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Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike Bruce

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike BruceYao WangJon Higgins

Larissa BrennenLaura Johnson

Yao Wang

Jon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Yao Wang

Yao Wang

Mike Bruce

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike Bruce

Laura Johnson

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Jon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike Bruce Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Yao WangDave Fowling

Jon Higgins

Duncan RowlandLarissa Brennen

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Yao Wang

Mike Bruce

Yao Wang

Larissa BrennenLaura Johnson

Mike BruceYao Wang

Jon HigginsLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Dave FowlingJon Higgins

Duncan Rowland

Larissa BrennenLaura Johnson

Dave FowlingJon Higgins

Duncan RowlandLarissa Brennen

Mike BruceLarissa Brennen

Laura Johnson

Mike BruceYao Wang

Duncan Rowland

Laura Johnson

Dave Fowling

Previously graduating from the

Fine Art BA here at the University

of Lincoln, Fowling has progressed

onto the Master’s and with this

his practical work and theoretical

work has evolved. This final piece is

evidence of 2 years work during the

Master’s program.

The participation in Fowling’s work

will offer the audience no true

tangible evidence of a piece, only the

hastening doom of an experience

swiftly diluting into a memory, its

ineluctable disappearance. The

inevitability of ruin or destruction is

what drives Fowling’s practise but

not all ruin and destruction is neither

tangible nor evidential.

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Duncan Rowland (Untitled)?

With a background in computing arts

projects, Duncan Rowland believes

the purpose of technology should be

as a mechanism to bring individuals

closer together. His artistic practice

reflects this desire as he adopts a

holistic view of the Universe inspired

by digital physics and the algorists.

Rowland works in the medium of

‘information’, controlling ‘bits’ of

various size with brush and algorithm

alike.

Ever conscious that the effects of

manipulating information ripple

through the entirety of space and

time, nevertheless his focus is on

the human experience of the here

and now, with the aim of promoting

mindful encounters driving his work.

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James PhailyThe nature of James Phaily’s

practice is occult-led and deals

aesthetically with the channelling

of primal atavistic energies. It is

through the invocation,manifestation

and channelling of these essentially

spiritual energies in paint, sigil, found

object, cut-up and spell that he

has in mind the artistic intention of

creating a ruthless, archane esoteric

poesis that through the above stated

magickal children offers to both

viewer/reader and creator the sense

of an ongoing social/cultural and

historical mythology and narrative.

These atavisms apply themselves

intuitively and vitally to both the

conscious and perhaps more

importantly the unconscious mind.

James Phaily’s exhibit manifest itself

as a (cosmic) artefact structurally

rendered before you with artistic

intention set in place of an intertextual

mythopoeic (subjective) universe. It’s

arachnean receptors and connectors

weave a chaospheric narrative based

on magickal foundations8

Jon HigginsAeterno GratiaTimeless in Grace

Sat aplomb and untrammelled

against the milieu of azure skies,

these alluring archaic aeroplanes

are the superlative creation of an era

when the romantic dream of flight

exemplified the spirit of their time.

E. Jeppesen wrote “A pilot is a

technician, An aviator is an artist in

love with flight”. Jon Higgins is an

aviator in every sense of the word,

for him flight and art are intrinsically

linked. Drawing inspiration from

the romantic era of maritime

painters and contemporary aviation

photographers, Higgins’ practice

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captures the atmosphere and

sentiment that these antediluvian

aeroplanes generate within their

naturalistic environment.

Larissa Brennen

Larissa Brennen’s work explores

nostalgia, humour and the macabre.

Naturally preserved animal carcasses

are snapped and ripped apart. Their

heads and limbs are removed and

reattached to children’s’ toys. These

carcass puppets born from violence,

shudder into a semblance of life

through narrative

and animation.

The hybridization

of carcass and toy

come together

within a constructed

theatre of abject

repulsion and

insanity. An

uncanny theatre

that destabilizes the boundary

between reality and fantasy through

the destruction of childhood

objects. Brennen’s carcass

puppets have a morbid humour; as

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the characters take on subtle

anthropomorphised traits. The

old dead rabbit starts his life as

a scientist and then becomes

a baby; the two mice become

naughty children. The pigeons

and rats remain as they were in

life but have slight cannibalistic

traits. All of the carcass puppets

spend their time obsessing with

experimenting and killing each

other.

Laura JohnsonOusia

“In order for there to be an event,

there must be an “intervention” which

changes the rules of a situation in order

to allow that particular event to be”

Formlessness is a process within an

event, an energy that is released for a

change to take place. Like the ‘event’,

formless can never exist alone, it must

share an objects spacial location;

both cannot be without one-another.

Laura Johnson begins with her studio

being the intervention within a space,

Johnson activates the event through

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the manipulation and transfer of energy

to the material, this happens by mixing

the plaster and is released through the

act of pouring. When the plaster is

released, a period of ‘formless’ begins;

the plaster is in flux until it hits a surface.

The plaster then settles itself and sets

into its ‘true form’. The event is over.

Johnson’s interest in events began

with formlessness and how materials

take control of the artworks outcome.

It is this process of the artist setting

off a chain of events and the material

completing the chain.

Mike Bruce

‘in antiquity, irish scholars were known

for their practice of ‘navigatio’, a journey

undertaken by boat - a circular itinerary

of exodus and return. The aim was to

undergo an =-apprenticeship to signs

of strangeness with a view to becoming

more attentive to the meanings of one’s

own time and place - geographical,

spiritual, intellectual’ Richard Kearney

(2006)

These ‘signs of strangeness’ in the

landscape - the familiar becoming

unfamiliar underpins what Mike is

trying to convey through his art. It is a

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theme engaged with by several artist

across many art disciplines. Particularly

interesting to Mike are the works of

Graham Sutherland (especially his small

drawings which explore the ‘exultant

strangeness’ encountered on his

frequent walks in the landscape) and

Robert McFarlane through his book

‘The Old Ways - a Journey on Foot’ in

which he describes experiencing the

landscape in fresh ways.

Yao Wang

The Curatorial Practice project

“Accidents Need Not Happen” has

responded the ‘Media Archive for

Central England’ (MACE) that is the

screen archive for the Midlands in the

UK, in while curated by Wang Yao on the

MA Contemporary Curatorial Practice

course.