a simple
playlist. The video kaleidoscope can have several uses, such as projection in photography or video on video,
achieving impressive visual results, 3D type, without the use of a program for this purpose, but through a video
editing application.

Notes:
See USB Stick for Video. Website = https://www.facebook.com/mag.candy.92/videos/536030996916560
https://www.facebook.com/100015289927205/posts/536403430212650/

1
Artwork 1 Title: Kaleidoscope Video live performance
Artwork 1 Dimensions: not applicable
Artwork 1 Medium: Video
Artwork 1 Commentary: This video is made through a structure that I build, a prism of mirrors by using different
objects and material it always ends with unique and unrepeatable visual effects.
I don't work with any computer, only with the iPhone cam and 3 app, and the iPad to support sound.
My videos with the right devices or hardware, are interesting to project as video mapping, or projecting over
sculptures.
Artwork 1 Image:

2
Artwork 2 Title: Woman Black & White
Artwork 2 Dimensions: not applicable
Artwork 2 Medium: Video
Artwork 2 Commentary: This video is an example of the kaleidoscope video project in a photo, that it looks like 3D
effect but with no use of that specific software or application, I just used an video editor.Maria
Artwork 2 Image:

3
Catalogue2 ID1080
Artist ID: 1080

Artist Name: Jinyan Feng


Website:
IG:

Artist Statement: I am the Only Child in my family, and most of the time I live in my own world, so I have to face with
the trouble of interpersonal communication while I growing up.

First of all, I will create a world that only belongs to me, by merging personal experiences, dreams, fairy tales,
medieval art and traditional Chinese painting. Through manipulation, illusion and distortion, I would gladly roam
between the inner world of a lonely girl and reality even if the line between the two worlds are murky.

Secondly, the performance video piece “the pursuit of beauty― that I put unnecessary objects on my body, is
questioning about the aesthetic standards, in which male makes judgments about female body, at contemporary
Chinese Society.

My art works are not talking about grand political and social issues, but rather my personal expressions coming from
sensitive self-observation towards my body, my personal everyday objects and fiction.

Notes:
Youtube = https://www.youtube.com/watch?v=Tt8rP-YZGTs

1
Artwork 1 Title: The pursuit of beauty
Artwork 1 Dimensions: VIDEO'S SIZE CAN BE ADJUST
Artwork 1 Medium: heel shoes, lipsticks, falsies, belt
Artwork 1 Commentary: In China nowadays, is the pursuit of beauty by the girls out of their own self-demand? Or it
only tries to meet the social conventions? Or is it just single aesthetic standards of females?

In this series, I showed people’s pursuit of "beauty" by brutally treating the body, using hidden heel shoes,
lipsticks, falsies, belt. Through the lipsticks covering allover, the eyes stacked with layers of eyelashes, the belt too
tightened to breathe, the disproportionate chest pads, and the uncontrollable high heels to keep the balance, I
exaggerated the universal pursuit of beauty and the aesthetic needs, and presented a near "absurd" phenomenon.

VIDEO LINK:
https://www.youtube.com/watch?v=Tt8rP-YZGTs
Artwork 1 Image:

2
3
Artwork 2 Title: we are friend
Artwork 2 Dimensions: 120cm x 120cm
Artwork 2 Medium: oil on canvas
Artwork 2 Commentary: My painting are like children's drawing. I want to express the complexity of the adult world
through kid's perspective.

The work is created from the inspiration of the things I experienced in my life and my feelings which combined my
dreams.
Artwork 2 Image:

4
Catalogue2 ID1082
Artist ID: 1082

Artist Name: Georgia Crowther


Website:
IG:

Artist Statement: Depicting cultures and social environments with a fluid filter, I capture the otherworldly and
spontaneous, underpinning our shared reality. Growing up in Dubai, I witnessed heavy urban construction causing
toxic pollution. Swelling populations of human migrants were used like scaffolding, fragile against metal. I seek to
portray the colourful, organic and the ethereal against a backdrop of social dissociation caused by a detachment
with nature. My post-surrealist practice is multi-disciplinary, using oil paints on found materials, sculpture,
performance and film to embody a range of sensitivities in the alienating age of technology.

Notes:
Youtube = https://www.youtube.com/watch?v=6JLNa7INecI&t=354s

1
Artwork 1 Title: Foragers
Artwork 1 Dimensions: 65cmX95cmX2cm
Artwork 1 Medium: Oil Paint on Plywood
Artwork 1 Commentary: Nature grows in my painting, embodied by fragments I discovered while roaming the forest
in the Greek island of Ikaria.

Despite obstacles, roots and light relentlessly dance into the surroundings of my painting, as if pulsating. While in the
wilderness your attention flickers, I was inspired to have no focal point, yet instead allow the viewers’ eyes to
wander, like the people in the painting who search and collect. Technological and expensive objects have been used
to make a shelter, something fundamental to human survival.

The perspective is from above, like peeping into a fantasy, a new reality where simple things are intrinsic part of
lifestyle I want the audience to feel almost conflicted, the varying levels of detail, shadows, light and attention
should isolate yet draw in a viewer, representing how the technological age both promotes connectivity yet divides
us. In contemporary society, gadgets seek to connect us, shrinking the world into something that fits into our hand.
However, I’m inspired to highlight a more simplistic approach to connection, through an extended and
continuous community.

The complexity of the fort is to highlight patience, graciousness and anti-materialism. A sense of time is perpetuated
in my piece with old and young figures and an overgrowth rising up over devices some new, some vintage. This
disregard for technological progress is meant to show a feeling of being at one with one’s environment, not
feeling distracted by the past or future but absorbed by the vibrance and surrealism of nature.

My painting is a proposal for a utopia that has the imagery of a dystopia. Either existing as an historical painting or a
portal into a future post-internet, it murmurs the same message… My Grandfather would always say, count your
blessings, when we break our Apple we feel like the juice of our very soul is leaking. So instead of advancing for
streamline, faster, less clunky ‘iSomethings,’ that replace raw human connection, make advancement how far
you venture into that forest or how close you become to your new friend. Devices have become shells we live inside,
they affect us like lovers, glinting our eyes with anxiety. Instead of pixels, stare into eachothers eyes.

The random configuration of the shack, which is a fundamental shelter, mimics the chaotic, randomness of nature,
ironically contradicting the specific mapping of circuit boards.

Layers were crucial in the making of this piece, I began working very spontaneously with a large brush covering the
entirety of the wood, with yellow hues from one corner, drifting to blues then reds. With a base coat, I started
painting intricately, using the back of my paintbrush meant I could scratch away the paint allowing those initial tye-
dye colours could seep through. The painting involved a lot of time and care, a fulfilling experience to create a
psychedelic reality, one that has as much realism as it does fantasy.
Artwork 1 Image:

2
3
Artwork 2 Title: μονο εσενα αγαπω (Only You I Love)
Artwork 2 Dimensions: 0
Artwork 2 Medium: Movie
Artwork 2 Commentary: Length of Film: 7:11 minutes

Link for the Full Movie:


https://www.youtube.com/watch?v=6JLNa7INecI&t=354s

My footage was collected on the island Ikaria, where radiant Greek festivals play traditional songs, one memorably
had the line “μονο εσενα αγαπω― (only you I love). This lyric echoed in my head during exploring
expansive surreal landscapes. Transitory scenes of young locals venturing through rolling forests portrays the shifting
tensions of masculinity and desires of adolescence.

Ikaria, renowned for its citizens’ longevity, has a lifestyle cushioned by community. For Ikarians, strangers are
more likely to be relatives than tourists, and using ‘autostop’ (hitchhiking) is a usual form of transport.
Alternative to urban cities, threat arises from caves and cliff edges that Ikarians seek out and enjoy relentlessly.

My soundtrack mimics the naturalistic and ethereal visuals to engage with intensifying feelings of excitement and
fear.

On countless hikes spanning over a month, I followed them through dried up rivers, a metaphor for our flowing
enthusiasm to carve into the earth and leave our metaphysical mark amongst nature. The subtle female presence
depicts the fragility of gender expectations due to social conventions. It also acts as a symbol for fleeting ideals of
‘innocence’ – a curiosity, a space for discovery in an environment that is idyllic as it is treacherous.

Artwork 2 Image:

4
5
Catalogue2 ID1098
Artist ID: 1098

Artist Name: Bims Ayorinde


Website:
IG: wipbee

Artist Statement:

Notes:

1
Artwork 1 Title: Your voice.
Artwork 1 Dimensions: 80 x 60 x 2
Artwork 1 Medium: Digital art
Artwork 1 Commentary: In this piece, I wanted to represent the constraints you can feel as a POC in society today.
The hands show the judgement that we face as soon as we even step into a room; we are unable to speak up
without being labelled immediately. I want to break these stigmas with my art.
The title ‘Your Voice’ represents how we need to be able to speak up more and shouldn’t be silenced
because of the fear of what people think of us or what we are going to say. There is a stereotype of who we are, and
you can either live up to that stereotype, or be your own person.

Artwork 1 Image:

2
3
Artwork 2 Title: m e l a n i n
Artwork 2 Dimensions: 80 x 60 x 2
Artwork 2 Medium: Digital art
Artwork 2 Commentary: ‘m e l a n i n’ is inspired by the beauty and richness that comes with everyone’s
appearance. I wanted to draw something almost celestial-like and delicate so went for subtle peachy tones. This
drawing should emote a chill-like feeling and it was extremely relaxing to draw!
The multiple heads around the main drawing represent the multiple states of mind and depictions that you have of
yourself. The girl is deep within her thoughts, and untouchable.
There is a lack of representation of darker-skinned women in the media, and being a young darker skinned woman
myself, I want to represent what I haven’t seen.
Artwork 2 Image:

4
5
Catalogue2 ID1146
Artist ID: 1146

Artist Name: Adolfo Ruiz Mendes


Website: https://www.armvisual.com/
IG: https://www.instagram.com/thewooter/

Artist Statement:

Notes:

1
Artwork 1 Title: La cigüeña añil
Artwork 1 Dimensions: 61,4x23
Artwork 1 Medium: Digital art
Artwork 1 Commentary:
Artwork 1 Image:

2
Artwork 2 Title: La cigüeña añil cover
Artwork 2 Dimensions: 31,7x23
Artwork 2 Medium: Digital art
Artwork 2 Commentary:
Artwork 2 Image:

3
Catalogue2 ID1160
Artist ID: 1160

Artist Name: Daniel Wirths


Website: https://www.saatchiart.com/zeee
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Blind Faith- Twist flux Infraduction
Artwork 1 Dimensions: 3000cmx3000cmx
Artwork 1 Medium: light tubes,bamboo,light ladder
Artwork 1 Commentary: This is a flux of lights moving in a mexican wave of an abstract replication too a particle
accelerator of great forces frusting through bamboo & bisymetrical parallel multi-universal collidoscopic light
creating after glowing fluxes in patterns & time delayed spaces to paths present & fading transmutant journeys in
time.
Artwork 1 Image:

2
Artwork 2 Title: Wave of Equilibrium
Artwork 2 Dimensions: 1200cmx100cmx80cm
Artwork 2 Medium: Bronze patinated on top half
Artwork 2 Commentary:
Artwork 2 Image:

3
Catalogue2 ID1162
Artist ID: 1162

Artist Name: John Renney


Website:
IG:

Artist Statement:

Notes:
Vimeo = https://vimeo.com/309363062 https://vimeo.com/316984567

1
Artwork 1 Title: Three Movements
Artwork 1 Dimensions: 1920 x 1080 digital video
Artwork 1 Medium: Digital video
Artwork 1 Commentary: Please find below a link to the work on vimeo:

https://vimeo.com/309363062

For exhibition the film will require a screen able to play the work via dvd or blu ray. The film could also be viewed
from an exterior hard drive or memory stick. I will provide the discs or hard drive/memory stick for playback.
Artwork 1 Image:

2
Artwork 2 Title: New Light
Artwork 2 Dimensions: 0
Artwork 2 Medium: Digital video
Artwork 2 Commentary: Please find below a link to the work on vimeo:

https://vimeo.com/316984567

For exhibition the film will require a screen able to play the work via dvd or blu ray. The film could also be viewed
from an exterior hard drive or memory stick. I will provide the discs or hard drive/memory stick for playback.
Artwork 2 Image:

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Catalogue2 ID1163
Artist ID: 1163

Artist Name: Josie Laidman


Website:
IG: @j.laidman

Artist Statement: I have loved art, and I have loved portraiture in particular, because of how much small
manipulations to a piece can have a very dramatic effect on the perception of the piece of work, and of the person
portrayed. I currently use digital technology to create my artwork because my day job involves moving from court
room to court room across the country. My current works explore this manipulation in the form of colour. I love to
use bold colours and leave lines of colour throughout portraits to explore the impact that has on the subject. Each
piece I create has subtle undertones of continuity in the base colour, or colour theme given to it. But at the same
time, the subject is brought to life, is made more real and relatable by the brazen and intrusive use of colours that
perhaps should be seen nowhere near the skin tone of the subject. The un-subtlety of the contrast between light
and shadow in my portraits is intended to create a stronger atmosphere, drawing the viewer in to making particular
assumptions about the subject. This is my aim, at least.

Notes:

1
Artwork 1 Title: The Modern Pearl Earring
Artwork 1 Dimensions: 21.0 x 29.7cm
Artwork 1 Medium: Digital painting
Artwork 1 Commentary:
Artwork 1 Image:

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Artwork 2 Title: The Empty Quarter
Artwork 2 Dimensions: 21.0 x 29.7cm
Artwork 2 Medium: 0
Artwork 2 Commentary:
Artwork 2 Image:

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Catalogue1 ID1187
Artist ID: 1187

Artist Name: Ziwei Wu


Website: wuziwei.me
IG: https://www.instagram.com/ziweiwu1996/

Artist Statement: Wuziwei is from China and received a BA in intermedia art from China academy of art. Recently
studying for an MFA in Goldsmiths, Computational arts. As a new media artist, wu ziwei’s artworks mainly based
on biology, science and the influence in the society. Using a range of media like painting, installation, Audio-Visual,
2D and 3D animation, VR, mapping and so on.

Notes:
Vimeo = https://vimeo.com/293037680

1
Artwork 1 Title: The punishment of Tantalus
Artwork 1 Dimensions: 100cm *100cm* 65cm
Artwork 1 Medium: Black walnut; Brass; Glass; Magnifier; Resin; Feather; Cocoon; Loudspeaker
Artwork 1 Commentary: https://vimeo.com/293037680

This inspiration of this work from the part of music torture in Bosch's painting The Garden of Earthly Delights.
Through the mechanism of the punishment of Tantalus, I created a new mechanism which can control others
through audio. In several dimensions of magnifying glass’ view, we can see seven different little worlds.
‘they’ are being tortured.
The work hopes to explore and reinterpret the phenomenon of individual behavior being controlled and watched by
external perspectives and sounds.

*Tantalus offended the gods and suffered in hell. He stood in the deep water. Whenever he was thirsty. The water
immediately flowed away from him. Whenever he wanted to eat the fruit from the tree in front of him, the fruit rose
in the air.
Artwork 1 Image:

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Catalogue1 ID1193
Artist ID: 1193

Artist Name: Roshanak Khakban


Website: www.roshanak-khakban.com
IG: @roshi1964

Artist Statement: Roshanak Khakban is a conceptual artist whose works originate in exploring the language related
to subjects of archive and memory. She works with her own footage and archival material she has collected over the
years. Her works focus on the inability of communication which is used to visualise reality, the attempt of dialogue,
the discontinuity between form and content and the dysfunctions of the language of story-telling.
Her video does not focus on the whole, and complete structure. This results in the fact that the artist can easily
imagine an own interpretation without being hindered behind expectations.
By manipulating the viewer with colourful, and fragmented images, she creates confusion, to how a story can be
portrayed using a visual language.
Her works are aesthetically beautiful and leave us with conflicting thoughts and feelings.

