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@cass2012catalogue-blog
CASS 2012, Ba Fine Art Degree Show.
Private View:
12th June 2012 18:00-22:00
Open Daily:
12th June Tuesday 18:00-22:00
13th June Wednesday 10:00-20:00
14th June Thursday 10:00-20:00
15th June Friday 10:00-20:00
16th June Saturday 11:00-17:00
17th June Sunday 11:00-16:30
London Metropolitan University
Central House
59-63 Whitechapel Highstreet
E1 7PF
Giorgia Di Lello
'Fabrics'
Monoprint
760x560 mm
In this series of works called "Fabrics" Giorgia Di Lello presents her latest Mono-prints: a combination of coloured gauzes, ink and black varnish on paper. These may be common, worn and poor materials, but it has always been the size of their balance that interests her. Additionally, the arrangement of shapes and the colours that can manifest, develop an evocative power and intensity that articulates the shades and nuances. A purity of exposure, a harmony, an arrangement of lines and colours in which the objects are transfigured, entering a world apart.
Mike Graham
/vzxvzx (detail)
Spray paint, acetate, paper
I am interested in exploring systems of thought. My visual sensibility is influenced by military technology and internet aesthetics. I see the finished pieces as a form of quasi fabric, crystallising temporal processes with an entropic tangibility.
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I tend to use a rhizomatic approach towards processing information. I am largely drawn to ideas that deal with how things interact and there serendipitous outcomes. Flux and multiplicity are of particular interest.
I am creating a form of cognitive architecture. This enables thought to behave with dexterity, extracting quantities from an aspirational totality of potential. This dexterity creates a space for verbs to verb.
Samuel Golc
'Noncommutative Pillars of Creation'
Oil on canvas
76x101cm
The esoteric work of Samuel Golc enquires into the very nature of reality and the role that human consciousness plays in it. In order to accommodate his ideas Golc has produced an art theory of his own- the Noncommutative Realism. Riddled with references to quantum mechanics and kabbalah, his paintings show a phantasmagorical reality where corporeal elements mix with abstract structures. The paintings are made with hand-grinded oil colours.
In addition Golc works with experimental photography. Through the use of the pellucigraph and other homemade optical instruments he captures semi-abstract shots, whose ephemerality and ambiguity challenge our perception of reality. The twofold nature of Golc’s work acts as a backdrop for the evolving idea. The two mediums complement each other in rendering one scope of notions. Allowing abstraction and irrationality into photography and subduing painting to scientific scrutiny serve one goal: to create art that evokes questions.
www.zhibit.com/hadashart
Irene Godfrey
‘Habitat’
Oil on board
46 x 38 cm
Irene Godfrey paints fragmented landscapes, investigating the interconnectedness of our globalised world. The increasing fragmentation of both society and the natural environment is at stake in her work. She employs chiaroscuro, a plethora of mark-making and the juxtaposition of images to emphasise the dynamism of the natural world and the forces unleashed when humans destabilise this status quo. A web of interdependence spreads not only across the globe but also backwards and forwards through time. What is happening today both parallels and is effected by Europe’s leap into industrialisation in the 18th century. While Godfrey is inspired by the free brushwork of contemporary artist Katy Moran, she also employs the influence of painters from the 16 th to the 18th centuries to express her ideas. For her the distant vistas featured in Northern Renaissance painting (such as the work of Gerard David) represent an idyll; while Rococo work, e.g. Fragonard’s ‘The Swing’ (1767), is more knowingly melancholy in its representation of an ideal that cannot last. Godfrey’s resulting fragmented landscapes are imbued by turns with a sense of vibrancy, beauty, melancholy, fragility and unity.
Elsa Godrey
'Fleet'
Detail, Pencil on trace
150mm x 350mm
Elsa Godfrey's 'Fleet' traces time and movement. The drawings for this piece were made after spending time recently with delightful rescue greyhound, walking, watching and filming his sleek strength and speed. These resultant brief lines capture something of his character and the essence of that speed; the whole hinting at the conflation of time, movement and space, while in some way noticing and considering each element separately.
The camera has been a tool for generations and its capacity to both inform and confuse is well documented. The video footage was studied endlessly, run and re-run, reversed, stopped, copied, printed, edited and manipulated through the computer in an effort to glean more. Seeing is not a passive activity.
