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Alan Armstrong

moving Image

Armstrong has lived at 10 Melrose St, Nottingham since 1st June 2009. 10 Melrose St was his first house with a garden. Since living at this premises a harmless weed has grown in the garden to the current size of 4ft in diameter The weed, now identified as a spear thistle is now deemed ‘invasive’ under the government guidelines outlined in The Weed Act 1959. In accordance of the rules and regulations of The Weed Act 1959, a decision has been taken to take decisive action.

www.alanarmstrong.eu

The weed act

Armstrong’s project based practice stems from narratives that appear to arise thought everyday situations, and responding to these situations through work that encompasses video, sculpture and live art works. Armstrong’s practice regularly evolves into overcoming challenges and obstacles established by the projects objectives. Interested in the placing and viewing of visual art in non-art contexts, Armstrong’s work attempts to look at the placing of contemporary art today, through humorous oddities that surround him.

UKYA Projects:

National Biennale: Derby 2010

 

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alan baker

visual artist 

Alan Baker is an artist based in Shropshire who specialises in drawing and sculpture. Having completed a MA in fine art at Manchester Metropolitan University in 2013 and a BA (hons) degree from the University of Huddersfield in 2012, he is now continuing his artistic practice at his studio based in the North West. He has exhibited his artwork across the country, most recently at 'private:PUBLIC' in Sheffield and he was shortlisted for the Greater Manchester Art prize 2016. He also won the the GreatArt award at the Nottingham Castle Open Exhibition in 2014.

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Trap and Snare Series

Alan Baker interest is in the relationships between humans and animals, exploring the idea of the animal as practitioner and how different species transform space in our everyday urban environments. The work presented as part of the festival is the complete collection of drawings from his ‘Trap and Snare Series’ started in 2013 which depicts 100 constructed sculptures, transformed through the medium of drawing. Within each image, there is an element of danger with precariously balancing objects from the domestic environment which could fall at any time to trap and snare it’s subject; whether this be human or animal.

UKYA Projects:

National Biennale: Derby 2016
Placement and Displacement: Korea 2016

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Aberto Condotta

visual art

Alberto Condotta is an Italian emerging visual artist based in UK.

After graduating in painting in Venice, he is now carrying out a practice-led PhD research on pattern superimposition at Birmingham City University. He has been granted an AHRC award and has been hosted by residency programmes in the U.S., Austria, Finland and Spain. Since 2008 his work has been shown in UK, U.S. and continental Europe.

www.albertocondotta.com

 

Stairwa 

Stairway is a painting on silk size 70x50cm. It consists of three overlapping layers made by different techniques: digital print, acrylic painting and silk screen. Although the content of the artwork might look non-figurative or confused at the first glance, a slow, defocused sight will let the layers merge together and the image emerge. This piece blends a view of the Dolomites (which are from Condotta's region) and a stairway in Leith where he used to pass through every day. The viewer sight shall be absorbed by this dream-like visualisation of opposite perspectives.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Aleksandra Cicha

visual art

Aleksandra graduated with a distinction from bartlett school of architecture. In the past 8 years she has collected various professional experience, from interior design, architecture, urban design, interactive installations to fashion, wearable technologies and film production. She explores architecture through the media of film, photography and product design.

Her design work begins with scientific fact and, informed by everyday social observation, is elaborated in the author’s imagination. In this way the city becomes the lab. As a site it investigates an already existing space, tailoring into it speculative science based fictions.

www.aleksandracicha.com

 

Bio-Realities series

Artist's work derives from recent biotechnological development and an in-depth research. It superimposes these facts onto society and culture of consumerism in order to challenge, provoke and speculate on the effects of this specific scientific research on our every day life, social interaction and social behaviour.

It often uses question " What if…?" as well as form of absurd and exaggeration to create in audience imagination, new, sci- fi relation between city and human beings, mediated by uncovered, through fictional technological devices, personal bio-data and stored on- line, personal information.

As a media artists explores the aforementioned stories through product design, film and photography in order to create fictional but possible scenarios.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Alex Chinneck

Visual arts

Alex Chinneck graduated from Chelsea College of Art and Design in 2007 and currently lives and works in London.

www.alexchinneck.com

From the knees of my nose to the belly of my toes

My practice takes industrious and technically complex routes to arrive at playful moments. ‘From the knees of my nose to the belly of my toes’ fuses traditional craft with modern engineering in its pursuit to create a mesmerising visual pleasure. Inspired by skeletons and traditional barbershop signs, the maple helix alternates its rotational direction to appear to drift upward or downward into the white steel structure that supports it. By constructing the illusion that the form appears to continue moving beyond the realms of what can be seen, I hope to challenge the reality that nothing lasts forever by temporarily making you believe that it can. Through the motion and manipulation of the wood I have tried to create an illusory fluidity that teases logic and watching eyes. The Inflexible maple transcends its material nature and distorts our perception of the physical world. I create visual illusions because they embody an artwork’s capacity to be mesmerizing and a design’s desire to challenge physical laws. When the realms of possibility are seemingly stretched everything else becomes a little more possible and under this ideal the work attempts to charge it’s spectator with an optimistic energy.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Aimee Betts

applied arts

Intricate hand embroidery techniques lie at the centre of my practice allowing me to create elaborate statement accessories alongside compact embellishment onto cloth. Inspired by Iron Age torcs and unearthed jewellery hoards such as those seen at the British Museum, I have utilised traditional embroidery techniques such as goldwork and juxtaposed them alongside more industrial materials to create three dimensional wearable pieces. The bold, uncompromising use of gold and the remarkable weight of the torcs appealed endlessly to my tactile sensibilities.

www.aimeebetts.com

 

The Adorned Woman 

The Adorned Woman collection creates a stimulating juxtaposition between metallic elements and chalky matt tones inspired by the colours of chemical patination experiments. Where possible I aim to create my own components for embroidery, as I become increasingly dissatisfied and frustrated with ready made materials. By opting to use knitting machinery in order to develop by own cords or by using lazer cutting technology to create my own embellishments, I am able to develop pieces that are almost entirely designed and made by hand.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Aimee Fisher

applied arts

Inspired by a variety of natural structures, mainly seedpods, my work explores the subtleties of form and the relationship between internal and external space. With particular focus on the contours and undulations of surface I am interested by the effect certain elements have on the internal void and the external surface and how they appear to change as the piece is viewed from different angles.

www.aimeefisher.co.uk

Using traditional coiling and pinching techniques I manipulate the clay allowing the form to develop and grow, exploring tensions and illusions as they emerge. The forms do not have a base and are not traditional vessels, they can stand on their rim and be looked into or be placed on their side to be looked through, often in more than one position directing the gaze of the viewer. Contrasting colour affects how the form and the space around it is perceived, dark internal spaces focus attention on the internal elements whilst a dark exterior frames and defines the external form and surrounding conditions. Each sculpture echoes certain aspects of the next and I enjoy exploring interactions between forms in collective groups as well as individual pieces.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alana Tyson

applied arts

My manipulated fabric pieces formally stem from the repetition of simple motions or marks until complex surfaces are created. The pieces isolate a seductive sculptural language that seeks to rest between something 3-dimensional, yet is simultaneously flat almost painterly. Constructed of hand-sewn lining fabric, these artworks are reminiscent of coffin lining, chocolate boxes, and visceral entrails of the body. These pieces give import to that which is normally hidden away, both literally as in the above references and as a metaphor for the “soul”. I was constantly told by mother as a child “It’s what’s on the inside that counts”. She was referring to my playmates, but I took this further to my tiny constructed fantasy worlds, some in shoe boxes others as small as walnut shells. Further than my childish fascination with all things miniature, I felt safe and was happy in these introspective “interiors”. Society today is becoming more and more obsessed with outer appearances; no longer able to stay in my own tiny private world, I have constructed large scale pieces that leave the realm of object and become an environment for the viewer, sharing the quiet interior places I have always found solace in.

 

www.markdevereuxprojects.com/new-represented-artist-alana-tyson

UKYA PROJECTS:

National Biennale: WEYA 2012

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alex pain

sculpture

My sculptures deal primarily with the relationship between form and material. Everyone has a subconscious knowledge of materials; how they act and respond to the elements, how they activate human senses and, although inanimate, how they react to each other. The objects acknowledge their ingredients in the associations of time, rigidity, porous-ness, corrosion, flaccidity, reflection and density and are encapsulated in neat references to modernist/minimalist sculpture and architecture.

My intention of forcing together surfaces in forms that exaggerate their properties is to give them an efficacy, upturning the natural order of materials to induce a feeling towards them. Their purpose is to stimulate an aesthetic pleasure. The careful selection of my palette ensures that my sculptures are ornate in their materials but not decadent in their application; simple forms are useful in emphasising my intention. 

www.alexpain.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alex Patterson

music 

Alex Patterson is a Northern Irish-born composer and conductor based in Nottingham. He is Director of Music at Nottingham Cathedral, Musical Director for the Radcliffe Ladies’ Choir and conducts Nottingham Youth Voices and the Nottingham Lunchtime Choir based in the Nottingham Royal Centre.

Entr’acte

Entr’acte is an immersive opera designed to take place in a public meeting space, such as a café or pub. In its current form it lasts approximately 45 minutes and is scored for piano, clarinet and trombone quartet in addition to 12 main characters and a chorus. It will be premiered at Lakeside Art Centre on 26 November 2011. Although in many ways tailor-made to this specific performance, it has been crafted in such a way so that it can be re-written to suit the needs of other performance spaces and occasions. The libretto is comic and concerns a love triangle, social injustice, sexuality and betrayal.

www.alexpatterson.co.uk

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alexander Duncan

Sculpture

Alexander Duncan is a 29 year old artist living in London. He moved here from Swansea three years ago and is currently studying for an MA in Sculpture at the Royal College of Art. Growing up along the coastline, he learnt to observe and understand the continual intertidal flux.

How you read the seascape, the immensity and immersiveness of the elements, the intimacy of materiality. He is fascinated about how we place ourselves in these spaces, within the Twenty-First Century anthropocene. 

Alex works primarily with sculpture, photography, sought objects, video and drawing. For this current work he has been seeking sea and river worn polyurethane foam 'pebbles'.

These objects wash up in rocky coves or river inlets. Man-made yet sea-worn, they form a perfect simulacra to a pebble. When you pick one up, there is that amazing moment where you just don't know. You're thrown by your misperception until you feel with your hands the absurdness of it all. This idea of the unknown in art and life fascinates him. ‘What is real and what is imitating the real? How do we respond to something that is both, or rather, something that sits between these two diverging states? These are some of the central questions of Alex Duncan's work and issues that it rigorously explores’.

www.alexanderpaulduncan.com

 

Cove

For this current work I have been seeking sea and river worn polyurethane foam 'pebbles'. These objects wash up in rocky coves or river inlets. Man-made yet sea-worn, they form a perfect simulacra to a pebble. When you pick one up, there is that amazing moment where you just don't know. You're thrown by your misperception until you feel with your hands the absurdness of it all.

This idea of the unknown in art and life fascinates me. Cove induces a double take on part of the viewer, as a collection of washed up beach and river pebbles deceive with their life-like simplicity. Everyday polystyrene and polyurethane foam detritus.

UKYA PROJECTS:

National Biennale: Leicester 2014

 

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Alexander Wallis

Sculpture

Alexander Wallis is a Loughborough University Graduate 2014. Recently exhibiting the works ‘Green Pleasure / /2014’ at Loughborough University and ‘Big Brother / / Little Brother’ at Two Queens Art Gallery. Alex, is currently a candidate for the EM14 graduate residency at Surface Gallery Nottingham and looks to develop his practice further, continuing his soft sculpture work. His practice focuses on the multi-sensory experience seeking to disrupt the social conventions of a traditional gallery by exploring the communication between spectator and sculpture through tactility and movement. 

www.awwallis.com

 

Gaudi’s Dream

‘Gaudi’s Dream’ is a multi-sculpture installation that is inspired by the free form architecture and mosaic work of Antoni Gaudi. Taking inspiration from the Sagrada Familia and Gaudi Park in Barcelona, Spain, Gaudi’s mosaic pattern is expressed through the hand dyed latex on these soft sculptures. ‘Gaudi’s Dream’ furthermore, investigates the notions of movement within and around space, while exploring the communication between spectator and sculpture. Working together interpersonally, spectators navigate around the space in relation to the work and are given the freedom to make conscious choices through participation. Can I move here? Do I touch? 

