SIMEON BARCLAY KATRIONA BEALES TARINI BISWAS LUCY BOYLE SAM BUNN MIRIAM BURKE SE EUN CHO ULTAN COYLE ROSIE FARRELL MARIA GAFAROVA HUW GREENWOOD OLGA GROTOVA JU HEE HONG YEONSEO HONG NICHOLAS JOHNSON CHARLOTTE JONERHEIM SUE JUNG JESSICA KILPATRICK JEAN KIM JAMES LANDER MIN JI LEEAHN HANNAH LEES SOPHIE MACDONALD VANESSA MAURICE-WILLIAMS CLAIRE MCARDLE PAUL MCGOLDRICK JAIME MIRANDA BOMI MOON PAULA NEUMANN EMMA O'CONNOR POST UCY BOYLE UCY BOYLE AM BUNN AM BUNN IRIAM BURKE IRIAM BURKE EUN CHO EUN CHO GRADUATE ARIA GAFAROVA ARIA GAFAROVA UW GREENWOOD UW GREENWOOD LGA GROTOVA LGA GROTOVA HEE HONG HEE HONG DIPLOMA CHOLAS JOHNSON CHOLAS JOHNSON HARLOTTE JONERHEIM HARLOTTE JONERHEIM UE JUNG UE JUNG SSICA KILPATRICK SSICA KILPATRICK FINE IN JI LEEAHN IN JI LEEAHN ANNAH LEES ANNAH LEES OPHIE MACDONALD OPHIE MACDONALD ANESSA MAURICE-WILLIAMS ANESSA MAURICE-WILLIAMS LAIRE MCARDLE LAIRE MCARDLE ART AIME MIRANDA AIME MIRANDA OMI MOON OMI MOON |11 MA O'CONNOR MA O'CONNOR HYUNHWA OH OLIVER PALMER LUIZ PEGORARO JESSICA PIDDOCK TOM RAILTON FANNY SANTINI LENE SHEPHERD ELENA STRYGINA SARA TAGHDIMI ANN THOMAS LUCY WHITFORD ANGHARAD E.P. WILLIAMS SANDRA WROE CHELSEA COLLEGE OF ART AND DESIGN
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SIMEON BARCLAYKATRIONA BEALESTARINI BISWAS
LUCY BOYLESAM BUNNMIRIAM BURKESE EUN CHO
ULTAN COYLEROSIE FARRELL
MARIA GAFAROVAHUW GREENWOODOLGA GROTOVAJU HEE HONG
Every January approximately forty individuals come together to do the Postgraduate Diploma in Fine Art. They come with different expectations, from diverse backgrounds, each with their own version of that old thing called Art. Over the course of 30 weeks they begin again, and again, challenging themselves, taking risks, questioning who they are and what they do. And I get to take part in this process, helping artists who are willing to put themselves through the anxiety of not knowing. And then be surprised by the answers they come up with.
This kind of experience is becoming a rarity. The professionalization of art has created institutions, artist-run spaces and artists who have swapped productive uncertainty for the straightforward clarity of about-ness. Artists are no longer encouraged to develop their idiosyncratic qualities, but instead told to apply an established idea of Quality. So, for all its romantic messiness I still believe in and value the kinds of attitudes in form that we see at Chelsea and particularly the PG Dip. Art and artists that still surprise us into feeling the world differently.
Babak GhaziCourse Director Postgraduate Diploma in Fine Art
Chelsea College of Art and DesignPostgraduate Diploma Fine Art Show
How are rapid technological changes aff ecting human ways of being?
“The acceleration of the surrounding world of signs, symbols and info-stimulation is producing panic… Depression is the deactivation of desire after panicked acceleration. When you are no longer able to understand the fl ow of information stimulating your brain, you tend to desert the fi eld of communication, disabling any intellectual and psychological response.”1
“Every technology contrived and outered by man has the power to numb human awareness during the period of it’s fi rst interiorization.”2
1. ‘The Soul at Work from alienation to autonomy’ (2009) Franco “Bifo” Berardi p. 214 2. ‘the Gutenbery galaxy’ (1962) Marshall McLuhan p. 153
My paintings are expressions of my emotional reactions to the various things that surround me in my day to day life. Without having any preconceived notion I like to use spontaneous rough and energetic strokes, using colour and texture to reveal the physical energy used in
While making my paintings I have a certain recall of the circumstances of their first inception, I am daydreaming.‘I like the idea of just kind of getting lost in the reverie, which makes the painting matter, makes it good, makes it great’ (John Currin)The making and enjoying of fictions is typified by the losing of ones’ self, in reverie, identifying with a character, with their mental state. This process is necessarily interior, much like the way the main protagonist of Jack London’s novel, ‘The Star Rover’, discovers how to withstand torture by entering a trance state, in which he travels among the stars and relives sequences of his past. Similarly, in the film ‘The Name of the Father’ the character portrayed by Pete Postlethwaite describes how, although physically in prison, every evening in his imagination he goes for a walk with his wife.