Searching for something not found, she began to add details, laying down her own recalled visual memory, impressions, over the static shots from the video, using the photographic material but relegating it somewhat to the role of the camera obscura.
‘Drawing is an immanence, always pointing to somewhere else – to a chain of serial development, another condition, another state, even when, as a gestural flourish it appears to have said everything in the most economical manner.’ Steve Garner.
Kitty Junkbrother
‘The Tower of Psycho Babble’
Kitty Junkbrother works on large installations, sculptures, painting and illustrative works incorporating an obsessive use of psychedelic colour, repetition and obsession. Anthropomorphic creatures, largely influenced by Japanese manga and animation, blend together in a metamorphosis of mythologies and folklores, exploring the narratives with a certain level of kitsch 'naffness' that reveres an appreciation of nostalgia.
There are many references to the advent of computerization and human interaction with technology suggesting narrative to dystopian post apocalyptic cyber realities further leading to a homage to comic book culture and the concepts of far-fetched scenario and perceptive. The end result of all these elements create an orchestrated chaos of psychedelia and form to remove the spectator and perhaps more so the artist herself from the peripheral identity of conformity.
Abbie Ann Gibson
'Enter'
GIF
00:08 loop
Abbie Ann Gibson is a multimedia artist producing predominantly video and Internet situated works. Her primary influences include pornography, advertising and the Internet. Her most recent work uses the assumed character of Astrid Art Whore to explore issues of sexuality, pornography and salability.
Gibson has been interested by the Internet's apparent power to devalue it's content through the very enormity of it's reach. The infinite accessibility of the content on the Internet makes it very difficult for the viewer to award importance to one thing over another; resulting in a blanket of flatness, reduction and emotional detachment. Sex reduced to categories, friends to numbers and relationships to status's.
The works created are reproducible, disposable and very often virtual; taking the form of videos and internet based media such as animated GIFs.
www.astridartwhore.tumblr.com
Carl Gamester
“Bob”
Fujicolour Crystal Archive
41 cm x 51 cm
Carl Gamester’s photography incorporates black and white photography and colour portraiture. He uses traditional (analogue) photography methods i.e. film rather than digital and uses traditional processing methods to develop the film; creating the prints by hand in a dark room. Carl prefers to use traditional methods as this gives him more control over the final outcome of the prints. He renders the black and white photographs, mostly highly contrasty as he finds this makes the pictures more atmospheric. In both mediums he explores the relationship between the viewer and the subject. He achieves this by deliberately seeking out and incorporating people in his work who are on the fringes of society. The portraits ask the viewer specific questions about their preconceived ideas of people. These marginalised and sometimes suppressed groups provoke thoughts in the viewer and hopefully challenge the viewer (through his photographs) to regard the subjects in a new more positive light; freeing them of any preconceived ideas and prejudices.
Michelle Fuhrer
'Invisible Thoughts'
Clear Perspex
20mm x 1mm
Michelle Fuhrer’s exhibition contribution is comprised of clear Perspex pocket-scale word sculpture, nostalgic verse posted onto a plain backdrop using wire.
Highlighted with the use of spotlight lighting to expose the unseen depths within content, revealing a penetrative comprehension unto the intimate tone of the British artist herself.
Micro in proportions and macro in evaluation.
Fuhrer considers our natural aversion to pure honesty, pondering secrecy: it’s being a constant companion to many? And this alternate hope to in part bare ones fragmented soul…
Fuhrer Uses words to engage and divulge unto her audience, fractured poetic prose transcend literacy that affect and sadden.
These translucent word sculptures change within the light, and as the glare hits the corners the letters transcend dimensions, transforming from 2D to 3D depending on optic effects.
Danica Farran
'Labyrinth' working detail
White plastic mesh
5000x 4000 x2400 high
The underlying concern of Danica Farran’s work is the notion of sanctuary, somewhere to escape to or from, somewhere you can find peace, somewhere you can just be. She works using materials that are not normally associated with the notion of sanctuary; they tend to be semi industrial materials that are used for protective purposes and are often cast aside once their original purpose is completed, such as plastic safety netting, protective plastic sheeting, plastic fencing and wire meshes. Perforations are a key feature of the materials she uses that allow visibility from within or without and light to enter in or through. It is within the grids that the perforations define that the sanctuary is found, in essence the space in between.
www.danicafarran.com
Rachel Emery
‘IS THIS IT?’
