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Jyoti Bharwani

MA Fine Art

Jyoti Bharwani is currently Co-Chair of Students, Artist Resident Trustee and MA Fine Art 2020 graduate.

Untitled, 2020, cast glass painting and sculpture, 55 x 45 x 80 cm

Water Knots (detail), 2020, watercolour on canvas, 15 x 15 cm

In my practice, I use a range of media from large-scale oil paintings and two-dimensional works in cast glass to etchings and sculpture. I draw on Eastern philosophies and New Materialist theories, both of which emphasise the fluid and interdependent connections between humans, material and the planet. ​​​​

Vasanas of Stone series 1 (detail), 2021, oil on canvas, 20 x 20 cm

Efflorescent Shakti and In a Nutshell (installation shot), 2021, etching and sculpture, 300 x 200 x 150 cm

I use materials with an openness to processes of change and chance. In turn I have found lived experiences of Eastern philosophies such as Tantra’s feminine perspective feed into the materials’ inner make-up through journeys of production. These influences and impressions contribute to the visual and physical qualities of the work revealing levels of buoyancy, transparency, elasticity and motion. Similarly, the theorist Jane Bennett suggests that humans possess the capacity to witness the 'ruckus of things'. This heightened perception can sense forms of intelligence in other entities and systems such as fine-water spray and discarded trash. I harness this receptivity with the aim of making work with a less human-centred emphasis.

Vasanas of Stone series 1(installation shot), 2021, oil on canvas and sculpture, 300 x 400 x 150 cm

Vasanas of Stone series 2 (detail), 2021, oil on canvas, 60 x 60 x 15 cm

I aim to highlight ideas of boundaries and control within the materials’ relationships. with an intention to make works that draw attention to the vital materiality present in reality which we have little control over, but are wholly part of. 

Jyoti Bharwani is currently Co-Chair of Students, Artist Resident Trustee and MA Fine Art 2020 graduate.

Untitled, 2020, cast glass painting and sculpture, 55 x 45 x 80 cm

Water Knots (detail), 2020, watercolour on canvas, 15 x 15 cm

In my practice, I use a range of media from large-scale oil paintings and two-dimensional works in cast glass to etchings and sculpture. I draw on Eastern philosophies and New Materialist theories, both of which emphasise the fluid and interdependent connections between humans, material and the planet. ​​​​

Vasanas of Stone series 1 (detail), 2021, oil on canvas, 20 x 20 cm

Efflorescent Shakti and In a Nutshell (installation shot), 2021, etching and sculpture, 300 x 200 x 150 cm

I use materials with an openness to processes of change and chance. In turn I have found lived experiences of Eastern philosophies such as Tantra’s feminine perspective feed into the materials’ inner make-up through journeys of production. These influences and impressions contribute to the visual and physical qualities of the work revealing levels of buoyancy, transparency, elasticity and motion. Similarly, the theorist Jane Bennett suggests that humans possess the capacity to witness the 'ruckus of things'. This heightened perception can sense forms of intelligence in other entities and systems such as fine-water spray and discarded trash. I harness this receptivity with the aim of making work with a less human-centred emphasis.

Vasanas of Stone series 1(installation shot), 2021, oil on canvas and sculpture, 300 x 400 x 150 cm

Vasanas of Stone series 2 (detail), 2021, oil on canvas, 60 x 60 x 15 cm

I aim to highlight ideas of boundaries and control within the materials’ relationships. with an intention to make works that draw attention to the vital materiality present in reality which we have little control over, but are wholly part of. 

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Alexandra Sivov

MA Fine Art

60 000 Children, 2020, acrylic and gouache acrylic on canvas, 153 x 189 cm

My practice involves the translation of the world that I experience through contemporary news media into large scale paintings, silkscreen prints and works in glass. Given that the meanings of words and images are largely dependent on the nature of the medium through which they are transmitted and tend to reflect the viewpoints of those who convey them- the 'truth value' of news information becomes elusive being subject to manipulation and bias. The works I create aim to reflect on these conditions and involve a complex making process.

Filling the Dreams, 2021, acrylic and gouache acrylic on canvas, 153 x 188 cm

The Price, 2020, acrylic and gouache acrylic on paper, 80 x 110 cm

I start by translating elements of the selected news photographs that I find the most striking into simpler shapes. I then manually transfer these to small wood blocks that I carve and use to make prints. I take photographs of these prints and manipulate them on a computer in order to arrive at a new composition. Finally, I silkscreen these images onto paper or glass, or project them onto large sheets of paper or canvas, which I then paint. The finished paintings resemble large-scale prints. 