UKYA PROJECTS:

National Biennale: Leicester 2014

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Alice Cunningham

Visual arts

Alice Cunningham was born in London and grew up in the West Country. One of ten children from a disparate but close family. The idea of difference and contrast is integral to Cunningham’s work. Utilising opposing aesthetics and ideas, a powerful and often surreal visual is created.

Travel has informed Cunningham’s practice immensely having worked with artists in Mexico, Africa and on both small and large-scale projects around the UK. Cunningham was made an Associate Royal British Sculptor last year. Currently living and working in London, after recently returning from a residency in Spain, awarded by the Leonardo da Vinci trust.

Suit Cubes

This installation is made up of two parts; A collection of 20 cubes made from complete business suits alongside a pre-recorded performance. The recorded performance shows the naked artist struggling to use the cubes as building blocks to make a series of different structures . The artist creates a surreal aesthetic, provoking ideas of the working world, its structures and an individuals place within that. The installation was originally commissioned for an exhibition in London entitled "Second Skin" which explored notions of identity, clothing and bodies. You can watch an edited clip of the video performance at

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Alice Gale-Feeny

sculpture

Alice Gale-Feeny (b. 1989 Brighton) lives and works in Nottingham, UK and has a studio at One Thoresby Street. 

Two podiums sit waiting amongst other illusive devices. The work has been and is in transit; it appears precarious; active. It waits. The set-ups speak an institutional language. Referring to situations where speaker and audience are divided, it appears symbolic of an act of teaching and of being taught. Such structures emerge through an assemblage of materials; an elevation of status is implied through their totemic use. Suggestions indicate that the artist makes do; seeks to test potential. Materials are tools that act: just as the absent speaker performs their role when confronted with the audience.

www.alicegale-feeny.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alice Georgina Thickett

moving image

This particular piece- “Have I been here before?...” was recorded in the exact space it was projected and shown as part of an exhibition where all the art pieces in the show were hidden or partially hidden from the viewers, (the projector was hidden from view also).

My general practice is about trying to answer art’s unanswerable questions and investigating the notion and difficulty of making art whilst not knowing what exactly art is; My pieces often involve using the process and documentation as the art itself. My projection work speaks of these notions but in a more playful way than some of my previous work and the title is very important in connecting the concept to the physical piece. “Have I been here before?...” relates to physically recording the video in the space and projecting it back into the space- but also to the never ending cycle of investigation and failure an artist undertakes while making and exhibiting their work- sarcastically pointing out that these ideas and my own thoughts have previously been investigated.

My essay on these themes has been published as part of Nictoglobe’s ‘Research’ online publication, and can be found here.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alice Walton

Ceramics

My current inspiration originates from looking at what people believed in. By reading Victorian factual accounts from stories and diaries it has given me inspiration and excitement to create my new body of work. Museum research has always been very important to my work as well and has allowed me to explore form and surface quality.

Exploration into material qualities also aids progression in my work. I love working with traditional technical methods and pushing them further, combining a number of techniques within ceramics to create interesting outcomes.

www.alicewaltonceramics.co.uk

Uncaged

After discovering a collection of hunting books, which described traditional methods of trapping animals, I was inspired to create pieces that reflect both the skills and time involved in the hunt. From these accounts of hunting I could visualise three dimensional scenes showing the weakness and vulnerability of the hunted animal. Museum research was also a large part of my project; looking at artifacts and written accounts relating to the hunt and, in some cases, challenging them. How do we know that the accounts we read are true? As a result of experimentation my interest turned to the technical challenges and process of constructing cage-like canopies. Some of the cages have been altered by making a feature of breakages and replacing areas with gold and silver chains, 22ct gold leaf and pure silk threads. The elaborate and lengthy process required to make each cage is contrasted with the freeness and unpredictable nature of the kiln firings, giving each piece a character of its own and gives the appearance that something may have escaped. By using metallic glazes I invite the possibility that the audience could be deceived into thinking that the ceramic is metal.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Alicja Dobrucka

Visual Arts

I see my work here as becoming a type of modern-day funeral photography. This genre was previously an intrinsic part of Western culture, continuing until the mid-eighties in America, though now in complete decline. Its historic importance as part of the funeral rite not only helped mourners remember the dead but also to remember that they are dead. Darien Leader writes ‘This process of surveying and reshuffling thoughts and images will eventually exhaust itself, and the mourner will choose life over death.’

www.alicjadobrucka.com

I like you, I like you a lot

My 15-year-old brother tragically drowned in 2008. In the immediate aftermath of the tragedy I attest to the materiality of death, engaging in private moments that the camera has candidly recorded. Over time, I reflect upon the changes in me, what I remember, what I miss and what remains. I am immersed in this push and pull between a rawness of emotion and a contemplation of the photographs, their traces revealing impermanence. They are a form of physical evidence, eventually becoming fragmented memory. ‘We photograph things in order to drive them out of our minds. My stories are a way of shutting my eyes.’ - Franz Kafka

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Alison Grace & Frances Andrews

Choreography/ Spoken word

Two characters developed as solos in "Belgium" and "Who was the woman" are brought together to create a duet. As we meet on stage, we are performers from different cultural backgrounds and debate the space that we want to create together. It becomes a conversation between desires, references, thoughts, after-thoughts, characters, neurosis and nations. The result is collaboration, critique, frustration, support, destruction, thesis, anti-thesis.

The release of tension comes in spontaneous, cathartic and humorous solutions to occupy the space together. We bring out our tools to build a shared space. As performers, we embody different styles, one internal, slow, dark; the other theatrical, expressive, colourful. We use our physical (bodies, wood, saws) and conceptual tools (philosophy, Butoh, text) to find the key to what it is to be two female performers together for a time in space. We acknowledge the difficulty, the ridicule, and the necessity of doing this.

www.alisongrace.wordpress.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Alison Stolwood

visual art

I am interested in the blurred distinctions between natural and artificial and with highlighting, through camera technologies, notions of time, change and a perception of things in the world. My work highlights a relationship between habitat and inhabitants and considers how much we control the spaces around us changing and developing the landscape in a process of social and technological succession.

My work develops on a notion of a political landscape. I construct and isolate with the lens, building up a work in montage or multiple frames. My aim is to study through visual mechanisms a surrounding of infinite complexity. I like to show a small isolated part of this complexity to help think about the relatively impossibility of understanding the whole, using the lens as an aid to observation as well as a tool for manipulation, power and control.

My work is a study of life, succession and entropy through a constructed and technological landscape.

 

www.alsionstolwood.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Amelia Beavis-Harrison

Performance

For too long we have accepted intelligence as a hierarchical structure, allowed intelligence to inform our responses and demean those lesser informed. But is intelligence not just a social construct like that of religion, are we not just falling for the same power structures religion once imposed. The unquestioned identity of intelligence has been prevalent for long enough.

The performance takes two familiar situations and pushes them together, the IQ test and the lecture / sermon. The audience takes part in both, physically undertaking an intelligence test with a difference, whilst enduring a monologue that questions the reality of intelligence. The two scenarios begin on a par as the audience begins the test. Gradually the character of the speaker, a pseudo-representation of religion that questions the essence of intelligence in comparison to that of religion, comes into play.

The speaker’s voice takes over that of the tester and the intelligence test becomes near impossible to complete. The performance aims to question the construct of intelligence and uses religion as a comparator, measuring our assumed roles within both contexts, and our accepting of the situations presented. It aims to explore the criteria for intelligence and question its value.

www.ameliabeavisharrison.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Ami Barnes

Visual Arts

I have always considered myself to be a self-portrait artist but my recent work, whilst still falling more or less within the definition of self-portraiture has increasingly involved working with others as observers, as creators and as collaborators. If I were to identify a single theme running through my work from the past few years it would be the aim to define self, (my self, embodied and internal, psychological), in relation to and as shaped or perceived by other, external selves. As such it has seemed logical to me to move from working on my own towards a more collaborative approach. Also ever present is the importance I place on the process, although I do frequently photograph with no specific intention, it is my more methodical and process or performance-driven pieces that I feel are more successful.

www.amibarnes.com

First Dates

This is the result of collaborative interactions with individuals I encountered whilst attending a workshop in Marseille. I asked each person what their ideal first date was, and together we set up and lived through the date they had suggested. The process was photographed throughout with both of us working to create a photographic record of our meeting, using a remote to share control of the shutter. As a result it is frequently uncertain as to who has control at any one moment, blurring the line between photographer and model, artist and art. Equally ambiguous is line between the real and the false; the interactions are on one level performed for the camera, (and indeed, only exist to be photographed), but they also become part of both my own and the six collaborators’ lived realities.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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AMY HARRIS

VISUAL ARTIST

Amy is a dancer and visual artist from south east London. Her work connects choreographic representation of journeys with ideas around cartographic authorship and readership. This work has been recognised with awards such as Le CouveNt’s residency grant 2016 and the Charlotte Kirkpatrick Award.
As a dance artist, she has collaborated across a range of disciplines and performed in venues such as Victoria & Albert Museum, Serpentine Gallery, Parasol Unit Gallery and Robin Howard Theatre.
She received her First Class BA(Hons) from London Contemporary Dance School and has previously undertaken residencies and exhibited in Denmark, Iceland, France and UK.

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Atlas of the [my] World

The artist invites you to enter the story of her research into the capacities of mapping beyond traditional cartography. Using the cover of a hardback world atlas, she has inserted her own pages which practically and poetically assert the stance of the map as a generative and interpretable artefact, and a medium through which the maker(s) and the reader(s) can continue re-experiencing the site or journey anew. This is a room in which to rest, read, search, speculate, interpret, touch, comprehend, translate and re-perform.

UKYA PROJECTS:

National Biennale: Derby 2016

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Andrew Jamison

Literature

Born in County Down in 1986, and educated there, at Down High School, until the age of eighteen, I then went onto study English at Queen Mary, University of London before completing an MLitt in Creative Writing at the University of St Andrews in 2009, the same year that I was awarded a General Arts Award from the Northern Ireland Arts Council. Since 2009, my poetry has found itself published in international poetry magazines like Poetry Review, Poetry Ireland Review, The Rialto and The Yellow Nib.

Four Poems

It is said that one should write poetry that one would like to read, however, I also believe that first one has to read a poem one might want to write and so in the following poems the influences on my poetry might be apparent: Seamus Heaney, Derek Mahon, Louis MacNeice. Influences on poetry, however, are not always others poets or other poetry and one major influence on my poetry is place and the place I have been brought up in which is Northern Ireland. Not only do places like Belfast feature in my poetry (see: ‘The Bus to Belfast’ and ‘Listening to Ash’) but some of the poems are inspired by turns of phrase and the vernacular that has surrounded me all my life and this might be seen in my poem ‘Thinking about the Point of Things on a Spring Evening on the Killyleagh Road.’ This is a poem which is also influenced by, or perhaps, under the influence of, something of a fascination I have for light and the seasons in our urbanised and urbanising world. ‘Death’s Door’ is a translation of a poem by the Spanish poet Jorge Guillen, highlighting my interest in European.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Anna Collette Hunt

Applied Arts

I work with ceramics to create objects of contemporary fine craft that rekindle a forgotten, childlike sense of curiosity and delight. Viewers are compelled to investigate the ceramics, as they search for the hidden elements and text on the vessels, or investigate the glazed illustrations with their hands. The scenes and compositions captured upon the surfaces speak of historic grandeur and past traditions, whilst on closer inspection whisper darker sentiments delicately into your ear. Each piece has a story to tell, and tempts your imagination to assign a narrative.

www.annacollettehunt.blogspot.com

The Newstead Oddities Collection

 My ceramics continue to evolve as I comb through and experiment with my concept. I refer to myself as an artist as I am committed to producing critically engaged and concept charged pieces. This connection is becoming rarer within the crafts sector. Consequently my ceramics stand out and have received a very strong reception in my first year as a professional maker. My collection of large wall dishes, The Newstead Oddities was well received at the Nottingham Castle Annual Open Exhibition, where I was nominated for the grand prize and awarded the Castle Solo Exhibition Prize. This achievement encouraged me to delve deeper into the area between fine art and craft.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Anna Garrett

Visual Art

Anna Garrett is currently studying at Goldsmiths, London, on the MFA Fine Art course. She graduated from BA Fine Art at the University for the Creative Arts, Farnham in 2014, and has been included in several exhibitions in the UK and Europe since graduating. Solo exhibitions include glitter. garden. garbage., Take Courage Gallery, 2015, and Fluore$cent, at Footfall Art in Bermondsey, 2014.

www.annagarrett.co.uk

glitter. garden. garbage.