Notes:
See USB Stick for Video

1
Artwork 1 Title: 'home, not Home'
Artwork 1 Dimensions: Video (1min 07secs)
Artwork 1 Medium: Video
Artwork 1 Commentary: I will have to send you a link to this work.
I have a small pocket projector and a tripod which I normally use to project my video. the dimensions can vary and I
am flexible with the size of the projection depends where it is being projected on.
Only the last 5secs of the video has a sound which is fine if not played. But the projector has an inner speaker which
could also be used.
I will have to send you a link to this work to your email + the screenshots of the video

Artwork 1 Image:

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Catalogue1 ID1195
Artist ID: 1195

Artist Name: Christopher Bennett


Website: www.christopherbennettphotography@gmail.com
IG: christopherbennettphotography

Artist Statement: I’m a contemporary photographer who has an interest in new technologies of artificial
intelligence and 3D printing, pushing the boundaries of the traditional 2D photographic image into a three-
dimensional form. My practice derives its inspiration from late archaic Greek sculpture but is applied to 21st century
technology. careful consideration of the installations has to be taken as the sculptures require the viewer to engage
from multiple angles due to its three-dimensional form.

Notes:

1
Artwork 1 Title: late Archaic
Artwork 1 Dimensions: 35,12,9
Artwork 1 Medium: 3D printed sculpture
Artwork 1 Commentary: The forearm three-dimensional print would not be possible without the 438 two-
dimensional images used to create the mesh. The work takes its heritage from the history of sculpture, specifically
the Late Archaic period in Greece. During this period, sculpture of the body changed from an idealisation of form to a
more anatomically correct rendering of the human figure. What the Greek sculptures were trying to achieve I am
now trying to create with 21st century technologies of artificial intelligence and 3D printing. While the work takes
inspiration from the past it is also forward looking to the posthuman age. Today we have the most advanced
technology that we have ever known but as advanced as our civilisation has become this work points out that
technology is not perfect, the errors in the scanning process highlight this.
Artwork 1 Image:

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Catalogue1 ID1205
Artist ID: 1205

Artist Name: Lea Porre


Website: www.leaporre.com
IG: @leaporre

Artist Statement: My practice looks into our relation to various forms of the Sacred.

Whether divine, past or political, I will explore the production and diffusion of truths, by investigating contemporary
hierophanies.

My main focus lies in the formation of our common beliefs, which, I believe arises in the relation of Power between
the institution/media and the general public.

For this reason, I will assemble hyperreal narratives that simulate the institutions’ codes and their channels of
diffusion.
I will play with our preconceptions of ideas of authenticity and aura, as well as with our fetishised and commodified
relation to the Sacred.

By appropriating specific sets of references that are immediately recognisable, I aim to disrupt the viewer’s sense
of familiarity.
Upon closer examination, and as they are pushed towards their limits, these symbols start to disclose the inherent
frailty of the bigger structure they represent.

Notes:
Vimeo = https://vimeo.com/269033598

1
Artwork 1 Title: Royalist Dream
Artwork 1 Dimensions: 1800x2500x100
Artwork 1 Medium: Installation
Artwork 1 Commentary: My degree show project ‘Royalist Dream’ began with a question; what if Monarchy
would be back in France? How would that event be mediated? How would that event become History?
​
This work draws on concepts of cyclicality History and eternal recurrence, to explore the role of repetition in ritual,
and in representation of Power. It can be seen in the re-appropriation of the ouroboros symbol —instead of a snake
devouring its tail, it is Louis XIV—, whose stillness implies constant movement.
​
This process of representation is also examined in light of the royal blue colour similar to blue chroma key.
Instead of being almost-invisible for the most part —to be defined and filled wih information, fictional backdrop for
one and symbolic of Power for the other—, here they become hypervisible, to question how Power and
Information is mediated and imposed onto us.
​
The video is a hyperreal narration of the return of the King in France, combining various mediatic narratives such as
TV shopping, 24/7 news channel, propaganda, and self-care.
​
But their fuctions become unclear; the video —supposedly royalist—, the fabric —as a royal Banner— the
ouroboros —that almost transperces the King—, all seem to be out-of-synch.

To check the screened video : https://vimeo.com/269033598


Artwork 1 Image:

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Catalogue1 ID1212
Artist ID: 1212

Artist Name: Juliana Campos Franco De Oliveira


Website: www.instagram.com/juuhartist
IG: www.instagram.com/juuhartist

Artist Statement: My name is Juliana Campos, or Juuh Artist as I’m famous in the world of arts, and I live in São
Paulo – Brazil and in London - UK. I’m an artist at Capital Art Gallery in London, the Eikones Art Office in São
Paulo - Brazil, Airez Gallery in Curitiba- Brazil, Wejam in São Paulo and ArtBattle Brazil.
In the artistic universe I am better known as Juuh Artist and I love any type of Art, but what fascinates me most is
Lettering and its infinite capacity of different types of writing.
I am passionate about Abstract Art, Graffiti, Digital Painting and, of course, Lettering. Painting helps me to
understand feelings, experiences, disappointments, and joys. Everything inspires me to create. All of this emotional
load motivates me to paint and create artwork. As it is with me, I believe that painting helps people to express their
feelings and experiences.

Notes:

1
Artwork 1 Title: Lettering of Venus
Artwork 1 Dimensions: 29.7 X 42cm
Artwork 1 Medium: ART DIGITAL
Artwork 1 Commentary: Digitar Artwork, perfect union between my typography and Venus of Milo.
Artwork 1 Image:

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Catalogue1 ID1219
Artist ID: 1219

Artist Name: Holly Dawes


Website: https://www.hollydawes.com/
IG: @holly.dawes_makes

Artist Statement: I am a recently graduated Artist/Maker based in Sussex. I am working part-time on a yellow
Mercedes Sprinter van, which will become my mobile workshop and living space as I travel the world. I am also
working on a range of commercial jewellery which I sell though Etsy. My true passion however lies in installation art
in which I am able to express my true self.

I strive to make work that speaks of fleeting moments of time, and explores the relationship between human
existence and the environment. I make to express the frictions between movement and stillness, and the beauty of
the naturally formed, the organic and imperfect. I make to be connected with the world of materials and the
environment around me. Through this connection with material and environment comes a meditative quality.
​
The hand-making of every aspect of my work is important, as my own personal touch is imprinted onto the life of the
materials I use, melding my own self with the objects being created, a collaboration of material and human agency. I
work with many different materials exploring the alchemical properties of each, for example the growth of
patinas on copper and the changing states of clay to ceramic, melding traditional techniques with modern
technologies. These materials although different can speak to one another through similarities in colour, form and
texture.

Notes:

1
Artwork 1 Title: Alchemic Connection
Artwork 1 Dimensions: Each individual piece is approx 20cm across 6cm tall. previously been exhibited in a 6ft
square space
Artwork 1 Medium: Copper, ceramic, Arduino technology and LEDs
Artwork 1 Commentary: This installation is formed of 50 individual wall mounted pieces, including raku-fired
ceramic, copper and translucent porcelain. These pieces although unique fit together like a family. Each piece is
invisibly connected by a copper wire, so that when the viewer interacts by touching the copper TOUCH point, a
selection of the pieces lights up. It is only after touching all of the five copper TOUCH points that the whole
installation is lit up.

Through this use of tactile interactions, the viewer becomes a part of the work with their actions made visible.Â
These interactions bring people together and encourage connections. Each object is connected in a web of data, and
when the viewer interacts they become a part of that web.

This installation is reminiscent of deep sea or deep space places where humans have hardly penetrated, places that
humans have little control over. Some of the pieces hold lichen trapped in resin complimenting the organically
formed shapes and reminding the viewer of the significance of nature.

Artwork 1 Image:

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Catalogue1 ID1220
Artist ID: 1220

Artist Name: Zuza Banasinska


Website: https://zuzabanasinska.myportfolio.com
IG: instagram.com/zuzabana

Artist Statement:
In my art-making process I strive to relate to many fields and ideas, never fixating on one medium. I often mix the
analog and digital realms, striving to understand our rapidly shifting perception of the world, while retaining a
contextual understanding. The technique that unites all of my works is „entering images― - through bodily
connection with the pixelated light, meditation on representation and narrative-based immersion.
I strive to make my works seem familiar at first, but upon greater reflection, uncanny and surreal. What interests me
the most is this moment of transition, when the unfamiliarity of the work starts to puncture its initial mundaneness.
My works are often given improper functions: significations are inversed and form and content merge. I am
particularly interested in exploring the relation between the human (or non-human) being and its digital
representation. Elements are dissociated from their original meaning, through which the system in which they
normally function is exposed. New worlds are created out of the shuffled parts, creating a visual vocabulary that it is
still rooted in the original, but creates a new dimension to each element.

Notes:

1
Artwork 1 Title: I didn't go to Crimea and all I got was this alien message
Artwork 1 Dimensions: 11:40 min
Artwork 1 Medium: experimental film/installation
Artwork 1 Commentary: Link to video:
https://youtu.be/BN_1X39wjes

Link to installation documentation and additional materials:


https://zuzabanasinska.myportfolio.com/i-didnt-go-to-crimea

In July 2017, during an artistic residence in the Belarusian part of the Bialowieza Forest, I came to the village of
Dobrowola. There, in an abandoned cottage, next to an empty bottle of vodka and family photos, I found an album.
It led me to the space in which the smallest stands on par with the unimaginably huge and time does not run
linearly, facts are mixed in with fiction and alien with the familiar. It is a 30-page photo album created by Boris, who
lived in the house in Dobrowola. Between 1984-1986 he served in the military in Crimea, in the Soviet Black Sea
Fleet. In addition to the photographs in the album, there are drawings and sprayed images from templates. Many of
them indicate the author's interest in the cosmos, focused mainly on the complex of radars under Eupatoria. My
research around this object had no purpose. In search of answers to unasked questions, one information led back to
another, never heralding the end of the process. Instead of traveling to Crimea and exploring the place that inspired
the album’s creator, I decided to explore the object itself.
Although “arche― means the beginning, the archive is closely related to the future. That which is not preserved
in it, dies in some way for this future. Was the "drive of death―, that led Boris in creating this memory of service,
the same as the one which made several Soviet scientists on behalf of all humanity write for hundreds of years in the
cosmos the words "Mir", "Lenin", "USSR"? By transforming the album into a space of observation of these various
journeys of memory, the time scale and spatial scale have been disrupted and private memories are on an equal
footing with interplanetary ones. The expanding archive in the form of an album, its references and objects to which
it has led, has become a place for creating alternative stories - from “excavation sites" to “construction sites".
Memory wandering in this space is nonlinear, because each event has far-off effects in the future and a connection
to the past. The phenomenon of "multi-temporality" arises - time begins to multiply and overlap, becoming more
tangible.
Exploration of deep space operates on very large time scales. For this reason, it was an ideal tool for propagating
Soviet ideals. Marxism, at least in the Soviet version, as fundamentally cosmic, preached the taming of nature and
the technological transformation of the Earth. Russian cosmists
went a step further, crying for the colonization of (at least) the Solar System and resurrection of the dead. However,
all these aspirations are based on the model - a "symbolic image" that resounds in the present and promises success
in the future. Both the drawings in the album and the messages in space are models that initiate progress and
ensure that ideas promoted now will remain in circulation in the future. They oscillate between toys and prototypes,
setting ever higher thresholds for children's dreams.
The 3D space in which the "action" of the album takes place, is also a model - a toy. It was created in a game
development program, and the film was recorded during its exploration. Imagination becomes a testing site before
an object is implemented into real life. The virtual world serves as a playground, a place where different scenarios
take place that can later happen in reality. Undoubtedly, in the realms of the album, I am the alien who violates the
status quo, analyzing a message that was not intended for me. Messages sent into space seem to blur the
differences between me and Boris, extending the concept of belonging from family, home or country up to the scale
of the planet. They designate an extraterrestrial being as the highest measure of alienation. However, isn’t it that
more alien is the stranger whom we can meet by invading the territory of his memory?
Artwork 1 Image:

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Catalogue1 ID1224
Artist ID: 1224

Artist Name: Albinist Llugiqi


Website: www.albimakingart.com
IG: @albimakingart

Artist Statement: I am a digital artist originally from Kosovo but living in London. I mainly create digital pieces drawn
from various sources of inspiration. I'm still exploring my style and themes and currently enjoying experimenting and
finding myself in art.

Notes:

1
Artwork 1 Title: Balance beauty
Artwork 1 Dimensions: 42cm x 29xm x 4x
Artwork 1 Medium: Digital print
Artwork 1 Commentary: This piece was originally taken from an image I came across during my study of ballet and
various poses. I took that and turned it into what I feel is a clean, composed but still rough around the edges piece.
Artwork 1 Image:

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Catalogue1 ID1227
Artist ID: 1227

Artist Name: Gabrielle Drimalovski


Website: www.silumia.wixsite.com/0170
IG: @ellevisual

Artist Statement: Gabrielle is an emerging visual artist, recently having completed her BA of Fine Art in Photography,
Film & Video at Limerick School of Art and Design.
Her practice to date has consisted of producing work that generally explores the dark side of the human psyche
through the medium of video interweaved with sound, lighting and structured narrative stemming from text/spoken
word.

The underlying themes are frequently dark and introspective with a psychological, somewhat poignant undertone.
The work aims to manipulate the viewer’s senses, inducing certain emotions and creating an immersive
experience through a combined use of the aforementioned elements and specific installation conditions. There is
always a lingering sense of the uncanny within Gabrielle’s work, an unintelligible sense that something isn’t
quite right, a sticky feeling anxiety and discomfort. Despite this, the work always aims to engage with the audience
by juxtaposing the discomfort experienced with the familiarity and relatability to one’s own personal experiences
and feelings. There is also an insistence on challenging traditional beliefs, actions and ways of thinking, analyzing
society and our behaviours in our mundane day-to-day lives.

Since graduating, Gabrielle has received multiple awards for her work, including Lismore Castle Arts Solo Graduate
Award 2017, nomination for Inspirational Arts Award 2017 and Emerging Artist Residency Award Engage Artist
Studios Galway.

Notes:

1
Artwork 1 Title: SCOPOAESTHESIA
Artwork 1 Dimensions: 1920x1080p
Artwork 1 Medium: Video
Artwork 1 Commentary: ''Scopoaesthesia'' is a video piece which explores the anxiety of the gaze expressed through
body language. Addressing several aspects of voyeurism and surveillance, the work conveys various gestures and
movements of the body to portray anxiety.

It aims to show the discomfort felt under scrutiny of a stranger in a public place, the judgmental stare of an
authority figure, or simply an innocent look that is interpreted as malicious. The work is based on French
psychoanalyst’s Jacques Lacan’s theory of ‘’the gaze’, which talks about the anxious state that
comes with the awareness that one can be viewed. Lacan identifies three aspects of it: the oral drive (the erogenous
zones are the lips, the partial object the breast) the scopic drive (the eyes and the gaze) and the invocatory drive (the
ears and the voice). The concept for the video is inspired by these three categories of the gaze theory. The audio
conveys the invocatory drive, the visuals and the video’s audience engage with the scopic drive, and the oral
drive is expressed through clips within the piece. All three combine in a moving image piece which addresses not
only the notion of voyeurism, but different aspects of it and how it makes us feel.

The video is available to view on the front page of the following website:

https://silumia.wixsite.com/0170

Included as the image attachment is a still from the video.

It is 6 minutes and 37 seconds long and is in full HD format, 1920x1080p. It would require a HD projector, and the
video would be projected large scale onto a blank wall in a darkened room (within the dimensions of the gallery
space). The only source of light would come from two single spotlights either side of the projection with coloured
gels, which I can provide if unavailable to rent.

Artwork 1 Image:

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Catalogue1 ID1242
Artist ID: 1242

Artist Name: Meghanad Ganpule


Website: www.meghanad.com
IG: https://www.instagram.com/ganpulemeghanad/

Artist Statement: TITLE : LIFE ON WIRES . Now a days in metro cities of India , you will find competition in skyscrapers
, but because of that we lost the world of other species , and now their life is on wires .