My practice reflects my interest in the works of a number of artists, including Kara Walker, Sigmar Polke and William Kentridge in terms of their political engagement and their working methods. 

A Lai, 2020, Flash paint on canvas, 143 x 178 cm

What will you do about it?, 2021, etching print on paper, plate size 20.5 x 29.4 cm, paper size 29.7 x 42 cm, unique edition.

The Masks, 2020, etching print on paper, plate size 20.5 x 29.4 cm, paper size 29.7 x 42 cm, edition 1/10.

Masks Off, 2020, screen print on paper, 35 x 50 cm, unique edition.

Please Wait, 2020, cyanotype on paper, 24 x 32 cm

60 000 Children, 2020, acrylic and gouache acrylic on canvas, 153 x 189 cm

My practice involves the translation of the world that I experience through contemporary news media into large scale paintings, silkscreen prints and works in glass. Given that the meanings of words and images are largely dependent on the nature of the medium through which they are transmitted and tend to reflect the viewpoints of those who convey them- the 'truth value' of news information becomes elusive being subject to manipulation and bias. The works I create aim to reflect on these conditions and involve a complex making process.

Filling the Dreams, 2021, acrylic and gouache acrylic on canvas, 153 x 188 cm

The Price, 2020, acrylic and gouache acrylic on paper, 80 x 110 cm

I start by translating elements of the selected news photographs that I find the most striking into simpler shapes. I then manually transfer these to small wood blocks that I carve and use to make prints. I take photographs of these prints and manipulate them on a computer in order to arrive at a new composition. Finally, I silkscreen these images onto paper or glass, or project them onto large sheets of paper or canvas, which I then paint. The finished paintings resemble large-scale prints. 

My practice reflects my interest in the works of a number of artists, including Kara Walker, Sigmar Polke and William Kentridge in terms of their political engagement and their working methods. 

A Lai, 2020, Flash paint on canvas, 143 x 178 cm

What will you do about it?, 2021, etching print on paper, plate size 20.5 x 29.4 cm, paper size 29.7 x 42 cm, unique edition.

The Masks, 2020, etching print on paper, plate size 20.5 x 29.4 cm, paper size 29.7 x 42 cm, edition 1/10.

Masks Off, 2020, screen print on paper, 35 x 50 cm, unique edition.

Please Wait, 2020, cyanotype on paper, 24 x 32 cm

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Clare Davidson

MA Fine Art

Observation i, 2020, Indian ink on cartridge, 56 x 76 cm

My work aims to depict space through colour and line. It is the experience of looking at the work and feeling how it unfolds that is my main concern, rather than depicting a specific place or thing. Most of my work starts with drawing and extrapolating from something seen and experienced first-hand into a more abstracted image. I work across a range of media, from printmaking and collage to painting, making both small scale images and far larger immersive works.

Observation ii, 2020, Indian ink on cartridge, 56 x 76 cm

Peering, 2020, acrylic on canvas, 95 x 175 cm

Pink Threshold, 2020, acrylic on canvas, 55 x 89.5 cm

Trapped Lung, 2020, acrylic on canvas, 25 x 35 cm

Openings, windows, doorways and in between spaces are all of interest. My intention is to create images that pull the viewer in and let the eye linger. It is about the relationship between the maker, the image, and the suggested world beyond the canvas or piece of paper. I want to convey time – the time it took to make the work and the time it then requires to experience the work. It is about looking and seeing. I want to create pictorial spaces that can be inhabited and lingered in. I am especially interested in depicting shapes that might be suggestive of the real world but not entirely knowable or recognisable. This tightrope between abstraction and figuration is at the essence of my work.

Unlikely Opportunity, 2020, acrylic on canvas, 135 x 155 cm

Observation i, 2020, Indian ink on cartridge, 56 x 76 cm

My work aims to depict space through colour and line. It is the experience of looking at the work and feeling how it unfolds that is my main concern, rather than depicting a specific place or thing. Most of my work starts with drawing and extrapolating from something seen and experienced first-hand into a more abstracted image. I work across a range of media, from printmaking and collage to painting, making both small scale images and far larger immersive works.