By partly relinquishing control to nature or a generative system, my work become the means by which absent images are able to communicate themselves; to explore the moment in which the familiar becomes new and to exploit a brief tension that unsettles and uncovers new ways of seeing.
rOsiE FarrELLBorn 1983, UK. Lives and works in London.
Born in 1986 in St. Petersburg, Russia, received BA (Hons) from Central St Martins. Participated in group exhibitions at Bankside Gallery, Truman Brewery, Delfina Gallery and others. Currently lives and works in London.
JU hEE hOnG http://www.flickr.com/photos/64338872@N08/[email protected]
In using diverse material combinations, I have been developing ideas around an awareness of the relationship between nature and high technology. Throughout my practice, I would like the viewer to more clearly perceive our relationship to the world and the spaces which we inhabit. To achieve this I use ironic, questioning and playful, methods and forms, to further imbue the viewers’ experience of the present with the past and future, from which the present can never be separated.
‘I would have wishedto fly over the streetwhere there my flat shadowhad been holding my feet.
I was flying over the streetslipping down my shoes on the groundwith soft steps,as higher as my foot steps weretouching the air.
“Mum, I cannot fly anymoreeither up to the sky ordown to the blue sea.
I have lost my home.”’(Yeonseo Hong, extracted from artist’s note dated on 11/11/2009.)
I am attempting to survive the lost, distant, inbetween and hybrid identity of mine, brought about by the cultural displacement from Korea to the U.K, via painting. In the painting, I am creating a haptic sensation, particularly keen to see the temperatures of the energy from human beings and objects which are related to me.
I think an informal attraction to bygone times can remain critical if it is filtered through contemporary means and attitudes. In my recent work I remake images from horror films that have stylistic similarities to historical romanticism. I use video, glitter, charcoal, crystals etc. to revise these images.
10th Feb 2011 Last night, there was a bird singing or crying right outside my window. It started to sing around 2.00 am. I couldn’t sleep at all. 11th Feb 2011 I decided to use my lamp to drive the bird away, because it must be very close to my window according to the sound. The flash would threaten the bird, hopefully. 12th Feb 2011 Using the lamp actually worked. I believe it made the bird scared. When I flashed the light on the outside of the window, the bird stopped crying or singing, but it was groaning. I suppose it really want to cry or sing or whatever. 13th Feb 2011 It didn’t cry, so I slept well. 14th Feb 2011 So annoying. It was crying a lot, I really wanted kill it, really. 15th Feb 2011 It still started crying around 2 o’clock. And I’m still using the strategy – using my lamp. It has been worked, at least for the short moment. 16th Feb 2011 Using the lamp again. 17th Feb 2011 Using the lamp again, damn. 20th Feb 2011 Using the lamp, no surprise. I believe it’s a baby bird that is just hungry. That’s sad somehow. I’m sorry for it but I need to sleep. 24th Feb 2011 I’m sure it’s not here anymore. It has gone. Now I can sleep properly. 25th Feb 2011 It’s not here. But I woke up around 2am. 26th Feb 2011 I realized that I’ve never seen it. I hated what I hadn’t seen. 27th Feb 2011 Maybe it was just a dream, maybe it’s never been here. Never sang, never cried. 28th Feb 2011 I’m thinking of where the bird is now. Somewhere outside. Somewhere inside of me.
There is a bird There isn’t a bird There is the bird
There isn’t the bird There isn’t a bird There is the bird
I follow emotional instinct to create obscure, dark and uncanny worlds, a meeting point for the characters of my imagination and reality to collide. My drawings reference madness, Outsider Art and being driven by intuitive necessity irrespective of audience, favouring impulse over rationality. I try to escape from mundanity by creating an individual cosmology littered with the mysteries of imagination, dreams and nightmares, whilst being overcast with the shadows of real life. I have translated these strange worlds into narrative photography, creating elusive characters with obscured identities and enigmatic, forlorn scenarios set in ambiguous, lost time periods.
