Central Saint Martins| Class '19

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Josh Marley

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Sarah Cinnamond

Coming from an exploited childhood myself, my work evidently plays on the events of childhood and the home. Growing up in an Estate heavily run by paramilitary forces I wanted to express the contrast between naivety and brutality as a cultural reference to where I grew up. I had become extremely inspired to let go of my tedious ways as a perfectionist and to embrace the child within; with quick, expressionist and sometimes abstract art while also creating a contrast between the childish approach to my work and brutalist aspect of the materials I choose for sculpture. The physical process of creating unites with my motivation and emotional attachment to making art. These themes draw on events of my childhood. As such, I consider making art a therapeutic process, a way of trying to come to terms with my experiences. Concentrating on the theme to ‘look through rose tinted glasses’ as an inspiration for my work, my intentions were to step away from my usual bellicose outcome and to create something more playful. However, I always seem to fall back into my typical ways when concentrating on such an emotion. Concentrating on the home, I was inspired to combine things you would commonly find in the home with things that became more bazaar or less homely i.e. ciggerates, alcoholism, drugs. This also lead me to look at the work of Katherine Bernhardt for her combination of unusual items i.e. (Series: works with no series), 2015, consisting of sharks, cigarettes, plantains and toilet roll.

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Anastasia Solay

https://www.youtube.com/channel/UCGYFSDFQLl2b9-c3edmMyzw

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Feng Ye

Between Memorising and Forgetting (above)

The Unstable Relationship Between Imagination and Reality

https://www.instagram.com/fengfengye/

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Dougie Chalmers

Not Poodle has been developed from a series of experiments created to explore an abstraction in potential interpretation of altered common objects. I wanted to cut away from the non-tangible while developing from the video work I had been creating up until that point. I think writing my London as a resource report heavily influenced this decision as I became immersed in the artists I was exploring, most notably, Luke McCreadie and Helen Marten. I had my assumptions of what archaeologically inspired work could be torn asunder by Marten’s reference based, symbiotic installations at the Tate Britain and the Serpentine and the entirety of McCreadie’s Time Team exhibition at the Zabludowicz Collection. As I mentioned in my foreword, one of my main interests is this idea of fringing on discovery and relating this back to a non anthropocentric view to influence social and political thinking. I became inspired by the idea of discovery and archaeology and so wanted to explore this element of analysis for the viewer by taking found objects and removing their function, to distort their intended purpose. From this I developed my initial experiments, a collection of containers that had their containing faculties impeded so I could try and interpret them as new objects. I feel this continues the puzzle solving element of my previous film work. From the initial experiments I began working with plaster molds to mimic and alter the more ceramic, container articles and twisting metal to alter the culinary items. From here I realised I could create a relationship between the pieces and I made the decision to present the items as a collective installation.

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for commission work, images or further inquiries please contact admin: [email protected]

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Nyousha Movagharzadeh

https://www.instagram.com/nyoushart/

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Ashley Philomenart

“ The Return to the Source”

“Mother Earth” is a series of performances based on a “native self-improvisation”. It promotes the “return to the source” by using the body as an envelope to transcend in order to mystify the audience, to initiate spectators into spirituality and to be more open to the inside space, promoting the return to the source of the essential, the natural.

The performance is inspired by different cultural rituals (ceremonial & practical) from religious and meditative as well as our mechanical modern life behaviour. Expressions of different body languages, in interaction with masks made by myself, personify the “tree of life” in his rite of passage to the death. Explorations of the possible limits and the extent of our physical body, and the symbolism of their representation, will also be made.

On the other hand, the performative use of this “object mask” into a real moving frame questions the notion of iconicity through the idea of transcending the body into an impenetrable form of art. At the same time as removing its initial value to control and reduce the body as a decorative object of contemplation.

Through the “process of fusion” between the medium and his support I question myself on how the body could be part of nature and how nature could be an extension of the body itself. Where earth and body appear to breathe together as a process of fusion, into an event taking place over time.

https://www.youtube.com/channel/UCqo4H1KcTLhp7R-Fv6ZZdxA

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Daisy Morey

I have become deeply interested in how people develop and grow throughout time. The age that I am at now seems to be particularly pivotal in this process, as looking back over the last year alone I can see so much change within myself. At this age you are constantly learning and developing, forming new friendships and moving away from old ones, gaining habits and discovering forms of expression. I wanted to find a way of documenting and exploring this process, with particular interest in groups of people and the thoughts and similarities which tie them together as well as observations on the individual. I have recently been putting focus on past events, trying to seek clarity in them through investigation of current self, actions, emotions and behavioral habits. So began the Intimacy Project. 