Notes:

1
Artwork 1 Title: LIFE ON WIRES
Artwork 1 Dimensions: 120 X 60 X 2.6
Artwork 1 Medium: DIGITAL PRINT
Artwork 1 Commentary: Now a days in metro cities of India you will find competition in skyscrapers , but because of
that we lost the world of other species , and now their life is on wires .
Artwork 1 Image:

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Catalogue1 ID1257
Artist ID: 1257

Artist Name: Yunhan Liu


Website: www.yunhanliu.net
IG: y_unhan

Artist Statement: YunhanLiu (b,1993, Chongqing) is a visual artist working with photography and installation. Liu is
completing her BA degree in Photography at the University of the Arts London. By emphasising the interactive
dialogue between the individual and the surrounding, Yunhan's works explore the instantaneous sublime experience
today. In her latest work, Yunhan use the notion of sun which evokes the universal spiritual sense to reconstructed a
simulacra presence, and to invite viewers to re-engage in the artificial phenomenon.

Notes:

1
Artwork 1 Title: Now
Artwork 1 Dimensions: 50 x 50 x 25 cm
Artwork 1 Medium: Backlit Print, LED Light, Stainless Steel, Acrylic
Artwork 1 Commentary: The virtuality is an increasingly feature in daily life which offers the illusionary feeling of
presentness. It blurs the boundary between real and unreal, and shapes the way that people perceive the external
surrounding. In this project ' now’, I took the sun as a model to explore the instantaneous sublime experience
which evoked by simulacra (image without the substance of the original).
I photographed the pure artificial light to simulate it. The whole piece represents this sun view in the dome to
generate the new sense of sun. This work tries to invite the viewers to re-engaged this artificial phenomenon and
confers the instantaneous sublime experience by renegotiating the way they perceive the nature.

Artwork 1 Image:

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Catalogue1 ID1266
Artist ID: 1266

Artist Name: Joseph Steele


Website: www.JosephSteele.work
IG: https://www.instagram.com/gerhard_richter/

Artist Statement: My practice explores armed conflict—the broad narratives and complex histories that accompany
it, as well as the ethical representation of the people affected by it. I am also interested in the complex moral issues
brought up by armed conflict, and how international relations and political topics are represented in our distributed
media landscape. The formation of political opinion is a recurring theme in my work, as well as the psychological and
physical reconstruction that occurs after fighting.

Since childhood I have been interested in history and armed conflict. In 2015 I spent some time with a Reuters
Journalist in Hebron, in December 2015 I went to Eastern Ukraine, and after that I travelled to Turkish and Iraqi
Kurdistan. In April 2016, I was invited to Rojava, Northern Syria as an artist in residence for the PYD (the ruling party.
The resulting film Rojava 2, was made using a combination found footage along with film, sound recordings and
drawings gathered in the field.

Drawing inspiration from Forensic Architecture, the documentary essaryist Hito Steyerl and writers like Holly Childs, I
wanted to blend the personal with the political, and reveal the complex narratives at work in the region. In particular
I wanted to provide the viewer with an honest account of what I witnessed.

Notes:
Vimeo = https://vimeo.com/296248258 PASSWORD: R0java_Tw0

1
Artwork 1 Title: Rojava 2
Artwork 1 Dimensions: 20 mins 51 sec
Artwork 1 Medium: Film
Artwork 1 Commentary: LINK: https://vimeo.com/296248258
PASSWORD: R0java_Tw0

I confirm that this work satisfies the criteria for the new media award.

The work will be displayed on a wall mounted flat screen tv with headphones which I provide.

In April 2016, I was invited to Rojava, Northern Syria, as a guest of the Partiya Yekîtiya Demokrat (PYD), the
region’s governing party, acting as an artist in residence. My essay documentary, Rojava 2, is my response to the
trip. The film fuses the personal with the political, using a combination of preliminary and follow up research, found
footage and images, along with film, sound recordings, and drawings gathered in the field.
Artwork 1 Image:

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Catalogue1 ID1277
Artist ID: 1277

Artist Name: Ant Hamlyn


Website: www.anthamlyn.co.uk
IG: anthamlyn

Artist Statement: I see my works as precisely crafted visual poems that offer up an immediacy of both visual and
written language through repetition, anthropomorphic metaphors, dystopian or utopian potential and dry humour.
They are organic and often take content from stage craft inventions, observation, memory and contemporary digital
life. They are also semi autobiographical and are realized by a combination of techniques such as elaborate
engineering, hand made fabrication and digital technologies. Offering up kinetic objects, performances and ideas in
which aim to not act as hyperbolic motivational offerings but attempt to delve into a surreal and transient state of
shifting human enthusiasm.

The bored, excited, enthusiastic, surreal and painful. The uncertainty of experiencing everything at once, and then
have it all unravel in front of your eyes.

Notes:

1
Artwork 1 Title: 119 Me
Artwork 1 Dimensions: 65 x 50 15
Artwork 1 Medium: Waxed birch plywood, acrylic plastic, custom hardware and software, 10" tablet, fabric plaster,
online elements, Twitter.
Artwork 1 Commentary: 'Me’ stands for me. It’s the chemical symbol of Me. The 119th element. That’s
Me. The rush, the glitz the glamour. Me. The dopamine hit of me. I love you, I love me. It’s about you but it’s
about me. I’m thankful for you. I’m thankful for me.

119 Me is a live, reactive sculpture that repeatedly displays optimistic, thankful posts by complete strangers across
Twitter. The tablet in the centre of the work continually runs a live website that finds, filters and displays live global
tweets where the #thankful hashtag has been used.

Each time the #thankful tag is found in a tweet - the tablet draws attention to itself by pulsating bright purple light
and displaying the incoming twitter feed for the viewer to read. Because of the consistently unpredictable content
generated via the tweets, the narrative of the work continuously fluctuates generating an extensive archive of online
thankfulness.

The work looks to resist a potentially cynical overview in the face of the social impact of digital technology by
providing a platform of optimism. Whilst at the same time questioning the hyperbolic nature of these tweets and
their audience, and their potential as tools for self help, competition and the constant need for personal
reassurance.
Artwork 1 Image:

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Catalogue1 ID1283
Artist ID: 1283

Artist Name: Chloe Henderson


Website: http://www.chloehenderson.com/chimera
IG: http://www.instagram.com/chloehenderson9

Artist Statement: Telling mythological, fantastical stories through my work has always been my main focus as an
artist. Escapism is the core principal that my project encapsulates, and I aim to bring amusement through the bizarre
to my audience.

My area of focus is centred around expanding the jewellery object into large-scale costumes and placing these into
the context of filmed performance to create imaginative narratives. Within this I am crafting surreal humour and
taking my visual inspiration from jellied, translucent sea creatures to grow the oozing blue aesthetics of my wearable
objects.

I have created a narrative that centres around distinct characters. The Artist infects her victims, turning them into
weird and wonderful human-animal hybrids: The Chimeras. The Artist posts details of these experiments on social
media where she attracts the attention of The Filmmaker. The Filmmaker develops an obsession with The Artist. In
his search for her he produces documentary style films in which he interviews The Chimeras about their
metamorphosis.

Notes:
See USB Stick for Video

1
Artwork 1 Title: The Chimera Artist
Artwork 1 Dimensions: N/A Runtime: 28:07
Artwork 1 Medium: Video
Artwork 1 Commentary: Runtime: 28:07

I would require a projector, and either a sound system or headphones for sound to play my film. Widescreen ratio.

View film here: https://drive.google.com/open?id=14YFCJmhAlQYM_7NoIUhgFwqMKGowgf6j

A mysterious creature, known only as The Artist, uses alchemy to transform victimised everyday people into
fantastical Chimeras. After becoming obsessed by The Artist, an ordinary American Filmmaker makes it his duty to
document every movement of The Artist, and tracks down her other victims to tell their strange stories...
​

"Truly inspiring."
- Tentacled Heroes Monthly
​
"Heart-warming, heart-breaking, and heart-wrenching."
- Fish Lovers Periodical
​
"A must-see for all those who love a bit of fish on the side."
- The Sunfish on Sunday
Artwork 1 Image:

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Catalogue1 ID1298
Artist ID: 1298

Artist Name: Pigeon Whisperer


Website: pigeonwhisperer.co.uk
IG: https://www.instagram.com/pigeonvvhisperer/

Artist Statement: My shelves at home are filled with early-2000s compact cameras, SD and micro SD cards, VHS
tapes, a VHS camcorder, a 5-inch portable television, and a bucket full of wires and batteries. The technology often
comes from local house clearances so, rather morbidly, death is unavoidable in my work. There’s also the device
death cycle - all these formats are obsolete. The young have eaten the old.
My video practice shares post-digital concerns, that old devices shouldn’t just be revived but actively repurposed
in relation to digital media technologies. For example, Scarface (2018) involved using 4 VCR’s to digitise the same
tape of a subject falling asleep. The videos are portrait and spliced together to sit in a row. Each portrait reveals a
feature specific to VHS playback: a tracking bar, snow due to dusty tape heads, shaking due to failed tracking. In a
time where apps and filters attempt to procedurally-generate these qualities, I felt it was important to reassert the
natural and erratic unpredictability of VHS’s broken aesthetics.
My main aim for my work is to avoid perfection. Video sharing sites have become oversaturated with polished
content. This sets a precedent as mistakes glare at you in high resolution. Hito Steyerl’s text “In Defence of
the Poor Image― has inspired a strategy to avoid this. I have reclaimed 360p and 4:3 in my videos because I
don’t think scruffy is bad. I think scruffy allows you to focus on the important bits.

Notes:
Vimeo = https://vimeo.com/303248961

1
Artwork 1 Title: Scarface
Artwork 1 Dimensions: Overall display dimensions variable
Artwork 1 Medium: Video
Artwork 1 Commentary: “Scarface― (2018) is a 23-minute 3-second, multi-channel video. The video features
four portrait images of a subject falling asleep to the 1983 film of the same name. The film is not seen but can be
heard, muffled, in the background as at one point, Tony is heard arguing with his
Mother.
The choice to name the work after the film was to clarify the audio to the viewer. A problem with pop culture
references, in general, is that they exclude viewers who don’t know the reference. In this piece, however, it is not
crucial that the audience know the movie to “get― the piece.
Instead, my focus was the material quality of analogue media. This is evident in “Scarface―
as each portrait reveals a feature specific to the video’s format origin - VHS. In the first portrait, a tracking bar
appears in the first few seconds. The second portrait is covered in “snow―, a term used to describe the effect
of dust on the playback of the tape. The third and fourth portraits are consistently unstable in their playback as the
tracking feature of those particular VCR’s had failed.
These aesthetics are often deemed undesirable and impractical in the playback of a
tape and so the choice to use such a temperamental, outdated piece of recording
equipment has to be commented on. My interest began by seeing their appropriation on
social media; Why are these grainy, wobbly, dingy aesthetics sought-after and fetishised to the point where they are
remade in the form of apps and filters? I had hoped to answer these in either my essay or this project. However, the
answer is simply too broad so I will discuss what role they serve in my work.
In “Scarface―, the subject’s expression is notably unhappy and lacking in eye contact.
The grainy, broken aesthetics in relation to the subject’s expression add to the work’s
overall “gloominess―. Often, VHS movies are associated with human commemoration,
being brought out at parties or holidays as a communal recording/viewing experience.
The poor quality here might lend itself to the reading of the subject’s mental state,
especially where the narrative lacks the same wholesomeness.
Despite the tight framing, it is clear the subject is lying on their side; There’s an element
of forced perspective as the viewer takes on the viewpoint of someone lying next to the
subject. This was done after an earlier edit showed the work as a 2x2 landscape affair
called “Battenberg― (2018). This decision was made to try and shift from connotations of
surveillance to intimacy or vulnerability in the work.
Artwork 1 Image:

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Catalogue1 ID1307
Artist ID: 1307

Artist Name: Victor Moldoveanu


Website: www.vmoldoveanu.com
IG: vic.trei

Artist Statement: We are the generation located on the romantic intertwining of nature, technology and rediscovery
of traditional values. We define and reassess our identity through a constant process of decomposition and recovery
of memory fragments through artistic and technological drivers.
We employ symbolism and a fictional narrative structure to create sustainable architecture, city infrastructure and
environments of spatial and social impact, in addition to the use of political poetics as well as technical exposition.
The speculative projects and the extensive research signal a legitimate spatial symbiosis between architecture and
urban planning, with symbolism and narrative.

Notes:

1
Artwork 1 Title: Protecting Paradise
Artwork 1 Dimensions: 237,8 x 84,1 x 0,5
Artwork 1 Medium: Digital and Hybrid Media
Artwork 1 Commentary: Description:
Friendship, peace, equality, tranquillity and freedom can protect the Paradise - the most extensive rainforest of
Central and South America. ‘Protecting Paradise: The Embassy Of Environmental Philanthropy’ discusses a
diplomatic and bilateral economic agreement that cultivates environmental protection, ethical authority, and
political trust between China and the small Central American country of Nicaragua, in the wake of a new inter-
oceanic canal infrastructure. This thesis represents a discourse on foreign investments in underdeveloped countries
as well as a demonstration of environmental awareness and protection practices, bringing together tourists and
locals in an environment governed by five principles of peaceful coexistence.
Technique:
Hand drawings and digital models are collaged through successive scaling and layering of either highly specific
tectonic elements or abstract fragments, in constant refinement through application of textures, colours and
hatches. The development is an intrinsic apparatus for exploration that allows for the piece to unfold and speculate
on possible realities on a canvas that eludes the self-centred narcissistic perspectival representation to the
advantage of engaging the reader with a dynamic vertical scroll experience.
Artwork 1 Image:

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Catalogue1 ID1316
Artist ID: 1316

Artist Name: Carina Schneider


Website: http://www.carinayschneider.com/
IG: carina.yael

Artist Statement: As a media, design and communication graduate, I focus mainly on photography, video and audio
in my own work, but have predominantly been involved in programming, contributing to and bringing to life
collaborative projects combining public engagement, arts and community, with a particular interest in narratives of
place, absence and presence, identity, memory, histories and belonging.

http://www.carinayschneider.com

Painting Connections
Invisible Cities
One Day in the City
Cornered Stories
The Tale Tellers
Thrift Radiates Happiness

Notes:
See USB Stick for Video

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Artwork 1 Title: Meta/morphosis
Artwork 1 Dimensions: 568x320
Artwork 1 Medium: video
Artwork 1 Commentary: This submission is part of a series of three video works titled ‘Meta/morphosis’ using
films of patterns of light and shadow to communicate the meaning that both absence and presence carry in the
process of being. In chasidic tradition, the essence of being - ‘ein sof’ (the infinite, or the divine) - is imagined
as existing in all of space. Unbearable and incomprehensible to human perception, the divine, or life force,
constricted its light, through its reduction making creation possible for humanity.

Similarly, our obsession with completion, wholeness, perfection distracts from the necessity and beauty of empty
space, the unknown, darkness in being and creating towards the idea of ‘completion’. Little thought is given to
the appreciation of absence, void as a natural and valuable stage in a life cycle, and a necessary condition for having
the space to step outside the complete, the mediated, the perfect, the systemised, and imagine alternative and new
solutions. In absence, anything can be imagined.

That space therefore can be read not as a threatening void, but part of the same infinite space, or canvas, just
leaving room for one’s own understanding, movement, creation. The videos invite the viewer to connect to the
feeling of the waxing and waning of this at different levels of detail and pace, as part of the same universal process
of change and continuity.
Artwork 1 Image:

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Catalogue1 ID1321
Artist ID: 1321

Artist Name: Eunmi Kim


Website: www.4mimism.xyz
IG: www.instagram.com/4mimism

Artist Statement: -
I define myself an experimental-media-practitioner in a contemporary art context. I work at the intersections of
visual arts performance, research, digitally-mediated experimentation, installation and sound art. I explore
contemplative, technical and t

Notes:
Vimeo = https://vimeo.com/292505171, PDF =
http://www.weebly.com/editor/uploads/1/0/0/1/10015543/521132589577586318_high_resolution.pdf

1
Artwork 1 Title: Me-Time(4.0) : mindfulness-introspection-void
Artwork 1 Dimensions: Variable
Artwork 1 Medium: 00:05:53 | 50― TV screens | Multi-channel Video Installation
Artwork 1 Commentary: -
Each of experiential researches (4.0) are part of the self-experiment series that focus on sensory isolation in order to
explore atypical, eccentric, but rather introspective methods that enable me to establish a diverse spectrum within
my own comfort
Artwork 1 Image:

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Catalogue1 ID1330
Artist ID: 1330

Artist Name: Mitchell Smith


Website: www.msmith.art
IG: instagram.com/catastropheofexistence

Artist Statement: Mitchell Smith, London

I am concerned with the effects of societal constructs in relation to both individual and communal spirituality. Multi
disciplinary works are centred on the theme of mortality and empathy.