Observation ii, 2020, Indian ink on cartridge, 56 x 76 cm

Peering, 2020, acrylic on canvas, 95 x 175 cm

Pink Threshold, 2020, acrylic on canvas, 55 x 89.5 cm

Trapped Lung, 2020, acrylic on canvas, 25 x 35 cm

Openings, windows, doorways and in between spaces are all of interest. My intention is to create images that pull the viewer in and let the eye linger. It is about the relationship between the maker, the image, and the suggested world beyond the canvas or piece of paper. I want to convey time – the time it took to make the work and the time it then requires to experience the work. It is about looking and seeing. I want to create pictorial spaces that can be inhabited and lingered in. I am especially interested in depicting shapes that might be suggestive of the real world but not entirely knowable or recognisable. This tightrope between abstraction and figuration is at the essence of my work.

Unlikely Opportunity, 2020, acrylic on canvas, 135 x 155 cm

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Connie Cubitt

MA Fine Art

When it counts, 2020, acrylic & graphite on canvas, 150 x 200 cm

My work is primarily concerned with intimacy and attachment as it is remembered and reinvented through absence. I use a personal archive of diaries, letters and the debris of old lives to inspire my large abstract paintings and small-scale, text-based works. Central to my practice is the notion of generating a space within which “language” is obscured, articulation is rejected, and a kind of map of bodily gestures that appear to have an addressee can be “read” (in an occasionally epistolary form without all the legibility.) The development of my recent work has been a lesson in sparseness: an attempt to represent the intensity of losing intimacy in the seemingly simple act of drawing the line.

We can change, 2020, graphite & acrylic on canvas, 123 x 195 cm

Maybe you, maybe me, 2020, acrylic, charcoal & graphite on canvas, 123 x 195 cm

The foot of my bed, 2020, acrylic & graphite on canvas, 165 x 122 cm

Letter about weekends, 2020, watercolour pencil, graphite, fine liner and masking tape on paper, 21 x 29.9 cm

Brittled by the day, 2020, etching print, 21 x 29.7 cm, 1/4

When it counts, 2020, acrylic & graphite on canvas, 150 x 200 cm

My work is primarily concerned with intimacy and attachment as it is remembered and reinvented through absence. I use a personal archive of diaries, letters and the debris of old lives to inspire my large abstract paintings and small-scale, text-based works. Central to my practice is the notion of generating a space within which “language” is obscured, articulation is rejected, and a kind of map of bodily gestures that appear to have an addressee can be “read” (in an occasionally epistolary form without all the legibility.) The development of my recent work has been a lesson in sparseness: an attempt to represent the intensity of losing intimacy in the seemingly simple act of drawing the line.

We can change, 2020, graphite & acrylic on canvas, 123 x 195 cm

Maybe you, maybe me, 2020, acrylic, charcoal & graphite on canvas, 123 x 195 cm

The foot of my bed, 2020, acrylic & graphite on canvas, 165 x 122 cm

Letter about weekends, 2020, watercolour pencil, graphite, fine liner and masking tape on paper, 21 x 29.9 cm

Brittled by the day, 2020, etching print, 21 x 29.7 cm, 1/4

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Ema Mano Epps

MA Fine Art

Ema Mano Epps (MA Fine Art 2019) is currently Co-Chair of Students, Artist Resident Trustee at the Art School. This is a showcase of work Ema has made during her residency.

 Apart Together, 2020, earth pigment, fern roots, human hair on paper, 40 x 30 cm [Detail]

When Dreams Feel Real, 2021, recycled marble, ink, enamel paint, earth, varied dimensions [Sequence]

'Bringing improper materials together in harmony demonstrates that balance is possible. Perhaps if we can see balance at play we can emulate it.'

My work is sculptural materiality at play, site specific and process based. I play with contradictions and tensions between non-conforming performative materials until I sense balance. The traces of natural and manmade blur in the alchemy of making, resulting in an ephemeral aesthetic with an element of impermanence. I work across mediums and use proto-scientific research methods. The fluid dynamics in my work - between the domestic, urban and organic elements holds an unapologetically effeminate narrative. I make a conscious decision to utilise predominantly recycled and organic materials.