One of the most interesting things about human beings is their imperfection. As the proverb says ‘A beautiful thing is never perfect’. It is our imperfection that makes for interesting fi ndings and food for thought, and that is the beauty of our imperfection. Precisely because we are not a formidable, perfect creature, we try other means, when something gets in our way. Likewise, I fi nd that what is called perversion, is a process of adaptation. We must follow the rules of the society they belong to. While doing so, we must control ourselves, and this leads to distorted desires. One who distorts the process of adaptation might end up in jail, or in a mental asylum. Apart from judging what is right or wrong, I want to look at this human perversion as part of a normal process, as we change so as to survive a changing environment or society.
To disrupt the architecture of the institution is to question what rights an individual has to their own body and to space. To subvert what is imposed from above is to interrogate notions of ascribed status and sovereignty, in Georges Bataille’s terms ‘an aspect that is opposed to the servile and the subordinate’. Situated aside from the bourgeois conception of autonomous art, defi ned by Peter Bürger as the ‘apartness of art from the praxis of life’ historically associated with courtly patronage, the spectator is placed somewhere they cannot help but feel put-upon. Choreographed spectatorship, enforced by common materials, embodies the opposite of aristocracy and develops Antonio Negri’s case for the empowerment of the poor person, asserting autonomy not in individual production, rather in the collective imagination of what art is not, as Jacques Ranciére sets out ‘The autonomy is the autonomy of the experience, not of the work of art’.
My work explores the intrinsic value of waste: I collect discarded objects and arrange them into art objects. A revaluation of disused objects as art is a significant element in my art practice. The sale of each work is donated to a non-profit organization, which is the source of my inspiration. Through this process, I address the pivotal awareness of the audience towards social issues and their participation in such causes.
My themes tend to develop as a personal enquiry into issues I am faced with or drawn to.I have always painted the image of the female body. I painted her naked, until recently when I became more interested in exploring how women are seen in the world, how women present themselves; the roles/clothes that they choose or are chosen for them. My work is exploring the tensions between all these aspects of the feminine. So I have now begun to paint my women clothed and more recently, veiled.I was raised in west London in a community which was remarkably ethnically diverse. In recent years the Muslim population has grown considerably and I have become friendly with many women from this background. My daughter attends a school where many of the parents are Muslim. Their customs and traditions have fascinated me deeply into an exploration of my own feelings regarding the complexities of the veil.
At present I am interested in making three dimensional colour structures that seep out of their boundaries in a cascading, precarious manner. These chaotic installations hint at not only colour’s madness and refusal to be contained, but also highlight the excess of visual stimulants in today’s society. I use bright, densely saturated colours and incorporate childlike materials, such as felt, plastic, sand and marbles to create a sense of discovery and wonder. I want to emphasise the immediacy of colour and the notion that colour communicates with us faster than any other visual or verbal communication. The works are discussions on painting, and unlike sculpture these environments can not be physically interacted with.
Paul McGoldrick’s practice fuses his social experiences within the urban landscape. He often uses performance as his chosen medium to replicate these everyday occurrences; the acts often relate to issues regarding our behaviour within institutional venues such as the art gallery, they can be sometimes as subtle as exhibiting himself as a waiter on a opening night, to the extreme of cycling around an exhibition. There are also inclusions of time within his work making connections between the fast paced culture that we live in and the rise of mass production and technologies having psychological effects on society.
I am exploring the symbolic approach to the powers of nature and the concept of human spiritual transcendence. I believe in the influence of spiritual experiences for emancipation from the social manipulation of extreme capitalist institutions.
I use sculpture, performance and photography to manifest the contrast between shamanic and materialistic belief systems. My work is supported by the aesthetics of documentation and it is exposed through gallery exhibitions, online platforms and the distribution of hard-copy documents.
My recent project, “The Pillars of the Empire”, is an interven-tion of the ‘archeological’ remains of a pier in Greenwich. While I was carving the wooden skeleton of this old pier I felt I was uncovering a message from nature. Like a shaman play-ing with the British Empire’s ‘bones’ and the symbols of mate-rial power surrounding the sculptures, such as: The Old Royal Naval College, Greenwich Meridian Line and Canary Wharf financial district.
Once upon a time I talked with my teacher in her office. “Um...Bomi, ... (I do not remember what she talked about me before this sentence) You are so dreamy (She was right)...you should be a practical person (I am not sure about this).” . . . “Would you like to stay in your dreamy world forever?” I did not answer but I knew the answer.
Several years later, I was looking outside through my window.(I still remember the time... It was 1:57 am.)There were three white rabbits.I hesitated to talk to them.
