| "We meet, connect and exchange ideas. We make art and want to show it. Just as we evolve, so does each exhibition, which benefit from the range of disciplines, cross-pollination of ideas between artists, and the added ingredient of our music and film events. Our concept continues to grow with everyone who adds their inspiration, support, or a challenging new element to the collective experience."
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Kayde Anobile
The loss and subsequent gain of information is a central part of my
work. The images I construct are painted in encaustic paint using a
type of "paint by number" system. A pour of beeswax then covers the
paintings, risking destroying them, thereby both loosing and gaining
information.
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Charlesworth, Lewandowski & Mann.
Stranded between layers of moving ice, Charlesworth, Lewandowski & Mann are seeking to evaluate the tension between models of strife and inherent failure within which the masculine form is depicted. A low brow/ high drama scenario unfolds where the artists as preserved forever as members of an elite club. These are not movie star types.
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Martin Church
Acknowledging, investigating and portraying forms and structures is principle in my work. I want this also to reflect ways of looking at the world at large.
“Matter matters”.
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Katie Duckworth
My sculptures cover a range of materials and different methods of working.
My work takes its inspiration from the everyday. By this I mean I like to
focus my art practice around the mundane and everyday things that we do
without thinking, and see without seeing. It is when we watch someone else
being łnormal˛ that we realize just how bizarre human nature really is. In
my sculptures disparate Elements and references are combined together so
that they translate everyday experiences without communicating a readily
available sense.
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Stewart Gough
Stewart Gough’s sculptures are essentially formal works made in a constructivist vein. Playfully combining readily available D.I.Y store materials with a definite control of scale, form and colour; these works command sculptural presence and resonate with architectural ideology.
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Roselina Hung
My practice is predominately portraiture that examines the artifice in
re-presentations of history and memory. The paintings reflect on
contemporary society’s perception of singular and collective histories in
relation to their representation in photography and film. The works are
based on images taken from photographs, Hollywood films, and art history.
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Jorunn Maeland
Painting with volume or sculpture with pictorial qualities is what I am
interested in. This includes playfulness and the enjoyment of making but
also what I would like to call recycling of art history. In my attempt to
start a dialogue I would like to focus on the making of objects which can
produce pictorial interpretations even though they have three-dimensional
aspects. I am looking for a feeling of presence but at the same time a
pictorial representation. My practise is process based and is generally
synthesised in small scale installations.
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Chris Mayne
'My work comes from my interest in using painting as a means of freeze framing a moment, or drawing attention to the passing of time. Working abstractly to illustrate, in a kind of diagramatic way, something that occurs but is not usually visible, using found pattern and forms.'
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Robert Osborne
Robert Osborne's gaffer tape arrows invade the
architectural space. Using different colours on walls
and floors he creates two and three dimensional
weaves, drawing horizontal and vertical structures.
Deeply routed in the concept of the city and the
symbolism of signs, Osborne explores in his
installations how the arrow designates our environment
and leads us almost blindly though its space.
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Ishai Rimmer
I try to choose images that are beautiful and relevant to my life, and paint them in the most honest way I can. What I regard as important is the way the finished painting works for the person who is looking at it; if they find it beautiful and relevant to their life.
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Elizabeth Rimmington
Based upon documentation of movement and journey, my work is executed in two
ways: one through tracing of maps (both past and present) and the other
through a set of rules and systems. The schematic drawing is derived through
the numbers logged when I make or receive a telephone call, or am given a
receipt. This data is archived chronologically and is then coded and mapped
axonometrically. Each mark produced is predetermined before the drawing has
started and stands as evidence that I exist.
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Adam Wei
These stones and pillars floating in space are painted using line drawing of
Chinese watercolour technique. They make you feel that there is something beyond
us. They perhaps symbolise the power of the nature.They are real and
transparent. We cannot touch them. In the background of the paintings, these stones
and pillars flash poetic light to our soul, which has become colder and colder
because of our broken daily lives.
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Alice White
The compelling energy of my work is a plundering of documentation, a revisiting of people or places which are half-remembered, or which remain never entirely realised. I seek to present the transitory, almost exotic feel of experiences and instances as they become blurred and augmented by memory.
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Masaki Yada
The word 'layers' has been the centre of my art practice. Within the word I
deal with social and political issues. My main intention is to transform the
issues into a transcendent visual sensation with the elements of reality and
seeking an aesthetic moment in the complexity of the layers.
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