Together, 2020, paper, paint, tree, varied dimensions

We are the Universe, 2021, handmade recycled cotton paper and cyanotype emulsion, 40 x 30 cm (slightly varied)

My practice stems from a perspective that places touch as the primary sense, this is manifested in my sculptural space interventions, drawing on the instinctive sensibilities in an audience; 'from melted and fluid to hard and resolute.' - Emma Gittens, writer

Moments of the heart, 2021, red wine, blackberry, turmeric and acorn inks on kitchen paper in glass bell mahogany base jar

Chronology - Glass parcel sculpture series No.1, 2020, recycled glass and phone cable, human hair, soil, recycled zinc and copper, food packaging, mask, foliage, shell, 16 x 15 cm

Ema Mano Epps (MA Fine Art 2019) is currently Co-Chair of Students, Artist Resident Trustee at the Art School. This is a showcase of work Ema has made during her residency.

 Apart Together, 2020, earth pigment, fern roots, human hair on paper, 40 x 30 cm [Detail]

When Dreams Feel Real, 2021, recycled marble, ink, enamel paint, earth, varied dimensions [Sequence]

'Bringing improper materials together in harmony demonstrates that balance is possible. Perhaps if we can see balance at play we can emulate it.'

My work is sculptural materiality at play, site specific and process based. I play with contradictions and tensions between non-conforming performative materials until I sense balance. The traces of natural and manmade blur in the alchemy of making, resulting in an ephemeral aesthetic with an element of impermanence. I work across mediums and use proto-scientific research methods. The fluid dynamics in my work - between the domestic, urban and organic elements holds an unapologetically effeminate narrative. I make a conscious decision to utilise predominantly recycled and organic materials.

Together, 2020, paper, paint, tree, varied dimensions

We are the Universe, 2021, handmade recycled cotton paper and cyanotype emulsion, 40 x 30 cm (slightly varied)

My practice stems from a perspective that places touch as the primary sense, this is manifested in my sculptural space interventions, drawing on the instinctive sensibilities in an audience; 'from melted and fluid to hard and resolute.' - Emma Gittens, writer

Moments of the heart, 2021, red wine, blackberry, turmeric and acorn inks on kitchen paper in glass bell mahogany base jar

Chronology - Glass parcel sculpture series No.1, 2020, recycled glass and phone cable, human hair, soil, recycled zinc and copper, food packaging, mask, foliage, shell, 16 x 15 cm

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Erin Holly

MA Fine Art

Waiting Room, 2020, oil on canvas, 140 x 179 cm

New look for bathroom, 2020, oil on canvas, 188 x 144 cm

The root of the word archive, ‘arch’ also comes from archeon, a place of residence, a house and a dwelling place. Exclusion and inclusion, inside and outside are at the centre of homes. Similarly the concept of the body as a dwelling space can be seen in the phrase, ‘your body is a temple’ or ‘feeling at home in your body’. The painter creates a marking, scoring and storing on the canvas not as something fixed, as to be housed, but a place ‘to be alive’, as an archive where each individual mark is viewed as a full history on canvas. I change, adapt my body in a radical act of self care to align with my subconscious sex and store like an archive a record of change and becoming in the same way that a painting is a record of change. I turn away from the idea of being ‘housed’ in my body because the relationship between trans people and architecture is hidden, uneasy and opposing on the surface. As a trans woman my body is not a fixed dwelling, but rather a work in progress, occupying the space of transition and becoming.

Walk way to Bathroom, 2021, oil on canvas, 50 x 60 cm

No Feeling is Final I, II & III, 2020, oil on canvas, 40 x 50 cm

No Feeling is Final I, II & III, 2020, oil on canvas, 40 x 50 cm

Sitting Alone, 2020, oil on canvas, 30 x 40 cm

Home, Consume, Produce, 2021, looped film, no sound, 16”

Waiting Room, 2020, oil on canvas, 140 x 179 cm

New look for bathroom, 2020, oil on canvas, 188 x 144 cm

The root of the word archive, ‘arch’ also comes from archeon, a place of residence, a house and a dwelling place. Exclusion and inclusion, inside and outside are at the centre of homes. Similarly the concept of the body as a dwelling space can be seen in the phrase, ‘your body is a temple’ or ‘feeling at home in your body’. The painter creates a marking, scoring and storing on the canvas not as something fixed, as to be housed, but a place ‘to be alive’, as an archive where each individual mark is viewed as a full history on canvas. I change, adapt my body in a radical act of self care to align with my subconscious sex and store like an archive a record of change and becoming in the same way that a painting is a record of change. I turn away from the idea of being ‘housed’ in my body because the relationship between trans people and architecture is hidden, uneasy and opposing on the surface. As a trans woman my body is not a fixed dwelling, but rather a work in progress, occupying the space of transition and becoming.

