My practice represents the relationship between nature, technology and even the sublime – as upon peering into another world with bold straight line structures which contrast curves and fluidity, the voids and chasms of space alluding to universes.
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As an artist, my main concern is challenging people to see the possibilities in beauty through pre-used building materials where others see functionality.
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The landscape contains many hidden ‘secrets’ ; ancient field systems identified through aerial photography, droves and tracks reinforced through thousands of years of constant use, or the more transient ‘memories’ of successive lines of a ploughed field.
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Gillian Ingham was educated at Ravensbourne College of Art (BA) and Chelsea School of Art (MA). She was elected to the London Group in 1981 and is currently Vice President. From 1990-2012 she was Head of Art at Kensington and Chelsea College.
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“Making makes, say, boxes and the boxes may be good to look at, but making always matters: so, if anything is to be made to last, it might as well be the making as the box”*
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As a Fine Art Photographer my work often relates to personal conflicts and human frailties.
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I have tried to undermine the authority of the gestural mark.
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Lightness fragility and ephemerality are recurring themes in my practice.
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I am an audiovisual artist and composer. My mainly abstract works are meditative environments as explorational spaces of aesthetic concepts. They examine microtonality, timbre, texture, colour and the self-similarity of image and sound, as well as the indeterminacy of change.
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For me, painting must operate independently of fashion if it is to make a meaningful statement.
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My art practice is a form of socially engaged portraiture and involves filming people in their place of work.
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Internationally acclaimed sculptor Jeff Lowe studied at St. Martin’s (1971-75). Taught by amongst others, Sir Anthony Caro, Philip King and William Tucker.
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Hannah Luxton makes paintings inspired by the natural sublime and the late 18th Century Romantic notion that a divine order resides within raw nature.
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In 1991 at the Triangle International Artists Workshop in New York State I had the opportunity to use Interference Colour, this was when, this new artists medium was not available in the UK.
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Words add little to paintings. They should present their own case.
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I work with photography, video and painting.
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Since 1994 I have been exploring a series of inter-related issues, which takes as a fundamental question: how can painting embrace decoration to disclose a narrative of loss and dislocation?
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My images begin in the dark and empty corners of abandoned places. Travel has become a big part of my imagery and I’ve seen a lot more of the world since taking photography.
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Systems interference artist. Appropriation and attempting to unearth the poetic in everyday, often dysfunctional, technologies, systems and bureaucracies. Strategies include misuse, misunderstanding, lampooning and tinkering.
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In recent years my practice has involved me in a continuous examination of modes of representation related to cultural history and cultural identity.
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Ian Parker was born in Wolverhampton and lived in England, Guyana and Nigeria as a child.
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A strong reoccurring emotion is my starting point for collecting thousands of internet images.
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My painting is semi abstract colourfield work and I draw my inspiration from the environment; I am influenced in particular by the minutiae of my surroundings.
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Sumi Perera is an interdisciplinary artist, academic & curator who draws upon her background as a doctor, scientist & artist (MA Camberwell College, University of Arts London 2004) working in the east (born in Sri Lanka) & west (lives in the UK).
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We don’t often get to see the subtle politics at play behind closed doors, but such domestic politics have arguably the most profound impact upon us all.
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I take the challenge to the contemporary visual arts (and music…) to lie in the void where language staggers to a halt and disintegrates.
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My work is concerned primarily with the appearance of memories and the objects associated with them.
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My recent paintings use the city as a starting point to explore formal issues of geometry and colour and to express the excitement and dynamism of the city.
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‘Edge of Town 2’ is from an ongoing series of paintings that are concerned with urban landscape and notions of travel.
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My work is concerned with creating spaces for people to inhabit, either actually or in the imagination.
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I have always regarded drawing as my way of coming to grips with an idea on the assumption that if I can generate a satisfactory graphic solution, I shall have reached a more complete understanding of its subject.
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Historically there has always been conflict between belief and rational thought, focused on the classifications of religion and science.
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“E.M. Forster’s dictum to “only connect” could be the guiding principal for Tom Scase.”
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There are several constants to Tommy Seaward’s process: his work is three-dimensional, always wall mounted and each piece is divided into three precisely spaced, vertically aligned segments.
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“David Shutt is an artist of passionate integrity who revels in the beauty of appearances. He sees painting as a process of identification and revelation rather than dry classification; and as a way of apprehending the world.”
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Painting is the backbone of my work. I have made installations, used video, was part of a performance group for eight years and produce photo-media works, but these in a sense refer back to and coincide with what is going on in my painting.
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I split my working time between steel and marble.
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My recent paintings refer to the experience of traveling through urban spaces, particularly subways, staircases & escalators & the way commuters movement & interaction is defined within them.
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