Anna is presenting enticing installation glitter. garden. garbage. The work sits in the realm of both painting and sculpture, broken down to reveal the wooden frames and bones of the structures. Creating a sense of attraction and repulsion, Anna’s work addresses consumer desires and presents the reality behind the seductive facade. The ruins of past paintings and unwanted textiles are hand-stitched unevenly to reveal the construction: stripping back the illusory window. The use of recycled fabrics and clothing transformed into ruin through sewing and collage references the environmental impact of the hyper-consumer condition of the developed world. Portraying subject matter of ruin, garbage and the mundane, the works question what a painting could be, blurring the boundaries between textiles, art and garbage.

UKYA PROJECTS:

National Biennale: Derby 2016

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Anna White

visual art

Anna is a Manchester-based photographer and workshop facilitator for community projects. She studied photography at Nottingham Trent University and gained her Masters 2010. Her work has been widely exhibited, including in Tate Britain, and has also featured in the Telegraph and the Big Issue. 

Anna has a passion for documenting the 'everyday' being drawn to subjects that personal to her and within her community. Her photographic project in 2010 looked at the lives and stories of elderly LGBT, whilst her scholarship in Bolton drew on the work of Humphrey Spender to capture the 'everyday' of a northern city and its inhabitants. More recently, Anna has collaborated on two Arts Council-funded projects working with refugees and asylum seekers in Great Manchester. 

www.annawhite.net

 

Hoarding

What is a life? It’s the time we spend between birth and death. The evidence of a life is what we leave behind. By looking at this evidence we have a deeper insight and understanding of the way that person lived, their mindset, their passions and what was most precious to them. This project is dedicated to Zora, my neighbour who died last year. I have kept and photographed her belongings as a lasting memory of her and have endeavoured to share my experience of knowing someone who was a hoarder, recording the items that she collected and treasured throughout her life. 

UKYA PROJECTS:

National Biennale: Leicester 2014

 

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Annabel Duggleby

Moving Image

Annabel Duggleby's practice employs film, installation and sculpture to address issues of landscape and power. Her work explores the politics of mobility and how the regulation of space and movement affects all of our lives.

annabelduggleby.tumblr.com

Yarl's Wood

Yarl’s Wood (2016) investigates the site of Yarl’s Wood Immigration Removal Centre near Bedford, England. The film explores the ways in which landscape and power are intertwined, and how Law and the regulation of mobility affects physical and psychical space.

UKYA PROJECTS:

National Biennale: Derby 2016

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Annlin Chao

animation

Annlin Chao is an animator and illustrator based in Taiwan and London. Works include animation, illustration, and installation. She has the passion of using new materials and experimental techniques to make an animation; the magic of stop motion gives her the greatest sense of satisfaction. Graduated from Royal College of Art, London, in 2014.

www.annlinchao.com

 

Phantom on the Cliff

A story about the obsession between a rock climber and the mountains. However, the obsession becomes hatred after an accident.

A story inspired by Phantom Limb, the neurological phenomenon that people still sense the existence of their limbs after amputation.

For the main Character, Ben, he senses the missing limb but in an unusual way: there are rocks and plants growing on the arm. During the night, he has dreams/illusion, in which the mountains are glowing, like calling him back. In the end, he decides to go back to the mountains, facing his past and pain.

One shall move on and survive only if he is willing to trace the source from where the nightmares are.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Ant Hamlyn

Digital Art/Visual Art

(Born 1993, Northampton. Live and works in London) works with sculpture, drawing, installation, film and digital technology. 

By exploring the blurring of the physical and digital worlds, his practice often encourages the viewer to engage, rethink and spend time with the work and participate in its performance and delivery. Ant has exhibited both nationally and internationally in notable exhibitions at Zabludowicz Collection, London (2017), Festival Miden, Greece (2016) Benzie Building, Manchester (2016) FACT, Liverpool (2015) neo:artprize, Bolton (2015) Ant has completed both private and public commissions for FACT and Manchester School of Art, he is currently studying MA Fine Art at Chelsea College of Art where he is the 2016/17 recipient of the Cecil Lewis Sculpture Scholarship.

anthamlyn.co.uk

The Boost Project

Hamlyn's interactive, living installation explores how social media allows us to live within an alternate reality; one in which we can easily attain a heightened sense of belonging, or a fleeting state of appreciation. The inflating orb aims to emulate the acceptance and self worth we can feel after receiving ‘likes’ on our posts or pictures online.

Each time the orb is followed, receives a like, or is tagged with #theboostproject it gradually increases in size until it reaches its peak. If ignored, it begins to subtly deflate over time and fade into the background of our lives.

You can boost the orb through:

Twitter: @BoostUKYA, #theboostproject
Facebook: The Boost Project
Website and Live Feed: www.theboostproject.biz

Co-commissioned by FACT and Hope University through their Graduate Production Residency. Produced with support from FACTLab.

UKYA PROJECTS:

National Biennale: Derby 2016

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Ashley Wilkie

Digital Art

Ashley Wilkie is a design graduate from Bournemouth University, who uses his cross creativity to work within a range of mediums and artistic works. Reaching into “Medias” like video manipulation, creative coding, graphics and illustration within “Mediums” such as projection, interactivity and screen based content developed across a variety of softwares.

Working with the creative field with clients like Adobe, Pinewood Studios, The Royal Edinburgh Tattoo and The Projection Studio have fuelled my eagerness to develop my knowledge and artistic expression within the creative field. As a freelance worker this has allowed exploration of more avenues of new technology and medias that drives my eagerness to learn more everyday.

ashleywilkie.co.uk

Immersive Obsolescence

‘Immersive Obsolescence’ is an interactive installation designed to challenge and distort audience perception of tactility and depth through the medium of water.
The diffused water allows projected animations to cover the surface of the water blurring one's perception of the real and simulated .The presence of real electronic components adds to the tactile and deceptive nature of the installation creating a playful interactive experience for audiences.
The installation is based around Jean Baudrillard's concept of hyper reality where "real and simulated become blurred". This theoretical concept in relation to simulation has allowed for provided understanding of how audiences perception of reality can become distorted.

UKYA PROJECTS:

National Biennale: Derby 2016

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AYANNA

music

Ayanna is a singer, song writer and instrumentalist of versatility and depth who is leading the way in Black Folk music. 'Truthfully' is an intimate journey through a landscape of songs that express her experience as a 21st century woman, drawing upon stories of hope, relationships and the life of Sojourner Truth, the freedom campaigner and former slave, as inspiration. ‘The voice is one you don't forget...it speaks of energy, of commitment, and, as it sweeps higher it seems to develop its own power and freedom.’ (LondonJazz)

www.ayannamusic.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Baba Yaga's Consort

music

Baba Yaga’s Consort is a quartet of contemporary musicians and artists working collaboratively to create dense musical soundscapes and epic story songs. They are renowned for their atmospheric live sound and innovative vocal harmonies. Having met at Dartington College of Arts, they are graduates of performance writing, theatre, visual arts and music. Baba Yaga’s Consort combines these practices to create multi disciplinary, conceptual performances, blending atmospheric noise, theatrics and folk narratives. Drawing influence from European folklore and ancient fairytales the songs make use of extended vocal techniques to recreate a sense of childlike wonderment and terror. The harmonic content is as often stark as is it lush, as the voices converge to create a haunting plain of beauty and malevolence. Bowed electric bass and effects work to immerse the listener in conjured worlds, whilst minimal yet enticing percussion carefully weaves these worlds together. “like winter trees singing into the wind” “Musical sorcery with delicate harmonies and tribal rhythms.” www.myspace.com/babayagasconsort

UKYA PROJECTS:

National Biennale: Derby 2010

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bane

music

The show is a one‐ man comedy, written and performed by Joe Bone with a live guitar soundtrack, written and performed by Ben Roe. It follows anti‐hero Bruce Bane, a tough talking wise cracker, as he journeys through life on the mean streets of a fictional American city. It’s both a comedy and a drama and has three separate episodes in total, all of which can be seen as stand alone shows, in any order. Heavily inspired by film and graphic novels, the performance uses mime, gesture and sound effects to conjure the setting, with multiple character switching to create a filmic tapestry on stage that is funny, engaging and at times moving. No props, no set, just 1 man and a guitarist.

www.brucebane.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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BENEDICT ROMAIN

visual art

Inspired by Ovid’s Pygmalion story, ‘Herm of Galatea’ uses the form of apotropaic Greek Hermai to personify the statue-cum-lover of Pygmalion. Hermai were originally placed on the roadside as good luck statues, but viewed in a contemporary context they seem like an erotic objectification of the body. By inverting the phallus it relates to Freudian and conflicting feminist theory about the female lack of the penis and Oedipal complex, and gives the piece functionality as a sex-doll. Cast from the Artist’s own genitals, the statue becomes solely operative to him- a monogamous fidelity pertaining to Pygmalion’s original integrity.

www.wix.com/benedictromain/fine-art

UKYA PROJECTS:

National Biennale: WEYA 2012

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Benjamin Buckley

Visual Art

Benjamin Buckley is a London Based artist, whose works are inspired by the black line of traditional Chinese and Japanese woodblocks prints. Selected as one of the top ten emerging artists in the UK by the Affordable Art Fair founder and Art Critic, Will Ramsay, and voted as one of the up-and-coming artists to invest in. Benjamin has gone on to show his works in multiple group and solo shows across the UK and Europe. With commissions in the UK, US, China and Europe, he is currently working on two high-profile commissions in the US and China to be released later this year.
Benjamin's works reveals a world in constant overflow of architectural marvels, Americana, Orientalism, commercialism, gentrification and spirituality. He explores a landscape through Western imagery and the artistic heritage of Asia.  

Graduated from Camberwell College of Arts London 2010
2014 - 2017 Studio Residency, This Place, Shoreditch, London

www.benjaminbuckley.com

Wendy's Siege

Heavily influenced by woodblock prints from the Sino-Japanese war, this works draws on Wendy's recent battle to stay a float in Japan as the fast food chain attempts to re-enter the eastern market following its closure in the region in 2009. Centering the work, is a wooden bridge in the design of the historic, Buddhist Kintakyo Bridge in Iwakuni, connecting to the successful MOS Food Services, Japan's own fast-food chain. Wendy's Siege projects a dialogue about expanding and failing western markets in the landscapes of Asia.
The work was produced through hand drawing, watercolour painting via japanese calligraphy brushes and digital drawing to create an Original Print.
Edition of 5

UKYA PROJECTS:

National Biennale: Derby 2016

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Beth Shapeero

sculpture

Beth Shapeero is a Glasgow based artist, Nottingham born artist working with the physical aspects painting and qualities of abstraction. After studying at Nottingham Trent University and co-founding Backlit Gallery she was awarded the ARHC Scholarship for the inaugural year of the MLitt programme at The Glasgow School of Art. This year she has exhibited in ‘Le Swimming’ for Glasgow International, at SYSON in Nottingham and has been on residencies with Dumphries house (Scotland), The Clipperton project (Brazil/Uruguay/Catalonia/Scotland/) and Forcasting (Sweden). Solo shows have been at Harrington Mill (Derbyshire) and Westgate Project Space (Wakefield).

www.bethshapeero.com

 

peerless pools

'Peerless Pools' is a series of three sculptures formed around the shapes that swimming pools traditionally take, a kidney bean, an oval, a rectangle. Each sculpture has a surface filled with a large quantity of paint or varnish which has created three seductive surfaces, glossy, disingenuous and tempting. The works, inspired by JG Ballard's repeated motif of the swimming pool, re-imagine the pool as an engorging and visceral space, being invitingly mysterious whilst repulsive. The work takes its name from Britain’s first lido; Peerless Pool.  

UKYA PROJECTS:

National Biennale: Leicester 2014

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Bethany Kane

visual art

Concentrating on the lives people lead, Bethany aims to reveal their narrative through photography by highlighting details within a particular environment.

Bethany’s practice derives from the knowledge and understanding she gains through her own personal experience and particular interests. Hidden Hunger was first approached whilst Bethany was working at a local free food distribution service, which directly influenced the work.

Recently graduating from the University of Derby with a 1st class degree in Fine Art Photography, Bethany is currently working with Eastside Projects in Birmingham and Wolverhampton Art Gallery. She has previously exhibited in Derby, Cologne, Blackpool, London and Birmingham.

www.bethanykane.co.uk

 

Hidden Hunger

Hidden Hunger shows the environments that are used by food banks and free food distribution services. Due to the government’s lack of support and refusal to recognize the current food poverty crisis, charity based organisations have to provide such services in venues that are readily available, for people who are in a financial struggle.