https://www.instagram.com/daismorey/

http://words-pictures-noise.tumblr.com/

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Lily Hudson

My art currently looks at environments, specifically how physical and digital environments co-exist. Themes of feminine identity, socioeconomic environments, and science fiction all feature in my work, with the sci-fi elements specifically lending a lot of the aesthetic and references that substantiate my work. Science in general has become an important part of my work, with some of the theories that exist in science being completely misinterpreted to create alternative ways of viewing the world, for example, my series “How to Remove Yourself From Time using the Second Law of Thermodynamics” explored how time is so under defined in the fundamental laws of physics, and how this lack can help us to redefine how time as a principle functions. Material wise, my work involves a lot of traditional “women’s work”, from crochet to embroidery and material manipulation, or traditional art techniques like painting. However, recently it has been spanning outwards to include Photoshop, coding and website design; as well as low-fi sculpture. The combination of these themes and materials come together to create environments that feel intimate, with the viewer’s presence becoming a intrusion into my inner thoughts.

http://www.lilyart.co.uk/

https://www.instagram.com/lilytellsitlikeitis/

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Sophie Brook

My main thoughts have initially surrounded how we lose things. For instance I realised that the 'magic of Christmas' decreases through repetition, as when I got home for the holidays, Christmas didn't feel as 'special'. From this, I thought about how, as we age, time is lost and time controls us more than we realise. I also dabbled in how technology changes the way we live, how we may be losing our old hobbies etcetera. It intrigues me how technology can liberate us yet restrict us, comparing my childhood activities before the 'technology era' to now.

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Ciara Brown

2016 has been as significant year in the world of politics. The Western World experienced an unexpected plot twist. It appears as though everyone is hooked on what seems to be the latest fictional drama series. There’s a huge wave of panic and stress overriding us, as we are constantly reminded of global instabilities by the media and our peers.

In order to take myself away from this, I revisit drawings made when I was a child; trying to step back into that free-thinking mind, untainted by the worlds’ nonsense. I wish to create fantasy platforms in which people can forgive and forget the harsh realities.

Recently I have placed small gestures of sculptural graffiti around London, in the hope of creating random moments of happiness and intrigue for whoever may pass and view them. I have used bright colour and contrast in an effort to make this an uplifting and energetic experience, though it may seem insignificant at first.

I’m just trying not to take life too seriously.  

https://www.instagram.com/vividiurbanart/

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Martha Armitage 

I am currently exploring themes of post-humanism in my artwork; a concept commonly used in science fiction, philosophy and contemporary art that literally means after human or beyond human. This lead me to transhumanism, which is a movement that aims to transform, adapt and improve humans using technology. Some transhumanist thinkers believe that humans will soon create technologies which will allow humans to become immortal or even transform themselves into alternative beings. These futuristic ideas about humanism suggest an imperfectability in the current human, implying we aren’t perfect yet we should be and as a solution humans are trying to create a perfect human or post-human.

In and amongst this research, I sat with my 13-year-old brother and watched him play Grand Theft Auto (GTA). The realisation that my little brother would rather sit in the sitting room, in his pyjamas, with earphones and a microphone around his head, completely alone staring at a screen, than physically interacting with his friends stuns me. Is he living a post-human childhood? If he is, is this a bad thing? Is this bad for the social skills that he may need in the future? Or will everything be virtual by then?

I also analysed his online persona, which is the antithesis of him in real life. On GTA his character is a tall American male in his early 20s, living in Los Angeles, California whose life consists of violence, crime and luxury. My brother Ben, on the other hand, is a 13-year-old boy living in Sheffield, currently going through puberty, roughly 5ft tall, he wears glasses and his favourite food is cereal. By becoming consumed in his virtual character, he is not living in reality, which makes me question whether this is the start of him becoming post or transhuman.

This week in the Tate, I will be exploring these concepts by experimenting with alternative materials in order to create a physical representation of my thoughts.

https://www.instagram.com/m4rmitage/

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Izzie Jobbins 

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Yasmine Dickens

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Henry Sayle

I investigate the relationship between myself and the people that surround me. I am currently exploring this by looking into how I can manipulate the idea of a self portrait.

I am a multidisciplinary artist, working in a multitude of media: painting on cardboard; making three dimensional art using objects combined with digital and film photography; creating conceptual, interesting and exciting outcomes.

http://www.henrysayleart.co.uk/#1

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Constance Lafonta