We are malnourished of a potential and genuine freedom. In fast changing times, the depletion of faith reveals a
damaged social fabric. Capitalism has not provided an adequate replacement to support communal consciousness. I
believe that a shared sense of belonging and purpose is lacking. This can be observed in multiple aspects of society,
with mental health issues on the rise, growing poverty, swelling nationalism, further generational division and an
evident yearning for socialist alternatives.
We must question our privileges (or lack of).

My aim is to provide a striking visual environment, which an audience can engage with due to the occasional
presence of biological substances within the works. This visual language is contrasted amongst the technological
background, displayed through digital art, photography and light installation. I attempt to test the artist's role of
social commentator; ensnaring an initial response with use of bold but naive humour, works are loaded with further
layers of political and social concern when more closely analysed.

Notes:

1
Artwork 1 Title: HELL_IRL
Artwork 1 Dimensions: 119 x 84 cm (A0)
Artwork 1 Medium: Digital Painting, MS Paint programme
Artwork 1 Commentary: This piece encapsulates the hellish realities and times of the West. I describe this as an
'emotional responsive map'. Depicting multiple themes, particularly political, with clear intentional bias against
contemporary right wing politics.

This artwork was created using MS Paint, one of the first and most rudimentary digital painting programmes. This
choice of media speaks loudly when faced against today's technology and digital software. I grew up using this
program to optimistically and naively draw rockets and cartoon characters. I feel that it is able to represent my
generation aesthetically, even at a quick glance. Using MS Paint as an adult to draw the EU flag on fire was a strange
and surprisingly painful process for me.

My objective in this piece is to present a visually digestible anti-celebration of everything that feels wrong in my
vicinity. It's hard to keep up, to stay informed and address everything that is going on, and it's an overwhelming
mess. In many ways it is a self-portrait.

Previously installed at The Crypt Gallery, St Pancras Church, London, 'Who Will Provide?' MFA show, Wimbledon
College of Arts, UAL. November, 2018
Artwork 1 Image:

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Catalogue1 ID1338
Artist ID: 1338

Artist Name: Christian Charles


Website: www.christiannoelle.com
IG: @its.cctime

Artist Statement:
Growing up in the dance world, it was necessary for me to be aware of my body. However, having always been a
black woman in dance, I had to develop a double awareness. The work--which centers around black female
identities, bodies, body language and self-worth-- is informed by this double awareness. I use the influence of
modern pop culture to create art that considers and questions what it means to be a woman of color in the world.

Mindful of the impact of politics at this moment and moving forward, I wish to consciously observe how place and
the current zeitgeist will constitute my own identity and black female identities. In the aftermath of Brexit and the
emerging age of Trump, I am interested in how my personal observations will influence my work. The whole idea of
narcissism has had many meanings and connotations, however, in this era especially, I believe that those meanings
have expanded, with the help of Facebook, Twitter, and Instagram, #ageoftheselfie. With these platforms, there has
been a constant demand to share our identities and our self-worth. I consider to be an open vessel in my work and
ask the question of what place does “self-love― have in this political climate and institutional structure. I want
to shape new work around these kinds of questions.

Notes:
Vimeo = https://vimeo.com/255730203/269f637919

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Artwork 1 Title: EXTRA
Artwork 1 Dimensions: 13 min, 1920x1080, H26.4 Video mp4, 923 MB
Artwork 1 Medium: Video
Artwork 1 Commentary: VIDEO LINK: https://vimeo.com/255730203/269f637919

EXTRA is an exploration of a girl who is noted to be “Extra―, “Over the Top―, “Too Much―. These
are used to express a dramatic character. A yearning of standing out in society. Using instagram stories as
inspiration, it became the core of exposing different sides of the artist’s personality and asking the question how
does self-love benefit the person?
Artwork 1 Image:

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Catalogue1 ID1350
Artist ID: 1350

Artist Name: Eda Sarman


Website: http://edasarman.com/
IG: https://www.instagram.com/edasarman/

Artist Statement: Eda’s practice as an artist, someone telling a story and unfolding the hidden obvious, develops
from documenting everyday life to create conditions to challenge, or to loosen it. By using footages from everyday
life she allows place to be seen as the extension of us. Because when understood as an active/fleshy organism, place
can tell us the hidden obvious about history, social norms, political structures, economical conditions. It can tell us
about us. Combining her background in architecture with the audio-visual medium she investigates this dynamism
and reveals the multiplicity within a place as an opportunity for acceptance and change.

Notes:
Vimeo = https://vimeo.com/267460765

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Artwork 1 Title: is an eye is a balance is a compass
Artwork 1 Dimensions: 230cm x 110cm x 100cm
Artwork 1 Medium: lattepanda+stepper motor+two lightweight screens+steel frame+projector
Artwork 1 Commentary: The work is concerned with the perception of a physical/material border which crosses
through
the city of Istanbul. The Bosphorous functions more as a connective tissue passing through the
city rather than a split. A border in constant physical change through currents, shoreline
construction and political negotiations; an organism-like border. Without going into the politics, the device focuses
on our perception through occupying the border itself, a natural border between two continents. Almost a hundred
thousand people use this route to commute daily,
between ‘the east and the west’. These words are heavily loaded representing -so to say- two
sides of humanity. Yet is an eye is a balance is a compass deals specifically on this issue to
expose the entangled nature of inhabiting the world. With the uncertainty of belonging to either
sides, one’s perception of the border becomes a constant negotiation. Like an eye, the device
endeavors to stabilize a horizon; a virtual/scripted horizon.

To view the device : https://vimeo.com/267460765


Artwork 1 Image:

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Catalogue1 ID1362
Artist ID: 1362

Artist Name: Helen (Kilby) Nelson


Website: www.helenkilby.com
IG: https://www.instagram.com/helenkilby01/

Artist Statement: My practice is fuelled by a controlled and simmering anger with contemporary society, it is
responsive, activist, and navigates the curious place within which we live our lives in a post-digital age. It questions
capitalism, surveillance and mass control; the use of manipulation, through advertising, film, media and across all
areas of life, from the sexualisation of everyday normal activities and products using the objectification of women, or
through the twisted layers of misinformation to denigrate minority groups, the vulnerable, entire demographics
based on status symbols.

My work is exploring and expressing the disparity between the digital and the real, it is questioning the acceptance
of hierarchical behaviour in the real world, the accepted denigration of people who do not fit the mythical ideal of
perfection. It is a continual exploration of identity and the myriad of influences and behaviours that inform it.

A multi-disciplinary process of working allows me to experiment and explore using a variety of mediums moving
image, still image, text, sound, music, photography, drawing ….. It is the process of making and focussed research
that continually informs the work, allowing it to manifest through a synthesised and organic creation.

Notes:
Vimeo = https://vimeo.com/273173884/4d340b16cf

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Artwork 1 Title: Worth//Less
Artwork 1 Dimensions: 71.4x127.0x5.0
Artwork 1 Medium: Video
Artwork 1 Commentary: How do you like your coffee and why?

Are your choices really your own or are you hypnotised via mediated sexuality and semiotics, a prosumerist of what
you finally hold in your hands. A slave to status symbols, one of the masses controlled by a capitalist society?

Layers upon layers, frames within frames, semiotics - are you worth it?

Link to private view of the full video: https://vimeo.com/273173884/4d340b16cf


Artwork 1 Image:

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Catalogue1 ID1374
Artist ID: 1374

Artist Name: Samantha Davies


Website: https://samanthadaviescom.wordpress.com/
IG: https://www.instagram.com/superhiwayjunky/

Artist Statement: Since childhood, I have had what some may call an obsessive drive to understand the deeper
mechanisms of the psyche. I believe this drive to be a profoundly personal and intuitive inquiry, a journeying into
the nature of the self. It is at times an overwhelming intensity, an urgency of feelings into the unknown and yet
known, the ordinary and yet extraordinary, a mutability seeking to capture and express itself. I believe this energy to
be a connection to divinity or the innate intelligence of the thing we call god.
The practice seeks to learn of itself by creating, observing, listening and giving voice to the unknown other, the
spiritual, the phenomenological, striving to make visible a space of immersion or altered consciousness. It is an
energetic movement, a meshwork of digital media, video, photography, sonic experimentation and sculpture into
what the voice of the work desires to reveal back and illuminate in the process of making, to determine its own
direction and purpose.
This inquiry demands in part, a process-based practice, highly influenced by Buddhist philosophy and shamanistic
healing traditions from indigenous cultures, along with a fascination into the possibility that an art object can initiate
a conversation with the unknown or other. Julia Kristeva propositions that a “creative practice can be said to
modify language and discourse to produce situated knowledge―. I believe insight and understanding to be the
heart of my practice, so like my shamanic ancestors, I may bring something of use to the greater community.

Notes:

1
Artwork 1 Title: Your Eyes Are Bigger Than Your Belly
Artwork 1 Dimensions: 2M x 6M
Artwork 1 Medium: Sonic Sculptural Installation (performative)
Artwork 1 Commentary: Sonic sculpture installation. A performative sonic sculptural installation. Handmade
synthesizer connected to a chassis speaker which attaches to a metal fixing and studio foam upon the wall. Two
different sized baffles, blindfold, red carpet and two stands with rope as a waiting barrier.

Participant is blindfolded and guided with a baffle towards the speaker. The baffle is then guided onto the speaker
and the participant becomes an extension of the speaker sensing the volume and vibration of sound as a bodily
learning of how a speaker works.

Artwork 1 Image:

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Catalogue1 ID1377
Artist ID: 1377

Artist Name: Ella Husbands


Website: www.ellahusbands.com
IG: https://www.instagram.com/ella.husbands/

Artist Statement: My work is concerned with perception, in particular disrupted, distorted and fragmented
perception induced by illness. My recent work has developed alongside my continued recovery from chronic fatigue
syndrome (CFS/ME). The contraction of CSF resulted in my own sensory perceptions being altered. This experience
highlighted to me how each individual interprets the world in a unique way and particularly how our emotional,
physical and psychological state can have a huge impact on how we experience our surroundings. This naturally
influenced my developing art practice and led to the central issue I have been exploring: how to represent the
experiences of illness-induced changes in perception (particularly visual perception) in such a way as to draw the
viewer into this altered world.
My practice consistently uses strong elements of image distortion in abstract explorations of rhythms and cycles. My
work centres on a sense of movement and pattern, I will often combine dizzying video projections with 3D geometric
sculptures to immerse the viewer in a distorted environment. My videos are built up of multiple layers and I often
employ scientific software (MATLAB) to further manipulate the pixels and motion flow in the videos. My work invites
the viewer to consider the link between their own senses and their surroundings and to be drawn into an altered
perceptual space.

Notes:
Vimeo = https://vimeo.com/259163899

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Artwork 1 Title: Embodied Distortion
Artwork 1 Dimensions: 275x275x200 (further important info on the dimensions of the piece mentioned in
commentary on artwork 1)
Artwork 1 Medium: Video Installation, Two HD video projections (11min 30sec), PVC foam board
Artwork 1 Commentary: The aim of this video installation is to immerse the viewer in an environment that expresses
altered sensory perception. It is full of colour and movement, the viewer feels disorientated by dizzying video
projections as they weave their way in between harsh geometric shapes. The two films represent different types of
environments (urban and natural) and my experience of them in the early stages of Chronic Fatigue Syndrome where
movement through the world produced a feeling of sensory overload.The urban films were processed using scientific
software (MATLAB), employing optic flow algorithms to isolate the movement and plot it out as ‘flow fields’
(arrows indicating the main directions of perceived motion) which were overlaid on the original footage. This added
to the disorienting nature of the films. While the urban film is flooded with fast moving arrows, the natural film is
gentler reflecting my greater tolerance of natural environments. The sculptural shapes serve as surfaces to break up
the video over multiple planes. The arrangement puts the two films in conflict, but as they develop they begin to
physically overlap suggesting the beginnings of resolution and recovery as my greater tolerance of natural
environments begins to invade the urban. Link to video documentation of the installation piece:
https://vimeo.com/259163899
I can provide all AV equipment (2 digital projectors, 2 media players, 2 extension cables) I would require 2 plug
sockets and white wall space. The sculptural pieces can be compressed to the maximum size that you allow.
However, the 2 plinths with the projectors in will need to stand a further few metres away from the sculptures in
order to project the 2 films onto the shapes. I hope this piece could still be considered as the plinths could be
positioned around other works, however, I realise that there are size restrictions and understand if it is not possible.
Artwork 1 Image:

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Catalogue1 ID1383
Artist ID: 1383

Artist Name: Minerva Zhang


Website: https://www.rapid-kinetic.com/
IG: https://www.instagram.com/rapidkinetic/?hl=en

Artist Statement: Rapid Kinetic is a team of three, we are an interactive artist group. We have created an educational
toolkit of parts for building small and medium scale, lightweight dynamic structures. It consists of custom 3d printed
modular snap-fit joints, DIY pneumatic artificial muscles, custom pneumatic control system and simulation software.

Our design mission is to empower artist and makers to design and rapidly prototype kinetic geometries quickly and
easily. In addition to the kit itself, we have built up a platform of instructional videos, displaying various structures
one can build using the kit such as bike frame, furniture, kinetic lights and 3-axis robot arm. We hope to continue to
build a collective community where makers could upload their designs using our tool kit and share with each other
their inventions and knowledge and expertise in making using our kit of parts.

Notes:

1
Artwork 1 Title: Solar Ecologies
Artwork 1 Dimensions: 250cm x 250cm x 200cm
Artwork 1 Medium: 3d printed parts, Aluminium, Motors, Pneumatic Artificial Muscles, Silicon tubing,
Artwork 1 Commentary: Solar Ecologies is a site-specific robotic sculpture designed and built to showcase our Rapid
Kinetic system. Situated on the Hackney River lee canals, the installation seeks to explore the relationship between
the solar energy and the site’s dynamic environment. Inspired by the biological behavior of plants and flower
petal movements and their ability to adapt to light in different lighting conditions, Solar Ecologies harness solar
power from the sun during the day, and at night act as beacons of light along the canal.

They also exhibit energy levels through their behavior via illumination patterns and motion. The more the energy
collected during day-time, the more active and brighter the ecologies are. It also interacts and engages with people
around using machine vision algorithms. Solar Ecologies is in constant flux with its environment and ultimately
creates a life cycle offering a different experience every day.
Artwork 1 Image:

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Catalogue1 ID1387
Artist ID: 1387

Artist Name: Cheap Thrills


Website: www.wearecheapthrills.co.uk
IG: @wearecheapthrills

Artist Statement: We are a performance duo working across film, live art and theatre.

Our work is centred around vulnerability and social pressure. We like to reflect on how different systems of power
like the state, the media, the art world and technology influence the way we think and behave. Through amateur
dancing and comedy, we play and examine how we can disrupt these patterns.

We don’t aim for polished. We aim to reveal something authentic, raw and wild within our performances.

We want our audiences to question the banal things we do and why we do them.

Notes:
Vimeo = https://vimeo.com/316108693

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Artwork 1 Title: OOPS we did it again
Artwork 1 Dimensions: depending on the screen
Artwork 1 Medium: videoart
Artwork 1 Commentary: You can watch the film at
https://vimeo.com/316108693 .

Artwork 1 Image:

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Catalogue1 ID1400
Artist ID: 1400

Artist Name: Pui-San Kan


Website: https://puikanart.co.uk
IG: @pui.kan_art

Artist Statement: Within Kan’s installations, she expresses the idea of symbolism through political crisis and
events that have altered our history. She works with the idea of creating conversations between the materials used
in order to convey the reality of these issues. Her work speaks about topical issues that are found to be difficult in
conferring. Yet there is an understanding here that there is an industry in which is fuelled by fear. So we must
highlight those who are profiting from someone else’s suffering. Incorporating objects with videos, Kan creates
installations which, in using controversial imagery, challenges our notions of perception in relation to the crisis. In
taking this found imagery, she uses material that is fed to us by the media and incorporates an alternative outlook
on the footage when projecting back into the work.