The piece of work refers to the alienation and isolation that visitors to such services may feel within society, as a result of the negative representation from a percentage of British media sources. 

UKYA PROJECTS:

National Biennale: Leicester 2014

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Bethany Walker

applied art

Bethany Walker is an exciting emerging Mixed Media Artist best known for her ‘signature’ combination of materials – cement and textiles.This dynamic contrast of materials create beautiful and captivating pieces which possess immense tactile qualities. Bethany has developed her individual hand techniques, meaning each piece is individual and creates intrigue with its integral shape, colour and relief.

www.bethanywalker.com

Roadworks

My work revisits everyday elements from the built environment, things we all observe daily but often overlook. The work aims to celebrate the mundane qualities of those things which are commonly seen as dull and insignificant, thereby heightening a sense of awareness and renewed appreciation. I use a combination of concrete and textile knit, stitch and print methods to translate the contrast between the natural and industrial elements of our built environment.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Bill Balaskas

moving image

Bill Balaskas was born in 1983 in Thessaloniki, Greece, where he studied economics before moving to the UK in order to study art. Since 2005, he is a London-based artist, writer and academic working across different media and platforms. His works have been widely exhibited internationally, in more than 120 solo and group exhibitions.  

www.billbalaskas.com

"Parthenon Rising" & "Darkness Darkness"

"Parthenon Rising": The work functions as a visual "crescendo," that moves from total darkness and perplexity to total light and clarity. The original footage, edited in the video, was filmed on the only day of the year that the Acropolis is open to the public at night. Thousands of tourists and locals climb the ancient hill on this occasion and capture the relics' images through their cameras.

"Darkness": "Darkness" is a game between light and its absence. It is a game with perception that aims at questioning the limits between the opposite qualities appended on "dark" and "light." Most importantly, it is a game that celebrates the shades between the two putatively "pure" conditions: what would "darkness" mean without the possibility of light and what would "light" mean without the possibility of darkness?

UKYA PROJECTS:

National Biennale: WEYA 2012

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Bricolage Dance Movement

dance

DIY Dance Movement (BDM) is a dance company founded by Michela Mucci and Anna Buonomo which is based in Rome and in London and create shows for theaters and festivals in Italy and abroad.

Among the most prestigious National Academy of Dance, the Greek Theater, the Teatro Olimpico, Rome, the Nottingham Playhouse in Nottingham, Derby Theater Deda, Robin Howard Dance Theater, Stratford Circus in London and the Theater Tuchlaube of Aarau, Switzerland. The most recent creations have been supported by Arts Council of England, Trinity Buoy Wharf Trust, University of East London, Ortsbürgergemeinde Aarau, Aargauer Kuratorium, NAB-Kulturstiftung.

Tied up

"Tied up" describes the moment when you realize that you are acting in a costrained way compared to the way you would like to (physically shown by the rope wrapping around the body). You try to fight back your freedom, but all the struggle culminates in the acceptance of the fact that what you are is exactly what you want to be. This piece describes an emotional circular journey. The person that is "tied up" lives happy in her world, thinking that her situation is normality, till she meets someone that keeps her attention and suddenly realizes she cannot completely move like the others. So then comes rage, frustration, rebellion and freedom since she is able to untie herself. Now that she is free and oddly not happy, arrives to the conclusion that her previous conditions were better than the present ones. So she ties herself up again, because the way she was (trapped into her paranoiac and a little bit obsessive thoughts about her love, also physically on the stage) is exactly the way she wants to be. These are the reviews of my piece: http://www.theplace.org.uk/3919/reviews/tue-26-january.html

UKYA PROJECTS:

National Biennale: Derby 2010

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Caitlin Webb-Ellis

moving image

Caitlin Webb-Ellis is an artist filmmaker working largely in video, installation, writing and performance.

Her recent work investigates memory and distance, the position of the viewer and the problem of representation.

www.webb-ellis.org

Mother, I am Going

 

Shifting between documentary, performance and archive footage, the three-screen video installation explores loss, memory’s relationship to the photographic image and our understandings of femininity and motherhood.

Filmed in an abandoned village in southern Bulgaria, and on the North East coast of England, the film leads the viewer on a journey through the artist’s attempts to unravel her partner’s memories of the mother he lost in childhood.

The structure of the project echoes the restless and constantly shifting nature of memory, resisting an overarching narrative. Lucidity appears only in brief moments and no final truth is ever revealed.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Calum Stewart

music

“Wooden Flute “ Performing on the old simple system Wooden Flute (made in 1933), Calum Stewart has found a unique voice by interpreting traditional music not before played on the Wooden Flute: Unearthing ancient melodies and forging new compositions for the instrument – pushing the boundaries of the instrument with an exciting new repertoire and advanced techniques.

Wooden Flute

An exciting musical performance of works for solo Wooden Flute… 1) Showcasing a new contemporary-traditional voice and technical developments on the simple system 8 keyed Wooden Flute. 2) Showcasing a new and exciting repertoire recently forged and collated for this instrument, through extensive collaboration, collecting and composition. Relishing in the similarities between the traditional roots of his native UK, with encounters with Nordic and European musics, Calum Stewart has found a new voice for the Wooden Flute, that speaks across land, sea, borders and language. To accompany the solo performance “Wooden Flute”- An audio recording of the same repertoire, recorded ‘in the field’ using only natural acoustics, in various acoustically rich locations. Based on the principal of using only natural acoustics available in old buildings and natural spaces, as opposed to the modern studio environment.

 

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Calvin Sangster

visual arts

I create situations that explore seductions in the language of selling and consumption to manipulate and seduce the audience. My work is a distillation of both the gallery and the retail experience and highlights the importance of the fetish in the presentation of artworks. By manufacturing exclusivity, I invite speculation as to the economy of the presented artwork, and promote a series of consumptions, in which the audience; through their consumption of the artwork, become intrinsically implicated in the moment.

www.solveandcoagula.com

Solve & Coagula

Solve & Coagula presents a rendering of the material seduction and fetish of luxury retail, appropriating the manipulations used in advertising, to a fine art context. The installation comprises of a glacial white fragrance/ perfume counter, staffed only by young men, the styling of whom is a collage and distillation of masculine representations in popular culture and fashion advertising. I have designed the fragrance to be difficult to place; not acting like a perfume but more as a tone or idea, one that reinforces the aesthetic of the brand. The installation is a shop scenario, where no money is transferred, but is meant almost as a film set, in which a series of consumptions take place. An audio loop plays; a purposefully cinematic string composition, commissioned to further elaborate on the ‘aesthetic’ presented. The staff are scripted and directed, and have the power to refuse or accept the audiences engagement and offer them a sample. The staff mediate the audiences consumption of the work, they are directed and styled in a way that objectifies them, whilst intimidating the audience; making them feel out of place or perhaps inferior, and the ‘objects’ somehow out of reach.

 

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Charlie Penrose

photography

www.charliepenrose.com

"To The Bitter End"  "Emotions" & "This Girl"

All 3 works submitted use text to explore in a variety of ways the various goals, facets and intricacies of human existence. 'To The Bitter End' is a live incorporates a live countdown to the date on which I will be the oldest person in the world, using the current record-holder as a precedent. The work raises questions about the nature of human existence - quality vs. quantity of life - the transience of existence and one's being in relation to that of your peers. '127 Emotions' ranks the total spectrum of emotions a person is supposedly capable of experiencing in terms of their appeal to me based on a number of idiosyncratic factors, from most to least. The piece exists as a sort of emotional and psychological self portrait. 'This Girl' is a whimsical and ambiguous ode to love. At once glib and fundamental, forgettable or all-important, it embodies a sense of longing and an idea that maybe 'this girl', whom ever that should be, is what it is really all about.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Caroline Douglas

photography

Caroline Douglas (b. 1984) is a photographic artist based between London and Edinburgh. She studied Photography at Edinburgh College of Art, receiving a First Class Honours before then completing a Master in Fine Art at The Glasgow School of Art Her residencies include; Re:Create Stills Gallery, Edinburgh, Photography MA, School of the Art Institute Chicago, AiR Fondazione Fotografia, Modena, Italy and Proekt Fabrika, Moscow Caroline is a tutor and lecturer in Photography (Edinburgh College of Art, Edinburgh Napier University).

www.carolinedouglasphotography.co.uk

Everything that comes before us

Everything that comes before us is an installation of photographs and slides inspired by my time spent living in Moscow. These images are the observations of an outsider. They are banal and everyday, yet loaded with cultural references and imbued with re-imaginings of this city’s past. These images have been collected and given a temporal existence. They aim to capture the co-existence and articulation of old and new. The images keep the silence of the monument, the silence of the lost object and the silence of being unable to communicate with those I was photographing. These are my observations of how generations move with change- everything that comes before us.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Charlotte Cullen

Visual Art

Charlotte Cullen’s practice is often fragile, precarious and emotionally involved. Using cheap, foraged materials their work exists on the edge of the precipice, in the cracks before the shattering. Based in Huddersfield they are currently undertaking a Doctoral Studentship with the Centre for Sculptural Thinking at the University of Huddersfield and are founding director and curator of artist led project space U N N A  W A Y. Upcoming projects include Curators Choice (Solo Exhibition), Leeds College of Art, Leeds (Nov, 2016), Year of Textiles Arts Council England Commission, Harrogate Pump Room, Harrogate (Nov 2016).

charlottecullen.co.uk

Wandering Soul / Paraethesia / Sea Foam / Slip

Operation Wandering Soul / Air bed, broken mirror. (2016)
Paraethesia / Fibreglass insulating foam, aluminium. (2016)
'It looks soft to the touch before I remember it is made of glass and I remind myself that desire is a construct and that I must not trust it. But I can never remember for long. Like how grace comes from treading on knives but I think if I can bare it I might one day share a soul and I won’t become sea foam, just maybe.'

UKYA PROJECTS:

National Biennale: Derby 2016

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Chloe Beecham

Applied Art

Chloe is a 2016 graduate from the Textiles in Practice programme at Manchester School of Art. She takes inspiration from traditional embroidery techniques to create site-specific installations with a drawn quality. The concepts of her work often reference issues that face women, such as restriction and oppression, and as such it is important to her to make use of predominantly female crafts.

www.chloebeecham.co.uk

Anxious/Avoidant

The work consists of weighted fabric tubes that are used as a "drawn line", similar to the line a pen makes on paper. The series of site-specific works are based on a concept of the maternal relationship, specifically referencing attachment styles between a mother and child. This piece is based on the Anxious/Avoidant attachment style.
The absence of colour is important, as is the scale of the work. It aims to engage the audience, but in a way that it not particularly embracing. This references the relationship often seen with this particular type of attachment.

UKYA PROJECTS:

National Biennale: Derby 2016

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christina peake

visual art

Mr. Harding

Mr. Harding is a set of 5 scenes within a large AO size book. These scenes depict the story of the burning of canes or Mr. Harding which has passed from a Barbadian cultural ritual into mythology. The scenes are essentially large pop up silhouettes whose image is reflect on the pages in ink backgrounds mimicking the ink blots used by pyschoanalysts. These scenes are the illustration of the storyteller's mind as they conjur the ritual now myth and project it to create these dark yet delicate images out of the darkness of their consciousness. This is the first of a set of 8-10 narratives for a commission that I have permission to exhibit externally.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Chun-yu Liu

moving image

Chun-yu Liu trained as an abstract painter before using moving image of video and artist film as her medium. Her work explores identity, migration, narrative, and fantasy through stories of others from her personal experience.

Liu was born in Taipei, Taiwan and is currently studying for her MFA at Wimbledon College of Art.

Sumatra

'Sumatra' is a video about my father's early experience in Indonesia before he moved to Taiwan. The work adopts the narrative structure of Lewis Carroll's 'Alice's Adventures in Wonderland' and tells a, though seemingly fictional, factual story of my father about rural Sumatra, the violence against the Chinese Indonesian, and the subsequent diaspora and lost identity.

 

The video's output consists both archival still images from the Internet and film scenes from 'In the Mood for Love' and 'A City of Sadness' and the famous Indonesian song 'Bengawan Solo'.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Clare Fisher

Literature

Clare Sita Fisher is a Leeds-based fiction writer. Her recent work includes How the Light Gets In – an interactive story-telling installation for Leeds Light Night 2014, for which she was selected as a SHINE Emerging Artist. Her short fiction has been published in a variety of journals and anthologies and in 2013 she won the Spread the Word Writing Prize and the Cinnamon Press Writing Prize for her short fiction. She is also a freelance reviewer, blogger, copy-writer and editor. She holds an MA (with Distinction) in Creative and Life Writing from Goldsmiths, University of London and  BA in Modern History from Oxford. One day soon she will finish a novel. 