Exploring the dialogue between desire and postmodern consumerism my work plays around, visually and conceptually, antagonistic figures: inner and outer, limit and excess, fullness and void, repetition and variation. These contrasts are expressed through series of unstable objects, intending to find subtle differences that reveal to me the possibility of individuality.Earlier series refer to “material forms” of consumerism whereas others, particularly in which human forms convey, reflect an interest in the Self and how the same capitalistic logic is resembled in personal bounds, conceiving the subject as a consumer object itself.My latest approach has introduced the use of disposable objects and materials as a way to metaphorically depict this rationale: polythene bags and raincoats are some of the elements to be found. The pieces suggest ongoing processes of metamorphosis and dissolution, questioning the form that desire takes in accelerated and ever changing contexts.
My work simultaneously explores issues of escape and presence. I use various methods, materials and processes to investigate the tension that exists between the desire to escape, to be weightless and free, and the notion that the antidote to the desire to escape exists in ‘being present’. Fiction is often used as a means to escape and as such the work often blurs the lines between fiction and reality and leans towards narrative.
“The invention of the ship was also the invention of the shipwreck.” –Paul Virilio-Technology has expanded a journey of human travel-ling as well as human per-ception of the universe. In this way modern physics has broadened the horizon between the human abil-ity to conceive and real-ity. Influenced by scientific theories such as The Big Bang and the Holographic universe, I am inquisitive about cosmology, human consciousness and imma-terialism. My work ques-tions our knowledge of the external world. I have been experimenting with mir-rors, projected images and light. I think this is what we would perceive in a Holo-graphic universe.
A decorative aesthetic is at odds with the inherent brutality within my work. I see physical violence as a decoy lying on the surface of underlying systemic problems. Juxtaposing ‘trivial and tragic’ refl ects the way that we consume violent imagery on a daily basis and become anaesthetised to the horrifi c.
This work stands as an interpretation of a hypothetical environment for a proposed collaboration made manifest; the correspondents separated by distance, time and professional status, the gaps filled with my guesswork and hopeful speculation
At the end of the day. Between dogs and wolves. My photographs explore the notion of the in-between, showing a time both real and unreal. The photographs are thought of as a place to escape, giving no clue of the space, just a place for the mind to evolve.
The impression that objects and works of art cannot be defined in isolation from their setting is crucial. The work encompasses the physical location of the audience with a distorted translation of that situation in the form of drawings, sculpture and moving image. Using distortion to qualify the space by combining varying perceptions gained from movements around the works of art and within the spaces to create a whole/gestalt. A rejection of the two fundamental aspects of Euclidean space is adopted to emphasis that new ways of perceiving and exploring space through movement is needed.
Life is a blink. Life is a long journey. Who are we? What do we want? What are we afraid of? Are we all the same? Are we different? Do we understand each other? Do we know our own selves? Communication between people and my relationship with myself are the key themes in my work. The kaleidoscope of social interactions fascinates me. Behavioral patterns, stereotypes and misunderstandings, identity crises and personal dramas are as attractive to me as tubes of bright colours are to a painter.
Narrative image making in two and three-dimensional spaces can be considered as the main field of my practice in fine art and illustration. I am currently involved in creating multi-sectional projects including illustrative characters in installations along with other fabrics and images. I am interested in making narrative situations and communicative projects which would involve the audience as a part of them. The concept of my recent project is involved with the notion of dream and imagination in art and its role as an escape from the boundaries and limitations of societies especially in countries like mine, Iran, in which the artists can introduce a dream-like world of freedom and creativity beyond the limits existing in everyday life. And I also have a look on the general male power in my country and present a genderless place with innocent characters where there will be less troubles.
The central theme of my work is psychogeography and its’ influence on personal identity. I am presenting a series of self portraits where my own features are fused with the projected identities of painters, rock stars and performance artists. This amounts to an attempt to re-capture or bring back the impact of their work when encountered for the very
“We live somewhere: in a country, in a town in that country, in a neighbourhood in that town, in a street in that neighbourhood, in a building in that street, in an apartment in that building.” (Georges Perec) [space] My work explores the “overlooked” in everyday life and considers the significance of apparently mundane spaces and locations. The work is concerned with Looking and Being in a place at a certain time. I am currently using video alongside installation.
Babak Ghazi and Steve KleeAll the techniciansOur sponsors - Crosta & Mollica, Tiger Beer and Hitachi
Crosta&MollicaR E G I O N A L I TA L I A N B R E A D S
Supplier of the snacks for the PG Dip Fine Art show 2011Tel: 020 7224 2488 Email: [email protected]
Crosta & Mollica Last Year Catalogue (Jun 2011).indd 1 04/07/2011 07:46:27
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