Notes:

1
Artwork 1 Title: Bodrum Refugee
Artwork 1 Dimensions: 74x119x50
Artwork 1 Medium: Installation (A0 Poster, Analogue TV, Video Piece, de-inflated raft)
Artwork 1 Commentary: This piece depicts the beach where Alan Kurdi washed ashore a year ago blown up as an A0
print, the "resort" is forever tainted with the notion of death. This is coupled with edited footage of a range of armed
forces, footage that is easily pulled from the internet for anyone to view and use. This installation makes a
conversation between what our expectation is over the situation. This is fed to us in the form of tabloids and the
media. Yet this absorption of information isn't always the real issue at hand. Therefore, the battle between
expectation and reality is at the forefront. Importantly the piece is to advocate shock and horror within its audience
because of the situation. Blissfully unaware the viewer is likely to admire the beauty of the beach. However, when
spending time with the piece does it begin to unravel the tragedy and forces a feeling of Liberal guilt.

Artwork 1 Image:

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Catalogue1 ID1448
Artist ID: 1448

Artist Name: Graeme Gerard Halliday


Website: https://hallidonto.onfabrik.com/
IG: https://instagram.com/hallidonto/

Artist Statement:
Hallidonto’s (Graeme Gerard Halliday) work relates to his “Cyborgia Manifesto― his main focus is drawing;
The essence of the cyborg became my own. The cyborg image has been an integral part of my childhood. The cold
war had just ended – the cultural landscape of the '80s, was very much rooted in the future, the inherent feeling
of that time was dystopia from the cartoons/films, I watched as a kid, the advent of console gaming: Nintendo, etc.
The image of man was always his metamorphism into the machine, or the machines taking over. I identified with the
cyborg image, I wanted to be one. I identified with the concept of such a being and it has informed my work to date.
They are infantile and simplistic in their appearance but not in their construction, being drawn in one continuous
line. My visual discourse is motivated by transcribing the sociological constructions of our age, the evolution of the
flesh its reflection of the coming state of mankind, flesh anxiety, the departure into a new being.

Notes:

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Artwork 1 Title: “Memento mori androidica ad vescendum carnes“ (Hexagons)
Artwork 1 Dimensions: H 129cm x W 88CM X 25.5CM
Artwork 1 Medium: VR, 3D printing.
Artwork 1 Commentary: Hallidonto is currently VR Artist in residence with Hobs Studios who are the biggest 3D
printing company in the UK. I am currently Artist in residence at Hobs Studios https://hobsstudio.com. Hobs studio is
the biggest 3D printing studio in Britain. I have been using Google tilt brush and my residency and digital foundry at
Hobs Studios

"Birth of the Cyborg"


This project is an amalgamation of 21st-century technology and traditional Art practice, thus embodying the classical
with contemporary technology. My signature style is a continuous line drawing: My practice is an exploration of the
cyborg, through my drawing process I build up the structure of my cyborgs, with eloquent fluid gestures, that give
birth to these organisms. Standard drawing practices have its limitations, the visual construction is confined to the
space (paper, wall) by releasing the lines too so to speak from a 2Dimensional plane- virtual reality opens up the
opportunity for me using my continuous line style in real time thus giving the drawings a tangible reality-the ability
to construct these works into sculptural pieces.

With the new relocation of the V&A to Here East alongside Hobs Studio and Plexal. Hallidonto was interviewed by
Ben Thompson from the BBC about my Residency with Hobs studio https://hobs3d.com/alongside Tech lead for
Hobs Kadine James. Hallidonto exhibited Artworks and my 3D print and explaining more about the project- I will be
performing my Birth of a Cyborg piece using VR. Together with Hobs and Hallidonto, we are in dialogue about a
potential collaboration with Ai Build http://www.ai-build.com I want to push the boundaries of contemporary
drawing practice, with VR and robotic acting as the prosthesis. This Man-machine interface and the inclusion of the
robot acting as the 'creator' to give life to these organisms, what will VR, robotics, Ai hold for the Cyborg, what's next
for the factories of the future.
Artwork 1 Image:

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Catalogue1 ID1454
Artist ID: 1454

Artist Name: Diana (Aka) Gazelle Forrest


Website: gazellestives.simpl.com
IG: gazellestives

Artist Statement: Digital Artist

As much as I love to paint on canvas, I’m an IPad addict.


Just can’t stay away from creating anything from portraits to abstracts that appear out of digits...

I started an oil painting of a still life then reorganised it on my iPad and there came something even moe beautiful.

The attached picture is an invention,

My best art is art is which was never planned.

Gazelle.

Notes:

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Artwork 1 Title: Newsprint
Artwork 1 Dimensions: 59 x 42
Artwork 1 Medium: Digital
Artwork 1 Commentary: This picture evolved on the screen, a process of time and colour, conscious and unconscious
perceptions which grew into something not imagined.
Artwork 1 Image:

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Catalogue1 ID1457
Artist ID: 1457

Artist Name: Catrinel Sabaciag


Website: https://www.behance.net/Qatri-Sabaciag
IG: https://www.instagram.com/catrinel_s.tudio/

Artist Statement: Catrinel S.tudio was established in 2018, by Catrinel Săbăciag, a fresh graduated from The
University of Edinburgh.
Her work straddles between product design, installation, and sculpture. The starting point of her work is often
rooted in science and philosophy, whilst the making, often quite experimental is focused on material exploration.
Catrinel’s work is driven by her interests in perception&movement, whilst the themes she tackles most are time
perception, entropy, light, and nature.

Her latest body of work, THISorder is a series of objects that embody entropy through materialized time-based
installations. The collection incorporates light installations and alternative clock.The latter embodies an attempt to
question universalized and productivity oriented time-perception. They display the passage of time in a more organic
manner, as a continuous change of phase. As time passes by, URMA displays the traces of the past, almost like a
ghost, thus the fragile boundaries and relationship between the present, future and past are brought into focus.
Making the invisible forces that surround us visible in an engaging manner is central to Catrinel’s practice. This
brings reality in a new light in which the ordinary becomes extraordinary.

Notes:

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Artwork 1 Title: Spectra
Artwork 1 Dimensions: 40/40/7
Artwork 1 Medium: plexiglass concrete, mdf, LEDs
Artwork 1 Commentary: Spectra is the outcome of our Studio‘s research into optics&light perception. The piece is
composed of special coated disks which create dimming effects and break white light into its spectrum.
When rotated, the installation dims its light and displays organic/angular colourful light changing patterns.
Spectra is crafted with great care for details and has a highly finished look. The materials used are acrylic, jesmonite
and MDF.
Our moods and needs are constantly changing; Spectra is just as versatile as we are. The piece can metamorphose
from a minimal monochrome light source into a full burst of colourful and organic motifs.
It offers moments to contemplate colour&light and aims to question visual perception. The mesmerizing visual
effects are created exclusively using white light; thus raising an important question: what is real? how much of
reality are we able to perceive?
Thus Spectra is an example of Catrinel’s practice of visualising the invisible forces that we experience every day in
a captivating way.

Design has managed to make life more efficient and productive, yet people are hungry for objects which bring about
a new type of experience for the senses and present the world around in a new light. I believe in design/art that
brings joy to life by making space for moments of contemplation and observation.
Today alternative design collectives straddling between the spheres of art and design focused on material
exploration, experimental and sensorial design are rapidly gaining ground.
I believe that Spectra is a great example of the outcome of such a practice.
The installation is the result of exploring interdisciplinary, since its starting point is rooted in science and technology:
microscopy and camera filters.
The piece is made out of humble materials such as plastic film and uses only white light. Our studio’s innovative
design solution brings these basic materials into a completely different light and ads unexpected values to them. This
also has the aim to question our perception of daily objects and light.

The basic light uses two disks and changes colour / light intensity and has no pattern. The third disk displays a
stripped light pattern or an other-worldly 3d pattern . These disks can be easily interchanged, thus offering a wide
variety of light moods, effects and uses.
Not only does the luminaire change appearance when the disks are changed, but also when the front disk is rotated.
Artwork 1 Image:

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Catalogue1 ID1461
Artist ID: 1461

Artist Name: Shreyasee Konar


Website: behance.net/shreyaseekonar
IG: instagram.com/shreyaseekonar

Artist Statement: Interested in the creative nitty-gritties of life, regardless of medium. I am Shreyasee and an
aspiring artist. Love to express ideas visually. I believe that perception is reality and hence strive to create an
alternate reality through my creative capabilities.

Notes:
Youtube = https://youtu.be/o0lMBWZtTkU

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Artwork 1 Title: PIPE DREAM - 3D ANIMATED SHORT FILM
Artwork 1 Dimensions: 33.87X19.05
Artwork 1 Medium: 3D animated film
Artwork 1 Commentary: Based on teleportation, it deals with how a young leader from her planet lands here to take
the situation back in control.

Concept, modelling, texturing, character-rigging, animation, lighting and post - production is done by me.
Softwares used: Autodesk Maya(mental ray and Arnold ), Autodesk 3ds max, Adobe Photoshop, Adobe After-effects,
Adobe Premier-pro.

YouTube link - https://youtu.be/o0lMBWZtTkU

Artwork 1 Image:

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Catalogue1 ID1462
Artist ID: 1462

Artist Name: Alice Gur-Arie


Website: www.alicegur-arie.com
IG: https://www.instagram.com/alicegur_arie/

Artist Statement: The concept of "seeing" is at the heart of my practice. Combining photography with digital
painting, I invite the viewer to replace the window through which they see the world, with a lens that interprets the
world into something that is at once familiar and foreign.

My work starts with photographs, primarily, but not always, taken in foreign locales. Inspired by the natural world,
landscapes, seascapes, wildlife and images of nature dominate my portfolio, ranging in style from bold saturated
abstracts to soft, textured tones. In some cases, the mode of transport itself becomes an integral component of the
finished image, producing aerials and underwater worlds. I am completely self taught.

Treating the photograph as a canvas, images are digitally "repainted" by hand with a "brush", sometimes in layers,
sometimes pixel by pixel. What is critical, is understanding that my work is not about digital manipulation or
software, but about my vision, and my ability to transform the canvas into an aesthetically compelling, memorable,
visual experience that appeals to the head and the heart.

This submission was the first of 6 animal commissions I have completed for an Asian Art Consultant, to celebrate
Chinese New Year (Year of the Horse). My brief included no more than the features of the astrological sign such as
positive and negative colours, directions, and numbers; animal attributions, and some short curatorial text on the
traditional / historical relevance of the animal in the Chinese astrological cycle.

Notes:

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Artwork 1 Title: Tianma
Artwork 1 Dimensions: 61cm x 41cm x 2.5cm
Artwork 1 Medium: artist photographed and hand repainted digitally
Artwork 1 Commentary: For a thousand years, China’s ruling elite prized the tianma, or heavenly steeds of
Central Asia. They imported these splendid animals, often with their foreign grooms and trainers. Like today’s
private jets, tianma celebrated the status of their owners in life. In death, sculptures and ceramic models
accompanied their owners, often to adorn their tombs.

These magnificent horses and stories about them have inspired artists and writers ever since. Indeed, when
commissioned to create a horse for the Chinese Year of the Horse, I was challenged to seek the essence of speed and
grace, yet convey the embodiment of an astrological sign with marked contradictions. The image had to be at the
same time simple, rich, accessible and captivating.

Only 2 years into my practice when I completed this artwork a few years ago, Tianma very much demonstrates my
desire to push the limits of mixed media, find the “sweet spot― where photography and painting converge, and
create something more than the combination of the two.

I am drawn to this image for its pull-you-in push-you-away atmosphere; the emotional, stylised interpretation of the
horse, and the use of texture, which draws us in to the darkness and allows us to walk into the image with all our
senses. If you feel from Tianma an enduring sense of Forever - even just for a moment - I have achieved what I was
striving to convey.
Artwork 1 Image:

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Catalogue1 ID1491
Artist ID: 1491

Artist Name: Michael Herbert Dorn


Website: www.michaelherbertdorn
IG: @michael_herbert_dorn

Artist Statement: (Self) Portrait Through The AmeryKahn Prism, a complex network of painted images, seeks to
reconfigure cascading representations of “the black body.― This installation of interrelated picture elements
(“pix/els―), turns the racialized conception of “the black body― on its proverbial head by resisting cultural
accommodation to the pictorial and the lexical literalness of this expression.
The pix/els, which have been modeled from imagination, memory, direct observation, and photographs, are stylized
with “traditional― portrait techniques, mixed media, modernist abstract forms, intercultural symbols, textual
motifs, and imagined three-dimensional structures that are primarily made of specially prepared paper. By visually
juxtaposing a wide variety of painted images, my project seeks to identify, question, and categorize various racial
discourses into a unified pictorial matrix to reveal the fallacy and the ideological nature of a racialized world.
(Self) Portrait Through the Amerykahn Prism’s multiple, linked “narratives― are activated as the spectator
physically moves while surveying the network. From one pix/el to the next, from one image cluster to the next, the
spectator chooses how the images are sequenced in their imagination. This visual exploration takes on a
cinematographic quality that is activated by the spectator’s participation in coding, un-coding, and re-coding
sequences of images.
The spectator’s digital mobile device, set to invert colors, serves as an intermediary to view the images in an
alternative mode. This inverted view on the screen of the digital device prompts critical questions about the role of
visual media in our perceptions of race and difference.

Notes:

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Artwork 1 Title: Self Portrait Through The AmeryKahn Prism
Artwork 1 Dimensions: 153 x 488 x 183
Artwork 1 Medium: oil, acrylic, enamel with mixed media on specially prepared paper mounted to archival foam
board, iPad, black pedestal with turntable
Artwork 1 Commentary: Viewing an analog painting with the aid of a mobile digital-media device is explicitly a new
way of encountering and extending a painting’s semantic potential by challenging the conventional notion of
how we (traditionally) experience or view a “painting.―
The (physical) painted color-inverted pix/els also serve as an interference to the “straight-reading― of the
traditionally modeled pix/els (the positives). The spectator is encouraged to pause and question the nature of the
semiotic gap between the “positive― pix/els (that mimic the normal ocular view) and the “negative― or
color- inverted pix/els. Representational uncertainty is aroused from this phenomenological gap. I think of this as the
invisibility factor.
By using a double inversion, the distinction between these two modalities, analog/digital, is effectively blurred.
Through the operation of a lexical and visual reversal, the installation, digitally converted on the mobile device’s
live-view screen, functions together with the installation’s painted images on the gallery wall. What the spectator
sees before them is a simultaneous analog/digital visual interface (a hyperactive visual network). This (duel)
interface is not mechanically reproducible. This signals a potential instantaneous change in both the formal aspects
of representation and in perception (reception). Furthermore, it prompts the spectator to question the role that all
visual media has in our conception of every aspect of “race and difference.―
This invisibility factor can be perceived as an event horizon of sorts. A conceptual point similar to the moment where
the sky meets the sea. It is an intangible point signaling a new reality—The point where “analog― plastic
imagery becomes “digital― and vice versa. A mode of representation is augmented, converted, and subverted.
Artwork 1 Image:

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Catalogue1 ID1493
Artist ID: 1493

Artist Name: Theo Ellison


Website: https://www.theoellison.com/
IG: @theo_ellison

Artist Statement: My work looks to dig into the relationship between human behaviour and art-making; why we
create images and how we consume them. I’m looking to peel back the layers of illusion that encase this
relationship to reveal certain mechanics that are unavoidable in our engagement with images.

In working to expose our vulnerability to the power of images, the work has a recurring friction that simultaneously
indulges in and questions the voyeuristic aspects of visual representation, where the distinction between
observation and voyeurism is no longer apparent. Using references to art history as recognisable points of contact,
the line between attraction and repulsion is blurred in order to deconstruct our relationship to the image.

I’m drawn to digital mediums like CGI digital photography because they lend themselves well to dealing with
ideas around illusion, artifice, and the re-presentation of nature within art. Within the work, these tools are used to
deconstruct the perpetual cycle of seduction; how we are seduced by elements of the natural world, and how we
seduce others.