Write Where You Are

UK Young Artists festival Writer in Residence  

UKYA PROJECTS:

National Biennale: Leicester 2014

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Colette Griffin

moving image

Colette's practice establishes a spontaneous, dynamic relationship between material and shape. EvoShape software has, in the past, been used to breed and generate uncommon shapes, informing the work and reinforcing the casual quality of the practice, this continues to act as latent influence.

Unwittingly home economics, food, domesticity and cooking have permeated recent work as a result of constant exposure. The work explores process and output as a consequence of the crossover between studio based practice and domestic ritual. Ways of relinquishing full control of the outcomes are sought out through random generation, hasty fabrication or by using unreliable materials.

colettegriffin.co.uk

little turnip

Even when following instructions, the activity of cooking is laden with variables; outcomes fluctuate in appearance, texture and consistency. 'Little Turnip' addresses the impact of home economics on my practice. The video is a literal exploration of the laborious act of pasta making, resulting in comparatively small output, a single raviolo. Process and material are explored in a domestic, yet impersonal setting.

UKYA PROJECTS:

National Biennale: Derby 2016

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Conor Rogers

visual art

Conor graduated from Sheffield Hallam University 2014 and one of his degree pieces was selected for the John Moores Painting Prize. Conor has also had work exhibited in Sheffield (Millennium Gallery) and the (Scottish queen), Manchester and New York with Paper Gallery. In 2015 he was selected for the Bloomberg New Contemporaries which toured from Nottingham to London’s Institute of Contemporary Arts. In 2016 he has recently exhibited in ‘Utopia Deferred’ as a member of a trio of John Moores Alumni touring from Hull’s (Artlink Gallery) to Liverpool’s (Corke Gallery).

88 Calories, (2012), 'I've got nowt' (2016), 'You Should think your sen Lucky' (2015) The Alchemies of the 1960's (2013)

My photo realistic depictions of everyday life and landscape are painted in acrylic on found objects (crisp, cigarette and condom packets and beer mats). A dichotomy is produced as on the one hand the moments I depict are hyper-ordinary but at the same time the paintings themselves are extraordinary, exquisitely, meticulously painted, almost jewel like.  An intertwining dialogue between image and object is created I paint the locations which convey the intense reality of everyday life.

I like to think people see the work as argumentative, where they have to question what it is they are seeing. The moment  people experience the work they tend to become sort of worried by the fragility of them which is funny as you take something which is a throwaway item and transform it into an object of desire or precious.

UKYA PROJECTS:

National Biennale: Derby 2016

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Corinne Perry

visual art

Corinne Perry’s distinctively dark and evocative self-portraiture reflects her natural melancholic temperament. Life and art have become entwined, greatly influenced by a turbulent struggle with the complexity of personal emotions. To bury this mental state deep within would allow it to thrive, but though the use of photography as therapy; she is offered a cathartic release. Since graduating from Birmingham City University in 2012, she has exhibited at galleries including TATE Liverpool, Croome Court NT and The Beaney Museum. Corinne was also guest speaker at The Bluecoat, Liverpool in ‘Look 15’, Liverpool’s International Photography Festival, and The Photography Show, NEC.

www.corinneperry.com

Wallflower

Wallflower builds upon my use of photographic self-portraiture as therapy and was researched and developed during a residency at Birmingham City University’s, School of Photography. The work explores traumatic memories and emotions, portraying a sense of psychological entrapment experienced since childhood. A central theme of the work is the merger of my body in relation to its surroundings; often heavily distressed they reveal something of my pain. Within Wallflower this merger suggests an unsettling disturbance between the physical and psychological boundaries of the interior, alluding to the suggestion that my body is being physically devoured by its surroundings.

UKYA PROJECTS:

National Biennale: Derby 2016

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Chris alton

Moving image

Chris Alton (b. 1991, Croydon) is a multidisciplinary artist, whose practice often brings together distant, yet connected cultural phenomena. Whether deploying disco music against fascism or playing table tennis in competition with aggressive architecture, he utilises seemingly incongruous juxtapositions to address the multi-layered nature of prevailing social and political conditions.

Working across a range of media, such as; pseudo-documentary film, live events/actions, online interventions and open source games, Alton's practice shifts and adapts, reacting to context-specific stimuli. His projects are humorous and playful, frequently seeking to; undermine, expose and excoriate the power structures that shape our world.

ww.chrisalton.com

 

Under the Shade I Flourish

During the mid-1960s, “an unknown rhythm 'n' blues band”* called Trident were briefly managed by the non-UK domiciled billionaire, Michael Ashcroft; a controversial figure notable for “opaque tax practices” and “operating in the dark". 'Under the Shade I Flourish' imagines that Ashcroft continued to manage them. This pseudo-documentary film tells the story of Trident, through; scripted interviews, fabricated archive footage and seemingly authoritative narration. Fact blurs with fiction and Trident become a vehicle to discuss the connections between Britain's colonial history and offshore finance.

*Dirty Politics, Dirty Times, Michael Ashcroft, 2005

UKYA PROJECTS:

National Biennale: Derby 2016

 

 

 

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Christopher Power

visual art

Our interaction with the world around us has fascinated Chris from a very early age, mainly our relationship to light and colour, from the rays of the sun created between the blinds to the dazzling spectacle of lasers in a night club. Originally inspired to create light and colour art work from seeing light painting photography where people create light forms suspended in time, he recently decided to bring this fascination from an intangible spectacle to light sculptures, installations and prints.

ball and blue

The work I am presenting in the festival will be a print on my light sculpture Ball and blue which I made while questioning the importance of line and form in relation to colour and light. I wanted to explore how these factors react and work together and how an audience reacts to the combination. Some feedback I have had from people who have seen the work have said it is inspiring, uplifting and thought provoking, making them think of motion and and wanting to see more.

UKYA PROJECTS:

National Biennale: Derby 2016

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Dan Wiggins

visual art

Dan Wiggins' multidisciplinary practice relies heavily on the handmade and tangible. Having adopted his father’s film camera, he studied photography before digital became standard and found the involvement at each stage of the process made the whole experience more fruitful – making the photograph, as opposed to taking it.

More recently he has been working with small pieces of bone, horn, antler and stone, using techniques learnt under carver Karen Vincent to create minimalistic jewellery. He plans to develop this part of his practice further into larger, more sculptural work. He is heavily involved in the North Staffordshire arts scene.

Paradise Now

Inspired by a performance by The Living Theatre from the mid-1960s, the Paradise Now exhibition prompted participating artists to challenge the rules set by law and society that often go unchallenged, if not entirely un-noticed.

This theme of expressing oneself outside of societal norms brought to mind an artist I lived with in New Zealand - a literal paradise - a bone carver whose life has been something of a rejection of normality.

My work pairs the words of Karen Vincent with photographs I took while I lived with her, addressing themes of non-conformity, balancing art with commerce, solitude and isolation.

UKYA PROJECTS:

National Biennale: Derby 2016

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Daniel Bourke

visual art

Bourke is a London based artist who has been exploring how digital technologies have become intertwined with daily life. Bourke’s paintings are a digital mash up of photographs, code and gestural mark making which he takes into oil paint. His work draws inspiration from glitch art, surrealism to abstract expressionism and the dutch golden age.

www.danielbourke.com

still life no.11

My work always starts off with a firm foundation in observational drawing and photography which then gets digitally collaged and stitched together through various digital editing softwares. Once I am happy with my composition I take my work into painting. Oil paint gives me the opportunity to have a much more personal relationship to my subject matter.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Daniel Cave

visual art

Daniel developed his painting sensibility whilst studying at De Montfort University. As a commuting student with plenty of idle time for contemplation and an emerging artistic voice, he felt the urge to document his observations.

Observation, personal rumination and the painting medium have since remained for him essential elements to make art. He has exhibited paintings and drawings in Leicestershire, Nottingham and London, but is yet to present a solo show. He is currently working on a publication of selected drawings.     

www.danielcave.co.uk

‘Superstimulus’ ‘Moving Sums’ ‘Some Woman Also Saw This’ ‘Base Vision’

I combine painterly techniques of colour, suggestive forms and surface qualities, with sculptural materials which are for me like crude grips on the physical world.

Each painting comes from observation; specific points of view, enlightenment. These are moments of visual, aural or imaginative enquiry. My task as a painter is to transcribe the lot in visual terms.

These works on display are variously about sensations of a ‘double-take’, retinal effects in near darkness, imaginary traffic lights and people navigating themselves through busy tube stations. Painting excites me because it is archaic, yet perpetually unresolved. Surely it’s vital?

UKYA PROJECTS:

National Biennale: Leicester 2014

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Daniel Marcus Clark

Literature 

Daniel Marcus Clark is a Writer, Storyteller, musician & Composer from Brighton, England. Daniel from a family of writers - he is the son of authors Eric Clark and Marcelle Bernstein - and from an early age gravitated towards storytelling and music. He has diplomas from both the Emerson school of Storytelling and Chichester College- where he studied Jazz. He also worked intensively with master performer Jonathan Kay as part of The Nomadic Academy.

Earworms

At the heart of what I do is the story. Stories are written with the listener in mind- they may be told as much through sound and music as they are by words. To tell them I use predominately rhythmic language and these stories are then taken and scored using acoustic instruments and then are fully sound designed- creating the sounds of the worlds. My aim is to create an immersive experience for the listeners imagination that enhances and brings to life the story that is being told. Live, these are recreated by just me, using a live set up consisting of harp, guitar, a miniature drum kit, 2 loopers, a multitude of pedals and a spoken voice.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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David langham

visual art

My practice is concerned with the relationship between humanity and its surroundings. Whilst encountering obvious physical environments, I also consider the social and cultural parameters which can also influence a persons experience with a place or situation.

Photography gives me a medium to discuss these issues. I intend to create works which are simultaneously aesthetically pleasing and intellectually stimulating.  

www.david‐langham.co.uk

Fragments

A lot of my photographic work concerns the human relationship with  natural landscapes. 

This piece of work reflects the common human experience and memory of a place. Despite attempts by media (drawing, painting, photography) to experience and memory of a place. Despite attempts by media (drawing, painting, photography) to extend this experience nothing can replace that, and my images are representations of the fragments of experience that are extracted from a place.

The interrupted and unusual aesthetic reflects the act of the photographing and also the state of memory of a place, as only certain aspects draw attention and are given significance. The waterfall is the attractions and this what must be photographed, collected and remembered. The space around it it's self seems irrelevant. 

It is a piece of work which is relevant to everyone as it discusses the common popular experience.

UKYA PROJECTS:

National Biennale: Leicester 2014

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David Newey

visual art

David Newey is an artist who primarily works in graphic art and comics, creating work that straddles the boundaries of many different media. His practice  is deeply rooted in the notion of the artist hand, craft the regeneration of his hometown of Stoke-on-Trent. Through Newey's labour intensive drawing style, he seeks to emulate the traditional techniques of the ceramic production process. His practice currently investigates copper-plate etching, appropriating this traditional print technique into a multi-disciplinary space.

www.thehumanprinter.com

"Stoke Without : Inferno"

"Stoke Without : Inferno" is the first part of an ongoing conceptual comic strip based upon my time working on the former Spode factory in Stoke-upon-Trent, utilising the narrative structure of Dante's "Divine Comedy". It documents the decline of the ceramics industry and its effect on the local community, the following sections will explore the heritage of Stoke (Purgatory) and its potential for  regeneration (Paradise). This section of the comic is intended to give the viewer the sense of both the craft and skill inherent to Stokes inhabitants, what has been lost, but also its amazing potential for sympathetic renewal.

UKYA PROJECTS:

National Biennale: Derby 2016

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Deniz Uster

Visual Arts

Deniz Üster (b.1981- Istanbul) is an international artist based in Glasgow. She studied her undergraduate degree in Painting and Drawing at Mimar Sinan Fine Arts University, and had her MA in Visual Arts at Sabanci University, in Istanbul. She has recently completed her MFA studies in Glasgow School of Art.