2 colour screenprint
Rachel Emery works predominantly as a printmaker. Throughout her artistic practice, Emery has been dealing with media and the methods in which she can reclaim images in a way that gives them a new purpose.
Fashion photography is often disregarded within the genre of fine art. Through a series of screen prints and photocopy prints Emery shows her artistic approach to fashion photography and how, through manipulation and careful selection, the viewer is forced to re-evaluate fashion as art.
Fashion-anti.tumblr.com
Katherine Ellis
'Stacks'
Oil on Board
30.5 x 38 cm
Katherine Ellis’s work describes a space in constant flux. Within the abundance of layers and painterly textures, the paintings reveal the uneventful spaces of somewhere and nowhere, devoid of narrative, yet holding a unique entrance for contemplation. The paintings possess a sharp animated energy, which describes, much like a film still, a frozen moment; with the visual process halted, you’re left to ponder the event or action which had previously occurred within the isolated scenes. Recalling Gordon Matta- Clarke’s architectural deconstructions, the interrupted interiors hold surrealist qualities; juxtaposing compositions and arrangements of objects in an often unlikely context.
The specifics and experiential encounters with place, particularly the remote and non- inhabited, continues to exert an influence in Ellis’s thinking, whilst simultaneously opening out to the renditions of the material world; a thought, idea or impression can be an equally considered matter.
www.katherine-ellis.co.uk
Rebecca Edwards
Untitled
Ink on paper
20.5 x 20.5cm
To have a gallery without walls is to have an imagined space. Authors Fredric Jameson and Jean Baudrillard talked about the 'aestheticisation of everyday life' as a description for the blurring of boundaries between the real and the imagined. A space which lies between the realisation of a space which exists externally, and a space which exists outside of the physical. The objects within the space have a narrative which can only exist in the given space and at a given time; if the object is moved to a different place in a different time, it would be perceived only within the context of where it is positioned.
The work plays on the ideals of a 'model gallery' and how the objects within certain boundaries give a narrative in the absence of imagery. Instead of the physical objects, the proposed art works are written descriptions, leaving a void which forces an imagined idea of what the work could be, instead of what it is.
Amelia Edge
'Hanging'
Black leather chair, pillar
Amelia Edge has been divined by her use of the Ready-made. Taking the everyday out of its conventional surroundings and exchanging the familiar with the unfamiliar.
Edge’s piece titled ‘Hanging’ consists of a 1960’s black leather chair, attached to the side of a pillar. Through this piece a separation takes place between the mundane everyday object and the viewer. The main theme running throughout Edge’s work talks of the space and how we physically interact with our surroundings.
Nadean Downey
'To cut a long story short'
03:40
This piece explores an interest in the traits of personality, the various versions of the 'self' we portray. Humorous yet tragic we empathise with the subject and the experiences he shares. Nadean met Tony at a party on Bricklane in the early hours of a Sunday morning, the two got talking, he had many a story to tell, they arranged to meet again to document his tales.
http://www.nadeandowney.com
Danielle Doherty
‘Dark Triad One’
16:00
Large scale video projections with sound.
Danielle Doherty (1973) is a London born video artist. Danielle realized that she had a connection with art as a therapeutic outlet during her recovery from postnatal depression after her third child was born. She became aware of the application of video as a remedial tool whilst studying a Psychology degree that she later decided to withdraw from to pursue her educational interests further in art (later switching to video art) as a form of personal expression.
Aspects of Danielle’s work consist of psychological and self-exploratory themes. These abstract her personal experiences with depression and other related psychological conflicts that have lead in the past to a lack of self-esteem combined with her experiences of how women are viewed or represented within her family, social groups, and the world at large.
Danielle is primarily influenced by the Gaze theory in cinema, in particular by the theorists Jacques Lacan and Laura Mulvey. Also by Camera Stylo and Auteur theory, which preceded the Nouvelle Vague film movement of the 1960s. Danielle’s aims are to capture each moment and alter its intensity by incorporating the viewer into the experience along with her through large-scale video and accompanying atmospheric soundscape projections.
www.devotchik.blogspot.co.uk