Notes:

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Artwork 1 Title: Bed
Artwork 1 Dimensions: 114 x 120cm
Artwork 1 Medium: Chromogenic Print
Artwork 1 Commentary: This image, from a 3D laser scan, is part of a project resulting from a recent residency with
the National Trust at Coughton Court, a gothic stately home in Warwickshire.

The project stemmed from my response to the restrictions and limitations of working within a carefully preserved
grade-1 listed mansion. This digital scan will in theory last indefinitely, while the actual bed requires continual
maintenance to prevent it fading away. It is an exploration into the murkier side of nostalgia and our desire for
archiving as a response to the fear of loss.

This image can also be viewed as a (non-partisan) reflection of Britain’s current state of limbo due to Brexit. Ideas
surrounding nostalgia and preservation have been sewn into the tapestry of the discourse around the issue, and this
can be seen as an undercurrent in the work.

Like a digital restoration or archiving project, the scanned bed is left untouched and unblemished, capturing the
intricate folds in their preserved, ghostly state, and void of human presence. It is a monochrome embalmment of an
object with deep connection to art-history that delves into role that technology plays in our response to the fear of
loss.

Artwork 1 Image:

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Catalogue1 ID1511
Artist ID: 1511

Artist Name: Gabin Cortez Chance


Website: https://gabincortezchance.com/
IG: @gabincortezchance

Artist Statement: All though I’ve been working primarily in digital media for several years now. I’ve always felt
my creative process is more akin to the cave painters of prehistoric Spain, and France. I like to feel as if I’m doing
some sort of Magical act. Some sort of Shaman like Ritual connecting me to another dimension, something beyond
myself. Rather than creating just another Cultural commodity to be bought, sold, or invested in like Pork Bellies, or
Oranges. Sensory stimulation is important to my art, but it is only one facet of what I’m trying to do. My Art must
have some kind of Political, and Philosophical(usually one and the same) direction. It must be about the now, looking
through the lens of the past, progressing to the future. For me the Digital is my Magic wand of the Hyper-Real, and
my Simulacrum of Geist. How could this be for sale. It is a Gift assembled from the best parts of other Gifts. From a
long line of Artists,Thinkers, Witch Doctors, and Prophets going all the way back to those afore mentioned Caves.
And probably even before that.

Notes:
Manual Entrants: video, youtube = https://www.youtube.com/watch?v=jmfqH6LLgoU&feature=youtu.be

1
Artwork 1 Title: Untitled
Artwork 1 Dimensions: 2160x3840 pixels
Artwork 1 Medium: 4K Video
Artwork 1 Commentary: Viewing link:
https://www.youtube.com/watch?v=jmfqH6LLgoU&feature=youtu.be

I'm also sending the raw file via wetransfer

This as yet untitled video series will eventually consist of 189 videos of less than a minute each. The 189 number is in
relation to the number of spells in the ancient Egyptian “Book of the Dead―. All though the first part of this
series will revolve around ancient Egyptian iconography and myths, future parts will delve into other ancient cultural
mythologies and Icons(Hindu, Norse, Persian Maya...etc.). with a strong possibility of some crossover near the end of
the series. These videos will focus on examining several philosophical works related to Language, Text, Structuralism,
and Deconstruction. The conceptual sparks for this comes from my recent readings of Jacques Derrida’s “Of
Grammatology― and “Writing and Difference―, Marshall Mcluhan’s “The Gutenberg Galaxy― James
Joyce’s “Finnigans Wake―, as well as several lectures about Language and Literature by Michel Foucault.
This list wil undoubtedly expand as well considering the amount of time this project will probably take(4-5 years
maybe). All though I plan on sequentially numbering these in Roman numerals as they come out, they do not need
to be viewed in any sequential order. And they should be able to either be viewed individually, and/or randomly
grouped. Ideally these should be viewed in 4K resolution.
Artwork 1 Image:

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Catalogue1 ID1514
Artist ID: 1514

Artist Name: Kaushikee Gupta


Website: www.kaushikeegupta.com
IG: https://www.instagram.com/kaushikeegupta/

Artist Statement: I am a story teller. I work with my fascination for the space that sound creates, and the different
memories and feelings it evokes in people. Of being in an art-work and not just looking at one. Immersing them into
a simulated reality or fiction, maybe a memory of mine or someone who might or might not exist. I create
Soundscapes of the things I feel, and moments I envision and of places I have never been. I write and read and write
again. I have the need to create both an intimate as well as an uncomfortable space. The ambiguity of entering the
space or the intimate thoughts of a person as well as the beauty of their memories which is presented right in front
of the audience to invade. I intend on giving the audience every word that I write yet still not allow them to read
anything at all. I provoke people to spend time with the works the same way I get inspired to make my work. By
taking in every essence of all the places I visit. By listening to every detail of acquaintance as well as random people
at an unknown street. My work rises to a crescendo when it reveals the hollowness of its surrounding. I believe that
art does not capture, and replicate a given subject’s experience of the event, but draws bodies into sensations
not yet experienced. I create those experiences for the masses through my text and sound installations.

Notes:

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Artwork 1 Title: Letters To An Unknown Lover
Artwork 1 Dimensions: 500 X 150 X 800
Artwork 1 Medium: Text on Saree and Sound Installation
Artwork 1 Commentary: The installation consists of nine letters in one narrative spread over 50 yards of saree. Saree
is the choice of material as the text is very delicate just like the clothing material traditional in the place the story is
set. Its the most intimate and personal thoughts and desires of the protagonist who writes her heart out about her
not so mundane life and repertoires of the places she have travelled and the moments where the person who she
writes to might have been at her country, eventually realising that the very person doesn’t exists. Hence the
fading of the colour from the sarees.

"... everyone talks about the moment of meeting, someday I will write to you about the many moments of not
meeting..."

Medium- Text and Sound based installation


Artwork 1 Image:

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Catalogue1 ID1525
Artist ID: 1525

Artist Name: Mike Green


Website: https://mikegreenillustration.weebly.com/
IG: @mike_sketches

Artist Statement: My artwork is fed by an education in illustration and a wide interest in artistic disciplines including
sketching, plein air painting and film. I am pushed to create work in an illustrative style, wanting to say some part of
a story, a hint of a wider time scale with a single image.

At the moment, after a few years mostly working in sketchbooks around London, I have arrived at working entirley
digitally. Although using a non traditional medium I am falling back on my many hours spent drawing and painting to
allow me to make the most of and adapt to these new tools.

Notes:

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Artwork 1 Title: St Pauls
Artwork 1 Dimensions: 34x17x0 (unframed) 49x33x1.5 (framed)
Artwork 1 Medium: Digital
Artwork 1 Commentary: This image is from a series of drawings focusing on vertical views of London landmarks and
their architecture.

The process involves wandering around the city looking for views on to recognisable landmarks that catch my eye.

Once I have found somewhere, I might make a quick reference sketch before photographing the view using a multi-
perspective technique. After compiling an image from my photographs, I work through roughs for composition and
tone. The drawing is them made digitally on an ipad, a tool I have only recently started using but that offers an
immediacy and convenience that is hard to break away from.
Artwork 1 Image:

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Catalogue1 ID1528
Artist ID: 1528

Artist Name: Kenji Lim


Website: www.kenjilim.com
IG: @kenjiart

Artist Statement: Land holds stories like a sponge holds water. Or vinegar for that matter. Stories, narratives, and
myths permeate the landscape and bubble up in certain places where the membrane between truth and fiction is
the thinnest. These are places with a sense of place, where identities are bared and where we are tied to the soil.
But is place a construction of the mind longing for belonging? Do we convince ourselves of the importance of a
location and the stories tied to it out of a desire to mythologise ourselves and our attachment to the stories of those
long gone?

I explore the contradictory nature of mythology and place through the constructions of the bucolic, wilderness, and
the eerie magical worlds in which we re-narrate our histories, creating connections to the fantastical, cosmological,
and microbial. By processes of walking through the landscape and by mining personal and cultural memory, I probe
the spectral nature of these stories which return again and again, cutting across and through the timelines of those
who hear and repeat them. If there is such a thing as connection to a landscape, how do we hold it and what does it
mean to us?

Notes:
Vimeo = https://vimeo.com/319344809, Password: FairfieldTrinity

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Artwork 1 Title: Trinity on the Ridge to Fairfield
Artwork 1 Dimensions: variable
Artwork 1 Medium: HD video with sound
Artwork 1 Commentary: Vimeo link: https://vimeo.com/319344809
Password: FairfieldTrinity

Trinity on the Ridge to Fairfield is intended to be viewed on smart phones and other mobile devices. Thus far the
method of distribution has been for viewers to request the video directly via social media channels and receiving the
file, or a link to it, which can be watched on demand. In the context of an exhibition I would imagine that the video
would be displayed via a phone acting as a monitor, with a link available for the audience to view, or download, the
video on their own mobile device.
Artwork 1 Image:

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Catalogue1 ID1532
Artist ID: 1532

Artist Name: Blair Zaye


Website: www.blairzaye.com
IG: https://www.instagram.com/blairzaye/

Artist Statement: I am an artist/curator originally from New Zealand with a Bachelor of Visual Arts from Auckland
University, New Zealand and a Masters in Fine Art at Chelsea, living and creating in London since 2008.

As a multidisciplinary artist working in paintings, drawings, video, performance and installation my work researches
the changes that have and are occurring in society. In particular, I attempt to investigate the boundaries and
similarities between; technology, neo-futurism, quantum physics, consciousness, the esoteric, spirituality, populism,
human potentialism, the transcendental and the nature of realities. Observing where artists have placed themselves
within these conversations historically, presently and could do in the future. Initially posing the following questions
pertaining to the contextual melee above; What has happened? What’s happening? What’s next, and how
can this be expressed, relayed and understood? Moreover; Where does the spiritual fit into contemporary art these
days and how can it be communicated and what part does it play in cultural (r)evolution in the modern world?

Exploring the differences and also the links between the tangible vs. the intangible, the duality or perhaps the
dichotomy between the taught concepts of the transcendental versus the genuine experience of it. I have continued
exploring how reality can be conveyed and fictionalized via film and theatre, using found objects to represent the old
materialistic worldview while exploiting technologies to symbolise the new. While looking at what mechanisms can
be utilized and/or if it is possible to signpost a path to an awakening and cultivate a new holistic worldview,
presenting the result of this awakening through immersion and emotive experience.

Notes:

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Artwork 1 Title: IN THE FUTURE WILL YOUR ROBOT MEDITATE FOR YOU?
Artwork 1 Dimensions: 128x184cm
Artwork 1 Medium: Mixed media on found wood and corrugated iron with L.E.D sign on canvas stretcher
Artwork 1 Commentary: From ‘The Nature Of Reality’ Series using ‘real world’ found objects blurring
the line between not only painting, sculpture and installation but also reality and fantasy much like the masterful
illusion of theatre.
Artwork 1 Image:

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Catalogue1 ID1558
Artist ID: 1558

Artist Name: Jordi Robert


Website: www.jordirobert.co.uk
IG:

Artist Statement: I am a Catalan visual artist resident in the UK. I have a particular interest in finding new ways to tell
stories, often using my camera as a catalyst. I respond to my everyday experiences and current social issues using
these as a starting point, adopting both documentary and conceptual approaches. Complex human relationships and
basic emotions fascinate me. I capture the private, the unfamiliar and the different to gain and share an insight
through photography, film or video installations. Recently I explored ideas about time, space, and memory and how
these concepts impact in our lives.

Although personal, my work aims to connect with the audience at both an emotional and intellectual level. My work
submitted for the Ashurts Emerging Artist Prize is not only an invitation to submerge in a journey to the past and
nostalgia, but more importantly, to reflect about the cruel reality of dementia and its social and personal
repercussions. At the core of my work is an inquisitive exploration of the human being, trying to understand who we
are.

Notes:
Youtube = https://www.youtube.com/watch?v=SFialCIwpQU

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Artwork 1 Title: Eladia
Artwork 1 Dimensions: 1920x1080
Artwork 1 Medium: Video with sound
Artwork 1 Commentary: Eladia (2017) HD video with sound. 3min.

Last year, my mother had to move to a nursing home as she was suffering from dementia. I traveled to Spain and
spent some time with her, starting a new project that developed into a short film, Eladia, which includes sound
recordings, home made films from the 60’s, pictures from a family album and the images that I captured in the
nursing home.
Artwork 1 Image:

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Catalogue1 ID1567
Artist ID: 1567

Artist Name: Edu Fernã¡Ndez


Website: www.edufernandez.net
IG:

Artist Statement: Edu´s work focuses on identity and performance, feeling very comfortable mixing different
techniques and creating hybrid languages, and showcasing a legendary and obscure sense of humor.

Notes:
YouTube = https://www.youtube.com/watch?v=oeoc8eA7Cxs

1
Artwork 1 Title: The passion of Edu Fernández
Artwork 1 Dimensions: 7 minutes
Artwork 1 Medium: Video
Artwork 1 Commentary: The passion of Edu Fernández is a remake of the 1928 film The Passion of Joan of Arc by
Carl Theodor Dreyer. Taking as a reference the work of the Italian philosopher Silvia Federici, who points out the
medieval witch hunt as the first accumulation of pre-modern capitalism, the performer Edu translates this legendary
character into contemporary language.
Juana's behavior, reminiscent of the symptoms of a psychosis, is an example of the persecution suffered by women
for centuries, and the exploitation of that great "other" (black, indigenous, proletarian, neurodivergent ...)
fundamental for the development of colonial imperialism and industrialization in the western societies.
Edu Fernández constructs a story of self-fiction, where he plays with the limits of the ethno-nationalist discourse
and its consequences for minority subjects by class or race.

See the video online: https://www.youtube.com/watch?v=oeoc8eA7Cxs


Artwork 1 Image:

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Catalogue1 ID1607
Artist ID: 1607

Artist Name: Melle Van Gemerden


Website:
IG: instagram.com/mvg.art

Artist Statement: I paint an insider’s viewpoint of tennis tournaments. The suspended time, of sitting in the
sidelines, anticipating for action. Geometrical landscapes that hold their particular energy.

As a former Dutch ATP player and member of the Dutch Davis Cup team, I have toured globally for two decades, with
appearances in all Grand Slams and multiple smaller ATP tournaments. My work is a memoir of my tennis career.
Although I've been around the globe, it were the tennis courts of that served as landmarks of each place visited. I try
to subtly evoke the diverse atmosphere that makes these tennis courts - seemingly the same at first glance - unique
by its own right.

I am influenced by the vibrant digital paintings done by David Hockney. The iPad turned to be the perfect medium,
as it fits into my on-going tennis tours. It allows me to work with lively colours, in my down time, at the point I left it
off. My free hand works are later materialised in archival giclée prints.

Notes:

1
Artwork 1 Title: ARIZONA
Artwork 1 Dimensions: 50x40cm
Artwork 1 Medium: Giclée archival print, on Hanhemühle 305g paper, of iPad freehand digital painting.
Artwork 1 Commentary: "Arizona" is part of an ongoing series called "Memoir"; freehand digitally painted tennis
landscapes that have marked my professional tennis career.
Artwork 1 Image:

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Catalogue1 ID1627
Artist ID: 1627

Artist Name: Eunhye Shin


Website: shineunhye.com
IG:

Artist Statement: Eunhye shin was born in the city of Seoul, in South Korea. She arrived Chicago in 2015 as a video
artist. She graduated at School of the Art Institutes of Chicago (SAIC), studying for bfa. Her work focuses on abstract
and experimental video narrative. She works with found footage from sharing website and videos that is taken from
herself. Her process begins with storyboards as a brainstorming tool and then she edits the footage into short films.
Her work utilizes visual effects as motifs to re-contextualize their original message. This is a way for the artist to
reach out to the audience to forge a personal relationship with the audience.