Being an Ear Guest to a Gossip

You can view the first 5 minutes of this film (downgraded version), from the link below: http://vimeo.com/12130100 “Being an Ear Guest to a Gossip” is a work which implies a process of transmutation, through the language of alchemy. However, different from the sublimity of Hermeticism, the work aims to transform the valuable, the profitable into the futile and the useless. The film allows us to witness the strange behaviour of a small hairy creature. This beast is focused upon her various tasks as she plants green potatoes, gathers psychedelic gloop from the forest and finally harvests what appears to be her crop of rocks. Who is this creature, and why is she so intent on such labours? In “Being an Ear Guest to a Gossip” I utilise rituals, and Anatolian Turkish Folklore, hybridised with the antithetic nature of Scotland, where I feed from both its industrial spectacle and its scenic beauty. Therefore the props and the plot of the film are highly contradictive, fictional and intentionally fake in appearance.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Grace Page

applied art

Dr Graces Miracle Cure for Climate Change

Dr Graces Miracle Cure for Climate Change was inspired by the delights of Victorian medicines and healing contraptions. Annoyed with the husband? Try Dr Sanden’s Electric Belt for Weak Men. I created Dr Grace. In the world of Dr Grace there is nothing that jewellery cannot cure.  From this idea the Miracle Cure for Climate Change was born. Melting polar ice caps? Freeze some more! Rising sea levels? Jewellery that uses it up! So what happens next? The public decides! Dr Grace Prescriptions, invites everyone and anyone to suggest what problems they would like cured, either on my blog (www.doctorgrace.wordpress.com) or twitter (dr_grace_page) or by email. At least once a month I am picking a suggestion at random and creating a new piece of jewellery, a Dr Grace Prescription, to cure it. 

www.doctorgrace.wordpress.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Elena Brake

performance

Elena Brake is an interdisciplinary artist whose work embraces combinations of participation, performance and installation to explore our everyday world.
Using methods such as repetition and visual exaggeration, she enchants familiar objects and routines, displacing the audience's familiarity with them.  She presents these common experiences in a way that invites closer, deeper analysis and reveals that the world we are accustomed to is a plentiful source of enlightenment and fascination.
Brake’s playful, interactive re-enactments show how ordinary aspects of life can cause unexpected emotional responses in the viewer and provoke unusual connections with the artist.

www.elenabrake.co.uk

Tying Knots

Tying Knots is a participatory performance which invites the audience to step out of their normal day and stop and think about the simple action of tying a knot.  The drop-in style performance allows for a relaxed encounter with the artist where participants are encouraged to experience a state of mindfulness about the everyday moments we so often overlook.  The mundane and familiar action of tying knots as a focal point provokes some interesting and unusual conversation between the artist and participant.

UKYA PROJECTS:

National Biennale: Derby 2016

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Ella Breese

visual art

In an age where Greenberg’s ‘medium-specificity’ has been abandoned, Ella’s practice explores the limitations of painting within in its environment. Jackson Pollock’s ‘all-over’ paintings, which ‘seemed to be capable of repeating…beyond [their] frame to infinity’, questioned this in the Abstract Expressionism of the 1940s. Ella aims to extend this through immersive painting, that addresses the boundary between artwork and surrounding life. Combining layers of surfaces and textures found in everyday environments, she plays with what is painted reproduction and what is original, to transport the viewer into a space of illusions, disrupted orientation and suspension.

www.ellabreese.com

Disintegrating Interior

Disintegrating Interior explores the relationship between interiors and human experience, whilst pushing the physical boundaries of painting. The theme of domestic space takes influence from Isabelle Graw’s belief in the viewer to feel ‘at home’ within paintings. Viewers are therefore invited to explore and relax within the installation, stimulating new ways of contemplating artwork. The psychological connection between the human and domestic space is suggested through a sense of suspended energy, and tension between construction and disintegration. This transports viewers into a disorientating three-dimensional painting, which resonates, yet upsets, the traditional domestic space.

UKYA PROJECTS:

National Biennale: Derby 2016

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Eluned Glyn

Ceramics

The forms of the classical 20th Century ceramics inspires Eluned Glyn's work. The modernist movement has been a point of reference, using their concept of well-designed faceted forms of inspiration. The functional pieces both reflect the garish 19th Century vessels and the deconstructivst period of the 1980s.

Eluned Glyn is intrigued by the marriage of form and function, and the distortion of the domestic object which is familiar yet foreign in form. Eluned Glyn takes existing vessels from charity shops and re-constructs the forms that are then cast in slip and fired up to five times to complete the body of work.

www.elunedglyn.com

Minimus Maximus 

Eluned Glyn's slip-casted earthenware ceramics is created by re-constructing existing vessels from charity shops. The pieces are deconstructed and re-built into a solid form. The piece is used as a master copy which is then moulded in pottery plaster, cast in slip and fired up to five times. The artist attempts to evoke a feeling of nostalgia in the forms, and gives old un-loved ceramics a new lease of life by contrasting the forms of 19th Century pieces with innovative contemporary design. 

UKYA PROJECTS:

National Biennale: Leicester 2014

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Emily Bailey

digital art

London based artist filmmaker, Emily Bailey creates both single screen and installation work that uses a hybrid of digital and analogue film and video techniques. Bailey’s process-based practice explores areas of neuropsychology and phenomenology that focus on altered states of consciousness. And as an artist who also works with musicians to create real time visual performances, the visual translation of sound and music is of utmost importance to Bailey’s practice and is a preoccupation that runs into Bailey’s films, animations and installations. Bailey’s work has been performed and screened at numerous festivals, exhibitions and music events across the country.

www.emilybailey.co.uk

 

sleep

From static cloudiness and peripheral flashes of light to vivid hypnagogic hallucinations and rich REM dream states, SLEEP explores the architecture of the sleeping mind.

SLEEP is an audiovisual painting made from digitised 16mm film and is projection mapped onto a geometrically shaped screen (a pattern regularly seen during altered states of consciousness).

The work is the culmination of two years of research into the different stages of sleep and dreaming. The structure is based upon hypnograms from the DREAMS database and the narrative draws upon personal experiences. The soundscape has been created by composer, Capa’s Jump.

UKYA PROJECTS:

National Biennale: Derby 2016

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Emily Balham

moving image

Emily Balham is a 23 year old, recently graduated Theatre Student, from London. Currently a member of Weekend Musical Theatre training school West End Masterclass, Emily also tutors Youth Theatre at Store Room Youth Theatre in Hornchurch. When not training (or training others) Emily likes to play the flute, teach herself a foreign language, make a cake, or sit down with a nice cup of tea and her Nintendo 3DS.

 

emilybalham.com

INNOCENCE

INNOCENCE (as as whole) explores the trials and tribulations of growing up. Both humorous and thought-provoking, INNOCENCE takes the audience on a journey, hearing what childhood is actually like from the eyes (and words) of a child. In the section shown at the festival, we explore the topic of bullying and see that the effects this has on young people can be more life-altering than we may expect.

UKYA PROJECTS:

National Biennale: Derby 2016

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Emily Macinnes

Moving Image

Emily Macinnes (b. 1989) is a Scottish documentary photographer currently based in Glasgow.  In 2012 she gained a BA Honours in Photography from Nottingham Trent University and later studied Photojournalism at the Danish School of Media and Journalism. 

Emily has worked with various international NGO's documenting local and global issues as well as more intimate stories of struggles faced closer to home.  Some of her clients include Oxfam, UNICEF and Médecins Sans Frontières. 

www.emilymacinnes.com

Blindsight

Blindsight is a conceptual / documentary multimedia piece that combines audio, video and still photography to tell the story of Dennis, 48, who is gradually losing his sight. The piece attempts to convey the emotion involved in coming to grips with a life-changing disability and to give the viewer a sense of visual impairment through the use of abstract video and still images.

UKYA PROJECTS:

National Biennale: WEYA 2012

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Emily Moya

photography

These images explore social groups and inclusion within the most intensely hierachical of environments; high school. Canteen: The girls sitting around each table are representative of different social groups; within each clique the girls wear similar clothes and makeup to one another, and can be seen indulging in stereotypical passtimes. The' falling girl' does not appear to fit into any of these groups - her embarrassment increased by her public fall. Changing Rooms: The "Queen Bee" of the clique is being egged on to pour water onto the girl who appears 'different' Despite the varying roles of the girls, underneath they are all actually exactly the same. These images was created by photographing the same girl over and over again in different clothing and accessories and putting all the images together in Photoshop. In this sense there is a moral message to these photographs; despite the social groups so apparent in Youth culture today, we are all the same underneath.

www.emilymoya.co.uk

UKYA PROJECTS:

National Biennale: WEYA 2012

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Emily Simpson

moving image

Emily Simpson is an artist, who since graduating from Leeds Metropolitan University in 2014 with First in Fine Art, has floated between living and working in Leeds, Manchester and Nottingham. She has exhibited across the North and internationally, and been an artist in residence with ‘The Art House’, Wakefield, and ‘The Can’, Bucharest. Simpson’s work deals with 'vagueness', with a tension between states, between chance and control, successes and failures, past and presents, certainty and uncertainty. This stylised hesitancy becomes the work’s medium, using a language of purposeful purposelessness to mimic the desirable uncertainty of post(post)modern living.

emmysimpson.one@gmail.com

with and without

‘With or Without’ is an animation that plays with connotations. The work focuses around three meandering circles, which loosely form a ‘Venn diagram’, as they drift around a set of interchanging phrases. The diagram’s words are lifted from Google, from the browser’s unfailing helpful ‘suggested search’ results. Unsurprisingly, the thread of language starts to float between sense and nonsense, mirroring the sporadic and asymmetric pattern of online browsing. When placed together we seek coherency, creating strange, comical and familiar associations. Language becomes both placed and displaced, as we make (or perhaps don’t make) meaning in the meaningless.

UKYA PROJECTS:

National Biennale: Derby 2016

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Emma Corrall

visual art

Lives and works in London
Holds an MA Fine Art with distinction from Central Saint Martins (2014) and a BA Hons Painting from Camberwell College of Art (2009)
Exhibited in group shows including 'Imago Mundi' Luciano Benetton Collection (London 2016), 'Summer Ready, Some Are Ready, So Ready' (Acme Project Space 2015) 'Cleopatras', Brooklyn Academy of Music (New York, 2013); 'Do it awake!' Heliopolis (New York, 2012); 'Die Chic Boutique' (Vienna, 2012)

www.emmacorrall.co.uk

 

01-I Need You To Work On My Presentation 02- Wipe Down 03-Come Around 04- Lost At Sea

Implementing cultural techniques that operate between art and anthropology, retail and the fitness and health industry, Emma’s practice poses questions around consumer culture, object ontologies and biopolitics.
Working across video, sculpture, ceramics and digital prints her work proposes a space deeply permeated with human touch and desire. The materiality of each medium employed is presented in a direct relationship with physicality to construct a non-hierarchical environment, whereby both tangible objects and the human perception are destabilised.

UKYA PROJECTS:

National Biennale: Derby 2016

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Emma Walker

visual arts

This project looks at the concepts surrounding mans relationship with the natural world with specific importance put on the work of C. A. Meier and the idea of the macrocosm and microcosm, that the Earth is like a big man, therefore man must be like a small Earth. The aim of the project is to re-engage an audience with the beauty and importance of our quickly disappearing natural world through the use of photography.

Each individual flower is assembled from the parts of other flowers and crudely formed together with glue. The idea is to fool the audience into thinking that have discovered something new to themselves and see the beauty in it and be reconnected with the wonders of Nature, only to investigate further to discover that the plants aren't real, which in turn creates a sense of loss which we should feel everyday as our natural world is depleting before our eyes.

www.ekwalker.com

UKYA PROJECTS:

National Biennale: WEYA 2012

 

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Evi Pangestu

visual art

Evi Pangestu (b.1992) is a Birmingham-based Indonesian visual artist who archives her everyday life through paintings and collages. She is currently a third-year fine art student at Birmingham City University and has exhibited her work both national and internationally.
She had just recently granted a workshop scholarship at Anderson Ranch Arts Center in Colorado and done a summer residency at School of Visual Arts (SVA) New York. Over the past few years, Evi has been working mainly with acrylic paints and photography collage on canvas.  Her latest project is paintings about experimentation on colour combinations of her everyday life activities.

www.evipangestu.com

Experimenting, Tilt, Handsworth, and Working

‘Archives of Everyday Colours’ is an experimental series consists of 28 paintings about how colour combinations relate to certain emotions in (or produced by) a situation. Using her everyday life as the subject matter, in this project, Evi observed the application of colours on the paintings by following the colour combinations theory discovered by a Japanese colourist, Shigenobu Kobayashi, from his book ‘Colour Image Scale.’  
Some people might find her work funny, or even feel familiar with it because even though the objects are taken from her personal life, some are very commonly picturing the basic regular everyday activities.