Walk way to Bathroom, 2021, oil on canvas, 50 x 60 cm

No Feeling is Final I, II & III, 2020, oil on canvas, 40 x 50 cm

No Feeling is Final I, II & III, 2020, oil on canvas, 40 x 50 cm

Sitting Alone, 2020, oil on canvas, 30 x 40 cm

Home, Consume, Produce, 2021, looped film, no sound, 16”

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Fipsi Seilern

MA Fine Art

Ahem, Amen, 2020, acrylic, gouache, spray paint, highlighter, ink, pencil chalk on canvas, 170 x 280 cm

My work harnesses the tropes, iconography and rituals of Catholicism to explore and expose the self, and to embrace queer identity. Religious and queer subcultural rituals have become a key part of my research; in particular, the gestures, materials and objects associated with different communities and their according rituals. The way we build specific relationships to materials and symbolically attach them to our beliefs is evident within various groups throughout history. Much of my work is a protest against the unquestioned systems of power in society. In this way, I hijack the cultural practices and imagery of Catholicism towards decidedly more radical and self-empowering aims. Instead of being diminished or shamed by Catholic doctrine and practice, which tends towards the obliteration of self and desire, I exploit the church’s practices and imagery within my work to paradoxically reclaim my identity as a lesbian and to gain a sense of belonging within the queer community. I am also interested in the appropriation of language and materials to give new agency to a group or individual that has been harmed by them. These acts of resistance are the direct result of systems of oppression that serve to uphold the status quo.

The Priesthood, 2020, acrylic, gouache, spray paint, highlighter, ink, chalk on canvas, 170 x 280 cm

Tethered, 2020, acrylic, gouache, spray paint, highlighter, ink, pencil chalk on canvas, 170 x 280 cm

In Flagrante Delicto, 2021, oil paint, acrylic, gouache, posca on wood panel triptych, 180 x 250 cm

Portrait of Virgin Xtravaganzah, 2020, oil on canvas, LED strip light, shrine cloth, plastic flowers, plastic candles, 260 x 150 x 50 cm

Revelations (Part 1), 2019, words from a King James bible on 1804 bible cover, 30 x 57 cm – detail shot

Revelations (Part 2), 2019, words from a King James bible on 1804 bible cover, 30 x 57 cm – detail shot

Revelations II (Out of The Ashes), 2019, bible fragments and ashes on wood panel, 38 x 41 cm

Ahem, Amen, 2020, acrylic, gouache, spray paint, highlighter, ink, pencil chalk on canvas, 170 x 280 cm

My work harnesses the tropes, iconography and rituals of Catholicism to explore and expose the self, and to embrace queer identity. Religious and queer subcultural rituals have become a key part of my research; in particular, the gestures, materials and objects associated with different communities and their according rituals. The way we build specific relationships to materials and symbolically attach them to our beliefs is evident within various groups throughout history. Much of my work is a protest against the unquestioned systems of power in society. In this way, I hijack the cultural practices and imagery of Catholicism towards decidedly more radical and self-empowering aims. Instead of being diminished or shamed by Catholic doctrine and practice, which tends towards the obliteration of self and desire, I exploit the church’s practices and imagery within my work to paradoxically reclaim my identity as a lesbian and to gain a sense of belonging within the queer community. I am also interested in the appropriation of language and materials to give new agency to a group or individual that has been harmed by them. These acts of resistance are the direct result of systems of oppression that serve to uphold the status quo.

The Priesthood, 2020, acrylic, gouache, spray paint, highlighter, ink, chalk on canvas, 170 x 280 cm

Tethered, 2020, acrylic, gouache, spray paint, highlighter, ink, pencil chalk on canvas, 170 x 280 cm

In Flagrante Delicto, 2021, oil paint, acrylic, gouache, posca on wood panel triptych, 180 x 250 cm

Portrait of Virgin Xtravaganzah, 2020, oil on canvas, LED strip light, shrine cloth, plastic flowers, plastic candles, 260 x 150 x 50 cm

Revelations (Part 1), 2019, words from a King James bible on 1804 bible cover, 30 x 57 cm – detail shot

Revelations (Part 2), 2019, words from a King James bible on 1804 bible cover, 30 x 57 cm – detail shot