Notes:
PDF =
http://www.weebly.com/editor/uploads/1/0/0/1/10015543/865455986523957874_make_yourself_comfortable.pd
f

1
Artwork 1 Title: Make Yourself Comfortable
Artwork 1 Dimensions: 1,920×1,080
Artwork 1 Medium: Video
Artwork 1 Commentary: Make Yourself Comfortable is a video work that explores the idea of comfort. It was inspired
by the feeling of comfort when I was in artist residency in Berlin. Even though it was first time to visit the city of
Berlin, I was comfortable living in Berlin. I started to interview Berlin-based artists and musicians talking about
‘comfort’. The choice of abstract and organic shape is motivated from interviews.
Artwork 1 Image:

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Catalogue1 ID1635
Artist ID: 1635

Artist Name: Yurim Gough


Website: www.yurimgough.com
IG: https://www.instagram.com/yurimgough/

Artist Statement: I come from Korea, a country with a historic tradition of ceramics, where I was a fashion designer. I
emigrated to England in 2007, the first time I had set foot outside Asia. Learning English from scratch and being
influenced by the radical change in culture I went back to being an artist, which was always my first calling. Starting
with life drawing and experimenting with other media, I found myself drawn to my cultural roots in ceramics, mixing
the two. In 2013 I made bowls and sketched live models drawing directly onto the contoured surfaces, combining
the organic hand-moulded form of the bowl with the human form of the model. A couple of years later I began to
add imagery to the pieces to extend the narratives that began with the poses, seeking inspiration from what I found
captured in the drawings.
In Asian culture bowls are philosophically connected with humanity; for example in Korea we might talk about how
big a bowl you have in your mind, so the bowl is holding all your knowledge and experience. I mould the bowls in my
hands and I draw straight onto them, with no plan, never changing a line. Drawing directly onto these with a life
model, with a human in front of me, I can be led by their energy and afterwards see what of human life can fit into a
bowl. What I found drove me to use imagery on top to draw out stories imagined from the lives.

Notes:

1
Artwork 1 Title: Adidas man
Artwork 1 Dimensions: 7 x 24 x21
Artwork 1 Medium: Ceramic/ 3d printed parts
Artwork 1 Commentary:
Artwork 1 Image:

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Catalogue1 ID1657
Artist ID: 1657

Artist Name: Jonas Pequeno Mcilwain


Website:
IG: jonaspequeno

Artist Statement: Jonas Pequeno's practise sets out to investigate the duality and the contradictory nature of both
being in a living and experiencing body as well as partaking in the digital mediation and representation of nature that
blurs these mediums into one experience.

Pequeno's studio practise is concerned with the question of time and space. Particularly the ‘location of the
event’ and the ‘occurrence in flux’.

Pequeno engages in “ripping objects from their natural flux―, as Jon Rafman would say. These objects signal
and reflect themselves, exposing their schemes and artifice away from their ‘natural flux’ in their object
economy, allowing room for critique of their functionality, historical power and symbolism.

Aspired to suspend a moment by creating immersive works and engaging in the 'spectacle', Pequeno attempts to be
'violent’ to the event by disrupting spaces, permissible by sound’s intangible materiality.

Notes:

1
Artwork 1 Title: Variable
Artwork 1 Dimensions: 275x275x10
Artwork 1 Medium: Sound Installation
Artwork 1 Commentary: An installation responsive to space, 'Variable' intends to create an experiential work
localising the viewer in an acute place. The sounds bouncing off the walls create intense psychedelic reverbs that
fluctuate in high pitches. The work, varying from location to location, would resonate respective to the size of the
room and its occupation.

The bells, controlled by bespoke electronic components and an Arduino, slowly but insistently ring and climax into a
frenzied state, before crawling back down to a halt. The intention is to localise the viewer into a moment of
‘now’, a climatic event to that ‘moment’.

'Variable' uses the symbolism of the service bell to its advantage, not in the traditional sense of its function in
alerting customer service, but in fact draws the attention of the audience to itself, pulling the audience centrally to
the installation. It functions to draw attention to the bell as an instrument, rather than prompting service to clients.

Artwork 1 Image:

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Catalogue1 ID1671
Artist ID: 1671

Artist Name: Zivile Minkute


Website: www.zivileminkute.com
IG:

Artist Statement: I seek a clean aesthetics with a volume of depth in it. I talk to people that find beauty and
excitement in silence, poetry lovers, and those who are seeking meditation in different forms.

I find my inspiration in the greatest creation - forms of nature. I also have a deep admiration for contemporary art
installations, despite that, my artistic expression is mainly focused on two-dimensional works. I find an obliviation in
repetition. Desert, mountains, sea - all these majestic structures are based on repetitive patterns that present its
subtlety by slight variations in detail.

I create images, as a representation of subjects that are not visible but felt by everyone, because of that reason, they
gain a very subjective form - a reflection of previous experiences. Most of my works are of a quite large scale and
taking the advantage of a wide space I exploit it on free expression of physical motion rather than giving attention to
hairsplitting detail.

I came from a printmaking background and despite that, the media I use sometimes varies becoming a new form of
an imprint. I have kept the principles of engagement to the process based on tradition: layers, repetition between
artworks and a traditional or an alternative form of an imprint.

I’d like to position my art practice as a form of impressionistic, in spite of being a part of the contemporary art
field.

Notes:
See USB Stick for Video

1
Artwork 1 Title: ​cliché. body: take
Artwork 1 Dimensions: 100x200 cm
Artwork 1 Medium: body print - monotype
Artwork 1 Commentary: “cliché. body: take― is a work from series that represents a use of a physical body
as a cliché* in order to create an image on the surface also taking in consideration the modern use of a word
cliché. The whole project was completed during a two years period and besides being a form of artistic
expression it was an important process in accepting my inner femininity and worth of it. Abstract but subtle first
impression uncovers the figure of a naked body. This action of uncovering myself from a created image was also an
act of acceptance in a symbolic form of open self-representation. The piece was created as a negative of a body print
made by taking the paint with the body from the printable surface and printing the created image on paper.

*The word cliché is drawn from the French language. In printing, "cliché" came to mean a stereotype,
electrotype or cast plate or block reproducing words or images that would be used repeatedly. It has been suggested
that the word originated from the clicking sound in "dabbed" printing. Through this onomatopoeia, "cliché" came
to mean a ready-made, oft-repeated phrase.
Artwork 1 Image:

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Catalogue1 ID1676
Artist ID: 1676

Artist Name: Toby Skinner


Website: http://www.tobyskinner.co.uk
IG: https://www.instagram.com/tobyskinner1/

Artist Statement:

Notes:

1
Artwork 1 Title: Digital Loom #5
Artwork 1 Dimensions: 120cm x 60cm
Artwork 1 Medium: Digital / Algorithmic / Generative
Artwork 1 Commentary: This digital 'tapestry' is 'woven' by 9 cellular automata. Every line of the tapestry chronicles
the lifetime of the machines, from birth (the very top) to death (the very bottom).

My interest here is twofold: the first is in using generative processes for creating digital textures that provide a very
deep and enriched level of detail.

Secondly I'm interested in visualising the life cycle of generative processes in novel ways, allowing us to (in some
way) understand better the mechanics behind the code.

Note the artwork itself is a framed canvas print.


Artwork 1 Image:

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Catalogue1 ID1681
Artist ID: 1681

Artist Name: John King


Website: johnkingsart.com
IG: jo.king.5268

Artist Statement:

Notes:

1
Artwork 1 Title: Reflections
Artwork 1 Dimensions: 42x30
Artwork 1 Medium: digital print on high gloss paper
Artwork 1 Commentary: This is a digital vector print, it can be reproduced any size or in any number on any surface.
For the sake of convenience it is reproduced here for print on paper or canvas. Using the stylistic conventions of
cartoon illustration it confronts themes of mortality in a new and interesting way. Gaze into the image and you will
soon begin to notice a face emerging, first two eyes then other features. Look away and then look again, a different
face stares back at you. For different people it will be a different face, the face you project on to the piece? The face
that emerges is not one of the humorous people that cavort in the landscape, but a new, more troubling one.
Artwork 1 Image:

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Catalogue1 ID1690
Artist ID: 1690

Artist Name: Mh Sarkis


Website:
IG: @sarkisartist

Artist Statement: MH Sarkis (b. 1990) weaves together ideas of female subjectivities, the Dyad, and religion, through
multimedia-activated textiles and video. Most recently she explores these themes within frameworks of potential
techno-utopias (or dystopias).
Sarkis is a Lagos-raised, London-born Lebanese artist; her work continually crosses borders and has been exhibited
across Europe, Africa, and the Middle East. She is based in London and is currently on the Goldsmiths MFA Fine Art
programme.
She has taken part in the 2018 Shape Open (supported by Yinka Shonibare MBE) and has been featured on the
Saatchi Art platform. Recent shows include "2068" at SPACE in Hackney, London.

Notes:
Vimeo = vimeo.com/316930861

1
Artwork 1 Title: Module1_[Sprout]
Artwork 1 Dimensions: 200 x 270 x 50
Artwork 1 Medium: Mixed new media installation
Artwork 1 Commentary: Please also consider this artwork for the New Media Art Award 2019. A link to a video demo
of the piece is here: vimeo.com/316930861

"Module1_[Sprout]" is a mixed new media installation comprised of hand-tufted material (carpet), touch-responsive
technology, robotics, and steel. Inspired by the physiology of a Venus Flytrap, the work explores themes such as soft
power and control, artificial life as both living and failing, and post-human feminisms that materialise in a mirroring
or mimicry of organic matter. Here, there is also consideration of Rosi Braidotti's concept of agency based on 'zoe',
where both human and non-human matter is capable of self-organising and possessing intelligence.
Artwork 1 Image:

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Catalogue1 ID1705
Artist ID: 1705

Artist Name: Helena Ferreira


Website: http://helenaferreira.net
IG:

Artist Statement: Helena Ferreira (Lisbon, 1982) is an artist that develops mixed media installations in the scope of
video, sculpture and drawing.
She is graduated in Sculpture from Faculty of Fine Arts of Lisbon University, holds a master degree in Visual Art
Teaching and is currently developing her PhD in Art Installation. Her main research interest is focused on how can we
subvert the notions of projection and screen, from a broaden approach to the different meanings that can be drawn
from those established concepts in contemporary art.
With a particular focus on the immaterialized images and its relation with the physical space, her artistic practice has
extensively explored the reversibility, the juxtaposition, and the disruption of projected images upon unconventional
surfaces. By using different textures and materials, transparencies and shadows, interweaving movement and
stillness, she seeks to unveil a deepest awareness from within a sort of suspended time that is often found in the act
of contemplation. Helena Ferreira also seeks to challenge new ways of thinking about the compromise between
screen and body, and vice versa, by exploring the conceptual aspects that involve the notions of subject-observer
and object-technology.

Notes:
Vimeo = https://vimeo.com/289059242

1
Artwork 1 Title: Das sombras que permanecem (From the shadows that remain)
Artwork 1 Dimensions: 150x275x200 cm
Artwork 1 Medium: Mixed media installation Video (loop, no sound), sand, glass, drawing
Artwork 1 Commentary: 'Das sombras que permanecem' is an installation that explores the struggle between the
motionless time and the infinite movement that resonates both in the cyclic phenomena of nature and in the human
condition resilience. In this tense game of contrasts between mobility and immobility of the image, opacity and
transparency of the materials, crystalline luminosity or shaded diffuse projection, we can witness the unfolding of a
mobile landscape of uncertain contours inhabited by motionless characters that stand in a position of suspended
effort. The cycle of nature, here represented by the tides, the verticality of the incessant movement of the waves
that spread out and transform into allusive earth features, the perpetual movement of the inert characters, they all
contribute to the subtle changes that one can see in the repetition of events implicit to the experience of time and
implicit in the human endeavour when dealing with recurrent and inevitable contingencies in life.

This artwork is a mixed media installation that uses video (loop, no sound), sand, glass and drawing, so I would like
my submission to be considered for the Ashurst Emerging New Media Prize 2019.

The video documentation of this installation can be seen here: https://vimeo.com/289059242. No password needed.

Materials I would supply:


30 to 50 kilos of black sand
Drawing on glass panels (several dimensions)

Equipment required:
1 DVD Player or USB Player with cable to connect to Video projector
1 Video projector
[no sound needed]

Space requirements:
The artwork must be installed on the floor and right next to a wall.
The dimensions of the artwork (including the distance between the video projector and the wall) are approximately
150x275x200 cm (height x width x depth). Those measures can easily be adapted to the exhibition space since this
installation is, conceptually and material wise, flexible, adjustable and malleable.

Artwork 1 Image:

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Catalogue1 ID1712
Artist ID: 1712

Artist Name: Gilles Grenon


Website: https://gillesgrenon.com/
IG:

Artist Statement: Project's thread

The project interprets the relationship between a space location and temporal occurrences. It evokes the cone of
light, a notion of special relativity explained by the mathematician Hermann Minskowski at the beginning of the
twentieth century that represents the space-time in the past and the possible future for an observer at a time to a
specific point.

Project design

During the preparation of this project, I accumulated over the years photographs taken always in the same place
during my journey to the city center.

A computer program used in the Processing software uses these photographs as a basic element to form a band of
successive images in a slow infinite movement, each image hanging on to the first at the end of its course. This
image band was then multiplied a hundred times with a translational effect, but still crossing an area near the
center, which creates the cone of light effect. Then, after an interval of a few seconds, the moving calculations of the
image bands are recalculated randomly to create a different universe. The program performs these movements back
and forth without stopping.

The movement of the multiplied images creates maelstroms of haunting luminous motifs which rush towards a
common point and then resume their expansion. The triggering of new random rotations in the three axes brings
new forms of light transmutation.

Notes:
Vimeo = https://vimeo.com/313287155, https://vimeo.com/313287328, https://vimeo.com/313287485,
https://vimeo.com/315162126, https://vimeo.com/313287732 image 1 fails, but use these viemo links

1
Artwork 1 Title: Project 6001
Artwork 1 Dimensions: The size of the projection is variable. it can be done on a monitor or by projection on a screen
or a wall.(Original photographs: 1366 x 768 Pixels)
Artwork 1 Medium: Computer (Windows 10) and Processing software.
Artwork 1 Commentary: This project consists of a generation of video images from a computer and Processing
software. A video screen or projector is needed and a sound system.

You can see video clips of the river in action on Vimeo:

https://vimeo.com/313287155
https://vimeo.com/313287328
https://vimeo.com/313287485
https://vimeo.com/315162126
https://vimeo.com/313287732

Artwork 1 Image:

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Catalogue1 ID1733
Artist ID: 1733

Artist Name: Sarah Selby


Website: www.sarahselby.co.uk
IG:

Artist Statement: I am an interdisciplinary artist specializing in New-media and the fusion of Art and Technology. I am
interested in collaboration with industries outside of the field of Art (particularly Science and Technology) to
communicate ideas in an interactive and visual manner that facilitates critical thinking and fosters curiosity. In a
post-truth world, my aim is not to tell people what to think but to raise questions and discussion around often-
inaccessible research. I believe that diversity in thought-processes is a key aspect of innovation, and that by using art
as a platform for broadening engagement we can drive new discoveries.

Notes:
Youtube = https://www.youtube.com/watch?v=yZIM1Eq23U0

1
Artwork 1 Title: 'If you leave it up to the audience, they can kill you'
Artwork 1 Dimensions: 170x100x80
Artwork 1 Medium: Mixed-media consisting of: NodeMCU microcontrollers, solenoid valves, LED strip lights, IV drip
bags and wires, white rose, soil, bell jar, water, salt water and black ink.
Artwork 1 Commentary: Inspired by Marina Abramovic’s ‘Rhythm 0’, 'If you leave it up to the audience,
they can kill you' is an interactive artwork that examines how anonymity and a sense of disconnect between the
digital and physical affects how we communicate online. Using sentiment analysis technology, the viewer is invited
to interact by 'tweeting' the rose. Each tweet triggers the release of either water or poison to the rose, depending on
the overall sentiment of the message.