UKYA PROJECTS:

National Biennale: Derby 2016

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ex easter island head

performance

A UK based ensemble composing and performing music for solid-body electric guitar, percussion and other instruments.

www.exeasterislandhead.com

We write music for unusual instrumentation (horizontally mounted 'mallet guitars', custom built stringed instruments, non-western percussion, tape loops) and perform in a variety of ways: as a small ensemble sharing the stage with other musicians and composers, as a 2-4 man core of larger ensembles or as technicians/producers for audio installation pieces. 

UKYA PROJECTS:

National Biennale: WEYA 2012

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Farniyaz Zaker

visual art

Dr Farniyaz Zaker is an Iranian-born artist. She currently lives and works between St Petersburg-Russia, Tehran-Iran and London-UK. Her works have been internationally exhibited since 2002. Located between architectural theory and gender studies her art practice and writing largely deal with the nexus of body, society, and place.

Scholars like Karimi

Scholars like Karimi (2003) interpret the veil as a secondary space or as a habitat enveloping the women’s body in the public sphere. As such the veil extents the private- into the public space, because under its cover women stay in a secluded space which is closely linked to the notion of home. In Bachelard’s(1969) words home as an inhabited space ‘transcends geometrical space.’ Similarly, the home in contemporary feminist and postcolonial literature is conceptualised in broader spatial terms. Notions of home as an ‘unreal’ and imagined space are applicable for the veil as well. This work analyse the veil’s capacity to segregate space into public and private.

farniyazzaker.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Finbar Prior

visual arts

I am a painter and decorator concerned with unattainable surface and lifestyle. Using exotic paradise as a colour palette to question notions of taste and decor. Juxtaposing machine made objects with my own altered versions. Trying to obtain the same perfection as a mass produced product but failing. This questions the notion of escapism and the way we decorate our homes to be better people and escape from life. Referencing the Dulux colour chart and their use of exotic names highlights my interest in how interior design alludes to another place.

finbarprior.com

UKYA PROJECTS:

National Biennale: WEYA 2012

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Fionnuala Mottishaw

visual art

The Edinburgh Displacement Museum is an innovative institution embracing the inherently complicated visual history of our world, which does not in fact fit into neat timelines. More often than not these lines are traversed innumerable times during the creation of even a single object. Thus the museum was created as a space to house and give voice to those narratives, which exist outside of these limiting restrictions.

Keeper of the Museum Collections, Fionnuala Mottishaw

mottishaw.wordpress.com

 

Selection of Artefacts from the Edinburgh Displacement Museum

These objects, chosen by the Edinburgh Displacement Museum, are exuberantly coloured and illustrated, giving some impression of the wealth of influences visually and culturally which have fed into them. They are clearly the result of a richly interconnected world. Although their exact purpose is unknown, we can get some glimpse of this by looking at the process by which they were made. Such analysis has led us at the EDM to conclude that these were “ceremonial objects”. In fact the ceremony would begin from the moment the craftsperson picked up their tools.

UKYA PROJECTS:

National Biennale: Derby 2016

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Fran Copeman

Visual Arts

George Simmel’s examination into the scope for the maintenance of independence and individuality against the sovereign powers of society has been fundamental to the development of the images. In my work I restrict the human form to allude to the tensions of city-life. Although the city does not explicitly feature in my work, I have created images that comment on the relationship that one has with the city. Through visual metaphor my work attempts to express the struggle between individuality and the physical and mental compartments we are necessarily constricted to in order to function within larger society.

www.francopeman.blogspot.com

Silence

These drawings are part of a larger, ongoing project concerned with an individual trying to express themselves in a big and busy environment. I want to allude to the tensions of city life in the figure; however, the actual environment is not featured in any way because I want to focus on the expression of the feeling you get when your voice is not heard. Most of the work I do involves figures that have been restricted or disfigured in someway so as to act as a metaphor to show how extremely powerful our external environment can be.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Frank Kent

visual arts

Frank Kent was born in London and recently graduated from Nottingham Trent University. In 2011 he was the Nottingham Castle Open Grand Prize winner and made an intervention in the Long Gallery. Also last year he completed a residency with a solo exhibition at the Surface Gallery in Nottingham. In 2010, his work toured with the Sideshow commissioned exhibition ‘Pile’ from the Surface Gallery to Chapter in Cardiff; and he also showed at Fishmarket in Northampton.

frankkent.co.uk

UKYA PROJECTS:

National Biennale: WEYA 2012

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frank sparrow and heather forknell

music

Frank Sparrow is a musician and producer who performs under the alias Velvet Exit. He has produced music and sound for numerous Arts Council England funded dance, performance and theatre shows, as well as being the one of the founders of film, performance and live music mash up Commentary at The Phoenix, Leicester. For UKYA, Frank is collaborating with Heather Forknell, a multidisciplinary arts practitioner based in Nottingham. Forknell’s art practice is influenced by architecture, interior design, advancements of digital technology and social politics.

velvetexitbag.bandcamp.com

velvet exit

Velvet Exit is an elegy of the disenfranchised.

Hear music producer Frank Sparrow perform bedroom-composed electronica, who charts through video game inspired and beat-driven song structures and erratic, choppy sampling. Combined with Heather Forknell’s live projection mapping and installation – a juxtaposition of ‘90’s video game nostalgia, interior design and a curiosity towards dark web visuals; Velvet Exit embodies the frantic and anxious nature of being a disenfranchised youth in a changeable world.

Described as a similar stage presence to Ian Curtis; Velvet Exit hopes to offer a remedy for those alienated by squeaky-clean chart pop.

UKYA PROJECTS:

National Biennale: Derby 2016

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Gemma Coyle

Visual Arts

The perturbing, breathtaking and absurd world around us, as well as the living forms on it is the substance that feeds my imagination. I am constantly commenting and trying to solve relevant issues within my works, either in day to day life or more serious global problems. I believe that humour is one human reaction that is capable of connecting everyone, it echoes a natural human response to issues of difficulty, i.e. – “you have to laugh…”, and through the serious and highly crafted nature of my constructions it often resonates with elements which are very dark and present in our lives.

I think that art now is the ability to show and tell in a contemporary way what it means to be alive today. It can sensitise us to something in the world, clarify our perceptions and make us aware of decisions we have made.

www.gemmacoyle.blogspot.com

Chrysler Horse Drawn

The Foresight Future Flooding report asks ‘How will climate change affect us in 30 to 100 years time? How much will flooding increase? And how should we prepare?’ Now you can rest easy as I have the answers with my Mobile Abode’s. Using high waste material, Ballpoint pens, I propose to recreate all of the unique architecture that are in the potential flood danger zones on wheels so that whole towns, cities etc. can Flee the floods but keep their identity. The Buildings will be horse drawn to help future environmental problems. Chrysler Horse Drawn is a small scale model of the potential structure.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Gemma Gallagher

Visual Arts

Gemma Gallagher’s work is an exploration of romanticism in relation to violence and war, derived from her experience growing up in a divided society and the socio-political situation in Northern Ireland. Considering the complexities of what drives people to war, she examines alternative perspectives of political conflict. Those issues being the subjective and objective; the romantic and the reality.

www.gemmagallagher.com

A Terrible Beauty is Born

This work is an exploration of the romanticism of political conflict and war, derived from my experience growing up in a divided society and the socio-political situation in Northern Ireland. Considering the complexities of what drives people to war, I examine alternative perspectives of political conflict. Those issues being the subjective and objective; the romantic and the reality. My inspiration includes the poetry of Shelley and Yeats, who use imagery of landscape and nature as a metaphor for cultural identity and nationalism. I use these themes in my work to create environments where an apparent beauty becomes interrupted by the harsh realities of war. A combination of painting and photography is used in an attempt to undermine the boundaries between truth and fiction, allowing the work to oscillate between the real and the imaginary. I present the voyeur with an alternative perspective, exploring issues of nationalism and romanticism as both a positive and negative force within contemporary society. I have attempted to challenge mainstream perceptions of this issue through consideration of different aspects of this both emotional and factual arena in relation to political conflict.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Georgia Grace Gibson

Visual art

Georgia Gibson is an visual artist from north east England, currently working between the north east and Manchester, while studying for her BA in Fine Art at Manchester School of Art. Within her practice, she deals mostly with identity: mostly looking at cultural heritage, family and growing up within the social media generation. Overall Georgia's work attempts to find out more about herself and her "identity", and asks viewers to do the same.

www.georgiagibson.co.uk

 

Tchaikovsky’s Toon Army (2016)

Satirical performance piece, looking at stereotypical aspects of the North East of England; football, drinking, and Billy Elliot. Within this piece, the artist attempts to create a comical portrait of herself as a young girl who attended both ballet classes and played for the junior school football team, before eventually both were ditched before coming to the age her friends started drinking. Part of a larger body of work on ‘identity crisis’ that deals with various North East identities, the artist uses various performances as a humorous coping mechanism; performing and mapping it all out, blurring the line between stereotypes and proud identity.

UKYA PROJECTS:

National Biennale: Derby 2016

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Georgina Fowler

applied arts

Twisted vessels

I make handmade slip cast earthenware vessels and plates. These are from moulds which I have made from paper models. I experiment with different twisted shapes, and through working with paper the outcome has been a simple shape but with a subtle twist. I am inspired by fairy tales, imagination and the surreal. I take something and make it into something like from a dream. Through drawings I scan these into the computer and manipulate them on Photoshop to get designs which I put onto my vessels and plates. Each piece is unique in how I place the transfers.

www.georginafowler.co.uk

UKYA PROJECTS:

National Biennale: WEYA 2012

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Gesamtatelier

PERFORMANCE

Gesamtatelier is a newly-created platform by/for young practitioners from several creative fields who collaborate towards the conception and realization of interdisciplinary projects. The team aims to push the boundaries of several domains, mediums and genres: performance art, dance, design, sound composition, curating, architecture and the visual arts. The members of the ensemble met each other during their studies and have a diverse educational and cultural background. Gesamtatelier aims to keep an open, dynamic structure which adapts to the nature of each project: performances, exhibitions, installations, publications etc. The creators involved for every scheme intertwine a variety of theoretical and practical skills.

 

XYZ/s extended

“XYZ/s extended" is a multimedia, interactive performance/installation which challenges the relationships among performers, visitors, objects, space and our senses. It draws inspiration from some of the most prominent theories of physics and philosophy, creating an interplay of the four dimensions (point, line, plane and time). The visitors are encouraged to explore three different spaces and find themselves in various roles and situations. Each space has its own immersive environment for people to experience and interact with. The project was initially created in collaboration with the Architectural Association Interprofessional Studio within the context of the MA/MFA in Spatial Performance and Design.

UKYA PROJECTS:

National Biennale: Derby 2016

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Giles Bunch

literature

 Giles Bunch makes art about people’s expectations of enjoyment, relationships of gifting and explores perceived values placed on different aspects of social interaction. He does this through performance, singing, video, spoken word, hand drawn text, and embarrassing himself. He is currently a member of the Artsadmin Youth Board and also plays bass with The Printernet.

It’s Not A Better Song, It’s Just A Different Song

It’s Not A Better Song, It’s Just A Different Song is a performance in which visitors to a space can have a song performed for them on request by a friend or relative also present. Audience members make a request for a song of their choosing, the lyrics of which are searched for using an internet connection and printed out. The person for which the song is requested is then searched out in the space and the song performed for them. The title is an indirect quote from a scene in Educating Rita in which Frank Bryant asks of Rita “learned to sing a better song have we? No, you just learned to sing a different song.” The performance explores ideas of plurality and taste and calls into question what it is that determines whether a cultural artifact is deemed ‘good’ or ‘valuable’. The performed song acts as a gift from one person to another within a space at a specific time. Whilst on the surface the gesture appears convivial, there is potential for feelings of embarrassment or awkwardness to colour the situation whilst the potential for the ‘unwelcome gift’ is present throughout.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Gina Soden

Photography

At the heart of Gina Soden’s photography is a preoccupation with abandoned structures and locations. Travelling widely to undisclosed sites throughout Europe, she explores the boundaries of beauty, decay, nostalgia and neglect. The genesis of each piece is often the unique architectural character of each location, heightened by their painfully slow transformation after years of abandonment.

The work is underscored by the potential controversy of gaining unlicensed access to the out of bounds areas. Every image is a product of a journey, referring both to the physical demands of gaining entry and to the passing of time which is evident in the abandoned locations. 

www.ginasoden.co.uk

Chapel 

Rather than taking a documentary approach, Soden breathes a sense of life into the scenes through her photography, hinting at narrative with studied compositions. Characteristically each image has a distinctly painterly aesthetic, side stepping the tendency that photography has for observational and distanced looking.