Revelations II (Out of The Ashes), 2019, bible fragments and ashes on wood panel, 38 x 41 cm

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Graham Treadwell

MA Fine Art

10,000 holes in Blackburn, Lancs, 2021, acrylic, varnish & oil on linen, 74 x 92 cm

I take solace in painted pictures. Objects that will probably outlive me, surfaces like mirrors or windows. I am interested in the nature of our perception and in transformative ways of seeing. My work is an image-gathering process. I document the photographs that impose themselves on my psyche. Through transcoding photographic information into fetishized and libidinous paint, artefacts of photographic reality become templates for mapping out my internal world into physical space. My primary concerns are with image-making and consumption. I am looking for points of narrative ambivalence, in areas between authenticity and superficiality, from a position of saturation and insufficiency.

Check email and pretend to listen, oil on linen laid on card & polystyrene, 42 x 72 cm

Self-portrait, 2020, oil on linen, 40 x 50 cm

The paintings I make are intimate in scale. I play with the voyeurism inherent within Western art history. I am particularly drawn to late 19th C painters for their sensibilities of visual pleasure and subjective alternatives to the photograph.

Dogtooth, 2020, acrylic, varnish & oil on flour packet, 33.5 x 30 cm

Born to grow, grown to die, 2021, acrylic, varnish & oil on linen, 40 x 50 cm

Yes, no, abstain, 2020, acrylic & oil on envelope, 23 x 32.5 cm

Cape, 2020, acrylic, varnish & oil on council-tax leaflet, 14.7 x 21 cm

10,000 holes in Blackburn, Lancs, 2021, acrylic, varnish & oil on linen, 74 x 92 cm

I take solace in painted pictures. Objects that will probably outlive me, surfaces like mirrors or windows. I am interested in the nature of our perception and in transformative ways of seeing. My work is an image-gathering process. I document the photographs that impose themselves on my psyche. Through transcoding photographic information into fetishized and libidinous paint, artefacts of photographic reality become templates for mapping out my internal world into physical space. My primary concerns are with image-making and consumption. I am looking for points of narrative ambivalence, in areas between authenticity and superficiality, from a position of saturation and insufficiency.

Check email and pretend to listen, oil on linen laid on card & polystyrene, 42 x 72 cm

Self-portrait, 2020, oil on linen, 40 x 50 cm

The paintings I make are intimate in scale. I play with the voyeurism inherent within Western art history. I am particularly drawn to late 19th C painters for their sensibilities of visual pleasure and subjective alternatives to the photograph.

Dogtooth, 2020, acrylic, varnish & oil on flour packet, 33.5 x 30 cm

Born to grow, grown to die, 2021, acrylic, varnish & oil on linen, 40 x 50 cm

Yes, no, abstain, 2020, acrylic & oil on envelope, 23 x 32.5 cm

Cape, 2020, acrylic, varnish & oil on council-tax leaflet, 14.7 x 21 cm

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Harry Cartwright

MA Fine Art

Greetings from PARADISE, 2020, acrylic, spray paint, pastel, cut outs, silkscreen ink & acetates on canvas, 96 x 133 cm

My work takes cues from the worlds of cinema and advertising to create vibrant and evocative mixed-media paintings. These multi-layered works combine painting, photography and printmaking techniques, blending my own archives with visual references from popular culture, to evoke often intense feelings of longing and nostalgia in the viewer. Cinematically stylised, as though viewed through a filmic lens, the works seem to operate as a portal into a sunshine tinted era of times gone-by.

HOT n' FRESH, 2020, acrylic, silkscreen ink, acetates, poster prints, spray paint & image transfers on canvas, 229.5 x 135 cm

Fruit Spread, 2020, acrylic, cut out, acetate, silkscreen ink, watercolour, pastel & spray paint on canvas, 152 x 122 cm

HOLD MY HAND I’M FLYING, 2020, acrylic, silkscreen ink, spray paint & photographic print on canvas, 152 x 121 cm

BEACH RACE, 2020, watercolour, acrylic & silkscreen on 200gsm Fabriano paper, 100 x 137 cm

Many of my works depict scenes and iconography associated with California; a place of great significance both in my artistic practice and in my life. I have long been enthralled by the glamour of this seductive land; its magnetising history of stardom and beauty, its heat, and its promise that even your wildest dreams can come true.