See the piece in action at: https://www.youtube.com/watch?v=yZIM1Eq23U0

Mixed-media consisting of: NodeMCU microcontrollers, solenoid valves, LED strip lights, IV drip bags and wires,
white rose, soil, bell jar, water, salt water and black ink.
Artwork 1 Image:

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Catalogue1 ID1736
Artist ID: 1736

Artist Name: Yu Soo Park


Website:
IG: @yusoo_park

Artist Statement: I am a South Korean artist who mainly produces film and narrative within the concept of cultures
and relationships. My artworks ponder upon the issues such as the change in generations, perspectives on life,
acceptance of differences, connecting her own intercultural experiences and current issues.

Notes:
PDF Book =
http://www.weebly.com/editor/uploads/1/0/0/1/10015543/763897954564483735_you_shine_brightest_when_yo
u_are_nothing.pdf

1
Artwork 1 Title: You Shine Brightest When You Are Nothing
Artwork 1 Dimensions: 29.7 x 42.0cm
Artwork 1 Medium: Print book (paper, digital)
Artwork 1 Commentary: This book illustrates the story of the artist herself, looking back at her own memory and
experiences to figure out her true self.

This work is to be also considered for the Ashurst Emerging New Media Prize 2019.
Artwork 1 Image:

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Catalogue1 ID1769
Artist ID: 1769

Artist Name: Hawazin Alotaibi


Website:
IG: hawazinsart

Artist Statement: HAWAZIN ALOTAIBI

B. June 15, 1993


Wisconsin, U.S.A

Lives between London, U.K and Berlin, Germany.

Hawazin Alotaibi is a Saudi-American artist who earned her BA in Painting at the University of the Arts London and is
currently working toward her MA in Painting at the Royal College of Art. Her current work engages certain emotional
ambiences. She experiments with motion glitch and distortions of her oil paintings, as a way to create an experience
for the viewer, stating that the elements used in her work, such as sound and media, are to emphasize deeper on
the emotional aspect, she experiences. In her recent work, she focuses on repetition in movement and its relation to
the unconscious mind. She also addresses psychological disorders such as dissociative disorder and the absence of
selective memory. Her aim is to create work that isolates the viewer and produces a space that connects their
internal and external worlds together.
The artist’s interest in using media with her paintings, such as moving paint digitally in a repetitive motion,
moving figures in landscapes in a water-like motion, and projecting a moving object onto her painting, is inspired by
experimental music and sound art. In her research, Alotaibi examines the role of music and live shows in visual art.
She explains that music, specifically electronic and experimental synthetic music, helps connecting her closer to her
unconscious, and she uses music as a source in creating her work visually and conceptually. Music motivates her to
experiment with new ways to present a work that aims to engage the viewer into an unfamiliar space–a space in
which they are more aware of their unconscious.

Notes:
Youtube = https://www.youtube.com/watch?v=6r323SilEsk

1
Artwork 1 Title: Submersed
Artwork 1 Dimensions: 90x160
Artwork 1 Medium: Oil and Visual Effects Projection on Canvas
Artwork 1 Commentary: * Please note the artwork is a video and here is the link to it:
https://www.youtube.com/watch?v=6r323SilEsk

Work medium: Oil paint on canvas, with a projector projecting visual effects onto the canvas.

Submersed is an extension of a series titled Evocation. The series focuses on the process of remembering through
fragmentation and repetition expressed in the painting through images of different scenery, objects and
photographs from the artist’s imagination and personal memory. Submersed aims to convey the sense of
stillness experienced in the act of retrieving memory.

- I specifically focus on repetition in movements and that is what I aim to achieve with the VFX projected onto the
painting, a repetition in movements in some areas of the painting.
Artwork 1 Image:

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Catalogue1 ID1770
Artist ID: 1770

Artist Name: Jojo Taylor


Website: https://jojotaylorart.wordpress.com
IG:

Artist Statement: I attempt to magnify the sometimes bizarre nature of different events in a fragmented narrative,
often possessing a dreamscape quality, as I inquire into the relationship between the ‘ordinary’ and the
‘strange’, the inner sphere of the imagination and external realities of the everyday. My work is sometimes
based on stories, but always on my curiosity about the world that I occupy, offering an other-worldly alternative to
reality.
Â
Intrigued by the absurd, uncanny, powerful and playful aspects of life, by the moments when we lose our very sense
of self, I make tableaux that incorporate, sound, song, performance and film. Costumed characters reveal
themselves in surreal, carnivalesque scenes displaying ritualistic tendencies. I am interested in the psychological
impact of sound and endeavour to harness its affective qualities within my work through my use of voice and the
sonic qualities of items as diverse as body parts and teapots.
Â
My work questions what it means to be human, through an exploration of the component parts of life’s
dilemmas and my idiosyncratic presentations of the human soul.

Notes:
Vimeo = https://vimeo.com/295226090 password: Tickety Boo!

1
Artwork 1 Title: The Girl with the Red Piano
Artwork 1 Dimensions: variable
Artwork 1 Medium: video
Artwork 1 Commentary: https://vimeo.com/295226090

password: Tickety Boo!

Screen available to be supplied by myself are either 55'' or 36''.

Artwork 1 Image:

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Catalogue1 ID1772
Artist ID: 1772

Artist Name: Wuttin Chansataboot


Website: http://wuttinchansataboot.com/
IG:

Artist Statement: Graduated from Slade School of Fine Art, UCL, London in 2011. Wuttin Chansataboot is a Thai
media artist and filmmaker working across disciplines from filmmaking to multi-media installation. His video works
has been exhibited at film festivals and art events internationally. Chansataboot’s new media project “The
Metamorphosis of Self and Identity in Digital Era― won Celeste Prize (in Project Prize category) in Milan which
made him the only Asian to be awarded the prize in 2015. He received the gold and silver medals in mixed-media art
category from the 61st, 62nd and 63rd National Exhibition of Art, the longest running visual art competition in
Thailand.

As a full-time lecturer, Chansataboot is currently teaching in sculpture division, Faculty of Fine Arts, Chiang Mai
University. Alongside his creative practice and teaching career, he is a PhD candidate in Visual Arts programme at
Silpakorn University, doing a practice-based research revolving around the effect of virtual interaction on self and
identity in social network realm.

Notes:
Website = http://wuttinchansataboot.com/alchemy01/

1
Artwork 1 Title: The Alchemy #01 : a Yellow Ellipse in a Red Square
Artwork 1 Dimensions: variable
Artwork 1 Medium: CCTV Camera, Projector, Video Projection, Painted Wood Board, Metal Stand
Artwork 1 Commentary: In the age of information technology where digital media rules the world, mediate
communication has been significantly broaden our horizons of realities. In a flash, we could be informed about what
is happening on the other side of the world at this very moment.

Unfortunately, what digitally appear before your eyes does not always conform to what really happens in physical
realm. What is called “the truth― is not a stable concept rooted firmly in our consciousnesses. In contrast, it is a
stream of ideas that could be shifted, manipulated and distorted by the mechanism of media. It is a collective of
selected facts that shape our attitudes towards things around us. Therefore, the individuals in this epoch have
diverse comprehensions of realities.

“a Yellow Ellipse in a Red Square― is the first episode of “The Alchemy―, a series of experiment in visual
art exploring how digital media and means of mass communication could possibly form a new perception of reality
by employing optical apparatus as a main tool to convey the idea.

Note : for more images and information about the work please visit http://wuttinchansataboot.com/alchemy01/
Artwork 1 Image:

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Catalogue1 ID1782
Artist ID: 1782

Artist Name: Polyanna Morgana


Website:
IG: https://www.instagram.com/polyannamorgana/

Artist Statement: Polyanna Morgana (b. 1979, Brazil). Visual artist, researcher, teacher and independent curator.
Works on drawing, sculpture, performance art and others, marked by a dialogue with the legacy of conceptual art.
Exhibitions: 2018 – 100 years of Athos Bulcão, cultural center Bank of Brasil (Brasília, Minas Gerais, São Paulo ,
Rio de Janeiro / Brasil); 2018 - 00 Bienal de la Habana, MAPI (Museo de Arte PolÃ-ticamente Incómodo), Havana/
Cuba; 2017 - Metanoia, Airez Gallery , Curitiba Biennial Circuit, Curitiba/ Brazil; 2016 – In Portuguese: Relato o
cotidiano. Altero o noticiado. (Anagrams series), individual at Pin Gallery, Federal District/Brazil; 2015 - International
Biennial of Curitiba (Performance Week), Curator: Fernando Ribeiro, Oscar Niemeyer Museum, Curitiba/ Brazil; 2015
- Take a place to be, São Paulo Cultural Center, Curator: Mário Gióia, São Paulo/ Brazil; 2014- Studying the
landscape, listening to Tom Zé, individual in the Gallery Pin, Curated: MarÃ-lia Panitz, BrasÃ-lia/Brazil; 2013-
Triangulations (itinerant show), BrasÃ-lia, Recife and Salvador /Brazil; 2012-Building temporary places: version for
birds, individual at the Cultural Center Sérgio Porto, Curated: Daniela Labra, Rio de Janeiro/Brazil; 2012- PolyTati
representations LTDA: life in concert, Vol II, individual at IBEU Cultural, Curated: Fernanda Lopes, Rio de Janeiro/
Brazil; 2010 - BrasÃ-lia: Synthesis of the arts, at the Banc of Brazil Cultural Center, curator: Denise Mattar; Artistic
Residences: NOLugar: Arte Contemporáneo, in Quito - Ecuador, in 2017. Art as a spiritual practice, Indian House at
Serão do Cambury, São Paulo/Brasil, in 2014; Prizes: Artist nominated to the PIPA Prize in 2011;

Notes:

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Artwork 1 Title: PolyTati representations LTDA: life in concert, Vol II (2012 until now)
Artwork 1 Dimensions: Variables. In this assembly: 300 cm X 200 cm X 20 0cm
Artwork 1 Medium: Painting on MDF, speakers and amplifiers.
Artwork 1 Commentary: This is a site-specific sound installation that reports a route that begins at the commercial
office of the artist's family, whose name is PolyTati LTDA representations, and has as arrival point the central
landmark of the foundation of the present capital of Brazil, the city of Brasilia. The name of the office is a composite
of other names of family members, this is a common resource employed by newly arrived immigrants in the new
capital during the decade of 1960. The installation is composed by two color field maps: one of the city of BrasÃ-lia
and another of the city of Taguatinga, where is the family office. In these maps we see loudspeakers where the
sound of the landscape of each city is heard. Both cities are represented in these maps from the specificities of
urbanism and achitecture that guided their construction, and generated echoes in the sound landscape: in BrasÃ-lia,
a city built from the modern utopian inspiration, we have a predominance of a modern color palette influenced by
the modern architecture and urbanism. This constructive way of thinking the city also appears in the drawing of its
map and in its sonorous landscape, both governed by specific laws. In Taguatinga we see a mix of vernacular
architecture with a landscape sound that is typical of the commercial environments. The installation comment the
relationship between modern utopia and its ruin from the relationship with the process of expulsion of workers
families from the political and economic center of the city. In the installation, a immersive dialogue between these
two realities is created. It is therefore part of a family history that tells the history of the country. The chosen
photograph shows an assembly with two installation views presented in 2018, within the itinerary of the exhibition
100 years of Athos Bulcão, an important Brazilian modern artist. The exhibition occurred at the Bank do Brazil
Cultural Center of four capitals: Brasilia, Belo Horizonte, São Paulo e Rio de Janeiro. The photographic record was
made by Vicente Mello.
Artwork 1 Image:

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Catalogue1 ID1813
Artist ID: 1813

Artist Name: Friederike Bak


Website: www.f-bak.de
IG:

Artist Statement: born in 63, studies design and design management, works in publicity since 20 years, lives and
works in France and Germany

Notes:

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Artwork 1 Title: long-lasting-landscape
Artwork 1 Dimensions: 200cmx50cm
Artwork 1 Medium: digital-painting
Artwork 1 Commentary:
Artwork 1 Image:

2
Catalogue1 ID1875
Artist ID: 1875

Artist Name: Johannes Stelzer


Website:
IG:

Artist Statement: Are machines capable of generating their own field of perception and imagination? Recent
advances in artificial intelligence research underpin this possibility. In many ways, deep neural networks mirror the
way our brain processes information, e.g. both generate multi-level hierarchical representations by means of
convolution.

My work is of explorative nature, built on cutting edge methods from artificial intelligence research. All work is
conceived in tandem with self-developed software machinery. The system aims to provide a window into the
perceptual field of artificial intelligence. In many ways, it parallels a spaceship, allowing to examine and explore the
rich universe of machine perception and imagination. The technique provides a projection onto our own perceptual
sphere, mapping the axis of change onto what we experience as temporal progression.

Notes:
Youtube = https://youtu.be/lvXcKd9M_qc

1
Artwork 1 Title: fasenet incursions
Artwork 1 Dimensions: 81x144x4
Artwork 1 Medium: Projection via beamer or large screen with FullHD with 65inch diagonal or more.
Artwork 1 Commentary: Link
https://youtu.be/lvXcKd9M_qc

Medium
Projector or large screen with FullHD with 65inch diagonal or more.

Description
Once upon a year, a dark spell is cast on the idyllic town of Tübingen, Germany. A parade of witches, fiends and
other fierce creatures besieges the historic center of the city. Their terror penetrates everything and everyone.
Tearing time and space apart, they warp our experience of truth and dismantle the fabric of reality.
Artwork 1 Image:

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Catalogue1 ID1884
Artist ID: 1884

Artist Name: Katerina Verguelis


Website:
IG:

Artist Statement: My works exemplifies my research and personal experiences, present my curiosity and confusion
of how one self-identifies – often through the negotiation between the feeling of belonging and not belonging. My
works engage the viewers to experience similar feelings: wrought with tension, isolation and control. Whether
physically or digitally presented I place the spectator in an unsettling environment. It forces one to consciously and
subconsciously face both physical and psychological boundaries as cultural and social phenomena that dictate
one’s identity make us to. I create boundaries and what they exemplify, examining the extent to which they are
visible and invisible – while questioning the indefinable line, between the limit and the end. My personal struggles
with identity stems from my emigrant multi-national, multi lingual background. I was born in Ukraine; I moved to
Israel when I was a teenager and now I live and study as an International Student at the University of Texas at
Arlington. The works act not only as a metaphor to my own feelings, but to the general phenomenon that
penetrated the contemporary discourse. I want to encourage my audience to explore and discover the unfamiliar
and help them understand my viewpoint as an international immigrant artist.

Notes:
Vimeo = https://vimeo.com/319361428

1
Artwork 1 Title: “The Wall has Fallen, Long Live the Wall―
Artwork 1 Dimensions: Video 1 minute 53 second long
Artwork 1 Medium: Video Art
Artwork 1 Commentary: Art-documentation of performance. +sound is important as well.
May be projected on the wall or played on TV screen

Link to the video:

https://vimeo.com/319361428

Artwork 1 Image:

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Catalogue1 ID1904
Artist ID: 1904

Artist Name: Gus Skottowe


Website:
IG:

Artist Statement:

Notes:

1
Artwork 1 Title: Loop or Line ?
Artwork 1 Dimensions: 200x275x275
Artwork 1 Medium: e-waste, plywood and steel tubing
Artwork 1 Commentary: This piece starts with dissecting a variety of old technological objects such as ventilation
fans, microwave ovens and computers. Selected components from the dissection are then hybridised and evolved to
create mechanically vibrating units.These units erratically roam with their own agency until they reach the end of
their tether/wire and pull themselves out the plug (no differently to ourselves). Although these units seem identical
in appearance, they in-fact each have subtly different physical impediments which gives them different styles of
movement. The units are also characterised by their own distinct self generating algorithm which dictates their
varying vibration speeds and sleep cycle patterns. These units represent and explore the idea of technological
objects having their function evolved from being human serving machines to operating as mechanical organisms
with a new found sense of agency.

In this specific installation the unitary vibrating organisms are roaming within a landscape of entangled metal
conduit and power sockets accompanied by the flatpack off-cuts which reveal the structural DNA of the units. This
installation is a physically active and sensory poem which reveals our contemporary cyclical processes of mass
production and consumption. The oscillating units are a loose metaphorical reflection of contemporary humanity - a
bunch of delicate units dependently incubated by an infrastructure, all roaming ‘freely’ until they reach their
impending diminish.

Video of the installation: https://youtu.be/PdsO5fMjTco

Artwork 1 Image:

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