Soden’s approach is lyrical and directs the viewer to explore the concepts of time and memory. The compositions feature abandoned buildings in various stages of decay. The results are striking and poignant, at once both edgy in their contemporary aesthetic and nostalgic in their ruinous beauty.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Gurdain Rayatt

music

Gurdain Rayatt is a London-based professional tabla player and a disciple of maestro Pandit Shankar Ghosh, his father and his grandfather. Gurdain frequently performs tabla solos and has accompanied world-class musicians including Purbayan Chatterjee, Roopa Panesar, Kala Ramnath and Soumik Datta. He is featured on Bickram Ghosh's Rhythmscape II album and has collaborated with Bernhard Schimpelsberger, Giuliano Modarelli, Al Macsween, Jesse Bannister and Michael Messer. He has performed at festivals including WOMAD (UK), Saptak and Harivallabh (India) and Darbar Festival (UK). Gurdain teaches tabla in North London. His CD releases include "Ether", “Live at the Troubadour” and "The Groove Maker"

www.gurdain.com

Flashy Fingers 

The tabla is one of the most versatile drumming instruments in the world. Gurdain Singh Rayatt highlights this versatility with an Indian Classical 'tabla-solo' musical performance combining tabla poetry with performance aesthetics to tell a story through vocal raps (‘paranth’), gesture and the power of his fingers. Flashy Fingers is a performance that is authentic to the art form yet captivating for rhythm lovers and all audiences featuring rhythmic complexities, dramatic compositions, punchy grooves and harmonic delivery. Tabla reimagined!

UKYA PROJECTS:

National Biennale: Leicester 2014

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Hannah Ellul

visual arts

And Some More

In the Buckinghamshire tradition of 'Mayor Making', elected officials are publicly weighed on taking and leaving office to ensure they have not been getting fat at the people's expense. If they are judged to have grown as they leave office, the town crier announces their original weight, adding the words... "AND SOME MORE". Public derision ensues. The ways in which pageantry preserves and distorts historical memory as it seeks to instil civic pride is seen here through the prism of the complex dynamics of one particular local tradition. Themes emerge of mob rule and the public humiliation of authority figures, and the question is raised of to what extent such unsettling forces remain latent in the amusing pantomime which is enacted today. The works imagine a recasting of the pantomime as a ludicrous performance where an impossible demand asserts itself in earnest.

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Helen saunders

visual arts

I’m interested in the power of digital photography to transform our everyday surroundings, and use photographic collage to create landscapes that border fantasy and reality. My focus is the changing environment, revealed in the interaction between man and nature and old and new. I am drawn to places undergoing transition. Leicester for example contains industrial structures, which are being replaced with new buildings for cultural and commercial purposes, and so the identity of the city is changing, evident in the contrasting layers of architecture.

www.helensaunders.co.uk

Constructed landscapes

My work takes the form of photographic collages, which explore the layers in the urban environment. The viewpoints are taken from places often missed in everyday life such as scrap yards and construction sites, the in-between points which reveal the process of civilization. By digitally dissecting and re-constructing the landscape, I explore the history and shifts in the landscape. My chosen subjects are therefore places in flux. Leicester for example contains industrial structures, which are being replaced with new buildings for cultural and commercial purposes, and so the identity of the city is changing, evident in the contrasting layers of architecture. I aim to create surreal landscapes that blur the boundaries between real and fantasy. The method of re-arranging reality references the painted landscape, which has historically been used as a means of re-framing the sublime power of nature, something now true of many man-made constructs. I take inspiration from this idealised and often romanticised vision of the world, but aim to create a tension between the photographic realism and surface beauty of the image. This is an ongoing series of work which began 2008.

UKYA PROJECTS:

National Biennale: Derby 2010

 

 

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Helena Hunter

visual arts and performance

Helena Hunter is a UK artist living and working in London. Hunter’s practice spans performance, visual art, literature, photography and film. Her work addresses complex cultural issues relating to the politics of the body, the construction of gender, and the formation of desire. Hunter utilises the human form, movement, and writing to consider the body as text, site and sculptural tool. Hunter’s work has toured throughout the UK and Europe and she has delivered lectures, artist talks, and workshops nationally and internationally.

dis-locate

dis-locate is a live performance that celebrates the transitory, the ever shifting, and explores the idea of dis-location as an empowered and disruptive state. Helena Hunter presents a glorious disincarnation through a series of charged interactions between the body, light, sound and materials. dis-locate questions the limits of fixity and considers ‘in-between’ as a positive condition that flows rather than defines, opens rather than restricts. The performance explores a process of disintegration and confronts the impossibility of making a journey while remaining whole. dis-locate was developed during Helena Hunter’s residency at Queen Mary, University of London and was supported by Arts Council England. The performance premiered at Chelsea Theatre as part of the Sacred Season 2009 and was produced by Natasha Davis with original sound by Mark Peter Wright, Sonic Arts, British Composer of The Year.

www.helenahunter.com/dis_locate.html www.chelseatheatre.org.uk/dislocate.htm

UKYA PROJECTS:

National Biennale: Derby 2010

 

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Ida Asadi

Visual art

There are a range of symbols in Ida's works; this is important. They collect fragments of symbols and pieces of history from different cultures, from art and from literature. Traditional mythology and folklore, fairy-tales, these all simultaneously influence and are Asadi's works.

The fictions are used to create worlds that can at once seem childlike or naïve, adult and disturbing, Containing verses from the past and objects of the modern world.

Asadi is obsessed with the natural world and attempts to understand it fully, whether it be current ecological issues or ancient ideas on paradisiacal gardens.

idaasadi.berta.me

 

plant

Series of watercolour and gouache paintings, created with cutting and stencilling.
These are a series of works that are using the human and fruit as symbols for a larger discussion on our attitude towards our natural world, and our destruction of it. however, I like to show things from a positive and humorous angel, and present works that can seem naïve or innocent; provoking feelings of sympathy or warmth.

UKYA PROJECTS:

National Biennale: Derby 2016

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Iffat Jabeen

Visual art

Iffat Jabeen had a passion for architecture. This transitioned into art and design, which evolved into photography and inspired her to study animation.
Her creations stem from everything surrounding her: absorbing every thought and vision, dreams and wishes, nightmares and fears.
With the constant aim to experience a new world she can call Home, she'll keep thinking, dreaming and fearing to create that world for others to see and feel with her.
She is currently based in Glasgow.

 

 

Persona

Persona is a series of images which represents hiding oneself and creating a personality one wishes they can be: to express the real (or even fake) you or to hide oneself from what they truly are.

They are open and somewhat ambiguous when it comes to their interpretation. One can suggest they desire freedom from some kind of suppression or perhaps wish to be suppressed. One can also say that they are hiding under that fabric, to create a new personality - someone who they'd rather be, hiding themselves for any reason you wish to assume.

UKYA PROJECTS:

National Biennale: Derby 2016

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Impulse Collective

performance

Impulse Collective are an emerging professional theatre company challenging the modern boundaries of theatre to create new and exciting work. They combined during their Actor training at The School of The Arts, Northampton University in May 2011 and formed professionally from September 2012. Their work has been described as 'Joyful, Youthful, Masterfully built' FringeGuru. The collective use large amounts of Verbatim, Comedy, Autobiography and Projection, which is often used in experimental ways. In 2014, they were awarded two Arts Council England grants to Research and Develop a new production, The Canterbury Tales.

www.impulsecollective.co.uk

The Canterbury Tales 

Following their smash hit Exposed at the 2013 Edinburgh Festival, young East Midlands based company Impulse Collective present their anarchic new take on Chaucer’s Canterbury Tales. With their trademark mix of mesmerising stories, physical theatre and projection, woven together with some of their own autobiographical tales, this show is what happens when 2014 meets the 14th Century. Expect tales of love, lust, murder and mayhem suitable for inquisitive young audiences and mischievous grown ups.

UKYA PROJECTS:

National Biennale: Leicester 2014

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Institute for Boundary Interactions

visual arts

We are a group of artists, designers, architects, technologists and creative producers who formed recently out of a collective interest in conducting practice lead research into the complex relationships between people, places and things. A large part of this is how technologically constructed spaces and things mediate our individual and collective practices and experiences.

The Town Crier

The Town Crier is a performative device that scans and reads out geo-located tweets from it’s immediate vicinity. Initially developed as part of a research project commissioned for Broadway Cinema’s Making Future Work program. We have since developed the work into a performance piece that explores the cultural texture of the urban data landscape by pushing this web content back into the physical context in which it was created.

boundaryinteractions.org

UKYA PROJECTS:

National Biennale: WEYA 2012

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Jae-Moon Lee

music

Jae-Moon Lee (born in Seoul) is a classical music composer. His orchestral and ensemble works have been presented in the UK, France, Spain, Italy, Austria, Slovakia, Mexico, Taiwan and South Korea. He is mainly based in the UK. In London, his ensemble works have been performed in the British Museum, and he wrote an orchestral piece for the London Symphony Orchestra as part of the Panufnik Young Composers Scheme.

even Days / Stained Glass / Mirror

Jae-Moon's orchestral work, Seven Days / Stained Glass / Mirror, written in his mid 20s was awarded the 1st prize at the Queen Sofia International Composition Prize, Spain, and premiered by the Spanish Radio and Television Orchestra. In this work, light, shadow and images of diverse stained glasses, which have many different colors, are shown in the place a composer imagines, and the images of raining on the stained glass are presented. The work has several varied dimensions. Between each dimension, there are surrealistically musical processes, and those elements are linked in unconventional ways.

YouTube Link

UKYA PROJECTS:

National Biennale: WEYA 2012

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Jamal Sterrett

performance

Jamal is a self taught dancer from a small area of Nottingham called St Ann’s. Typically labeled as an area of hard work, low pay and high crime rates St Ann’s is actually a place of highly talented people that resides within the heart of its community. Jamal got to know people from all parts of St Ann’s through his father’s place of work: community recording studio. which is the heart of the area for all artists. It’s people’s stories that inspire his art form, and the emotional rawness of its people that makes his art so heartfelt.

flexing forever

Flexing forever is a dance piece that aims to transmute the stories of the people in my community to then exude this energy through my body in the form of dance. Using the raw theatrical nature of flex dance and the storytelling of stop motion this piece will take you on a journey of uplifting feelings. Whether it's floating along a floor or contorting my body, every movement projects stories. Flexing gives you a sweet taste of bliss and a brief encounter of what’s beyond the physical body. It tests what you think you know about reality and expands your imagination on what’s possible.

UKYA PROJECTS:

National Biennale: Derby 2016

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James Lewis

My work explores how value can be bestowed on different materials. The Value and Worth Series is an ongoing series of neon signs that dictate the cost of production and shipping to the space they are to be exhibited in. The Centre of England is a maintained Ft ³ of earth that is taken from the geographical centre of England. Thanks to Mumum portrays a wooden boat that was commissioned by the artist's mother whilst on holiday and given to the artist as a present. Also on display is the Bronze replica made by the artist and given to his Mother as a "thank you."

UKYA PROJECTS:

National Biennale: WEYA 2012

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Jasleen Kaur

visual art

Jasleen Kaur is a Scottish Indian artist based in London. Brought up in a traditional Indian household in Glasgow, she is fascinated by the malleability of culture. Her work examines the continual adaptations and subtle changes in people’s behaviours and traditions, exploring how social histories become embedded in materials and objects. The idiosyncratic habits of family members inspire her work; refashioned objects are based on instinct and resourcefulness, reflecting a hybridity of national custom and reconsidering the realities of materiality, usage and everyday routine.

Jasleen is a visiting lecturer at The Royal College of Art and devises workshops and programmes for the Victoria & Albert Museum, National Portrait Gallery, Crafts Council and Sorrell Foundation. She exhibits worldwide with recent commissions including Baltic 39 Figure Three and Art on the Underground. She was awarded the Jerwood Makers Open 2015 and her work is part of the permanent collection of the Royal College of Art and Crafts Council.

www.jasleenkaur.co.uk

cairns

‘Cairns’ is a series of three touch lamps influenced by the act of my parents who for 30 days ritualistically prepared a joth (ghee candle) and placed it on a derelict plot of land by their house within a shelter of bricks and tiles, adhocly put together from rubble found on the site. They were advised by a saint to light the joth at sundown for thirty days to ward off negative energies. This project is explicitly personal, and explores the disparity between Indian and Western rationale through an object that expresses a confluence between two cultural ideas, values and aesthetics.

You are welcome to turn the Cairns on and off by gently touching the chrome components.

UKYA PROJECTS:

National Biennale: Derby 2016

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