My work investigates themes of escapism, playfully pairing the everyday with themes of Pop, invented narrative and romance. The fusion of these mediums and subject matter aims to blur the line between fiction and fact; between art and life.

THE LUCKY HYDRANT, 2020, watercolour, acrylic & silkscreen on 200gsm Fabriano paper, 100 x 137 cm

Greetings from PARADISE, 2020, acrylic, spray paint, pastel, cut outs, silkscreen ink & acetates on canvas, 96 x 133 cm

My work takes cues from the worlds of cinema and advertising to create vibrant and evocative mixed-media paintings. These multi-layered works combine painting, photography and printmaking techniques, blending my own archives with visual references from popular culture, to evoke often intense feelings of longing and nostalgia in the viewer. Cinematically stylised, as though viewed through a filmic lens, the works seem to operate as a portal into a sunshine tinted era of times gone-by.

HOT n' FRESH, 2020, acrylic, silkscreen ink, acetates, poster prints, spray paint & image transfers on canvas, 229.5 x 135 cm

Fruit Spread, 2020, acrylic, cut out, acetate, silkscreen ink, watercolour, pastel & spray paint on canvas, 152 x 122 cm

HOLD MY HAND I’M FLYING, 2020, acrylic, silkscreen ink, spray paint & photographic print on canvas, 152 x 121 cm

BEACH RACE, 2020, watercolour, acrylic & silkscreen on 200gsm Fabriano paper, 100 x 137 cm

Many of my works depict scenes and iconography associated with California; a place of great significance both in my artistic practice and in my life. I have long been enthralled by the glamour of this seductive land; its magnetising history of stardom and beauty, its heat, and its promise that even your wildest dreams can come true.

My work investigates themes of escapism, playfully pairing the everyday with themes of Pop, invented narrative and romance. The fusion of these mediums and subject matter aims to blur the line between fiction and fact; between art and life.

THE LUCKY HYDRANT, 2020, watercolour, acrylic & silkscreen on 200gsm Fabriano paper, 100 x 137 cm

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Isobel Bedeau

MA Fine Art

surrounded by the high silence, 2020, charcoal and ink on paper, 150 x 1000 cm

Working from thoughts and memories, I began to interpret identities and groupings of people through large scale drawings. The forms and thoughts merge and react as the drawing unravels, implying a rambling narrative reminiscent of memories.

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

My work is a process of recollection. The forms become responsive to the materials and process of making. The imagined and unconscious thoughts are realised as drawn images, appearing fluid and illusive as memories merge, the drawn marks becoming their language. A sense of community emerges. 

surrounded by the high silence, 2020, oil on paper, 150 x 240 cm

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

The paintings evolve from drawings becoming a way to reimagine memories. The energy and movements of the marks and brush strokes are reflections and distortions of the drawn forms. My work experiments with the balance of relationships between materials, process and time.

surrounded by the high silence, 2020, oil on paper, 150 x 80 cm

Through painting, the immediate charcoal marks can be reimagined through the colour and textures of paint, exploring the emotional memory further. The tension between my private memories and viewers’ projected thoughts onto the work becomes relevant. I’ve started to experiment with their presence in my works and how the emotions they evoke can be a collective experience of memory and recognition.

surrounded by the high silence, 2020, charcoal and ink on paper, 150 x 1000 cm

Working from thoughts and memories, I began to interpret identities and groupings of people through large scale drawings. The forms and thoughts merge and react as the drawing unravels, implying a rambling narrative reminiscent of memories.

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

My work is a process of recollection. The forms become responsive to the materials and process of making. The imagined and unconscious thoughts are realised as drawn images, appearing fluid and illusive as memories merge, the drawn marks becoming their language. A sense of community emerges. 

surrounded by the high silence, 2020, oil on paper, 150 x 240 cm

surrounded by the high silence, 2020, oil on paper, 150 x 120 cm

The paintings evolve from drawings becoming a way to reimagine memories. The energy and movements of the marks and brush strokes are reflections and distortions of the drawn forms. My work experiments with the balance of relationships between materials, process and time.

surrounded by the high silence, 2020, oil on paper, 150 x 80 cm

Through painting, the immediate charcoal marks can be reimagined through the colour and textures of paint, exploring the emotional memory further. The tension between my private memories and viewers’ projected thoughts onto the work becomes relevant. I’ve started to experiment with their presence in my works and how the emotions they evoke can be a collective experience of memory and recognition.

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