Catalogue Point Six Sixfinal

7/31/2019 Catalogue Point Six Sixfinal

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Penny Allen

Called Control

In the house where I was born lived a child called control and she never let go of my

hand..let it go, let it go.

Just like the old days Johnny Kearney and Lucy Farrell (2012)

The visual rhythm in my piece reects the repetitive nature of its con-

struction. Inspired by municipal architecture from the post war period,

which was the cityscape of my childhood, I am intrigued by the relent-

lessly functional design of these poured concrete leviathans. I look

for the design airs which each building has; hidden in the angle of

a curve or the asymmetric placing of windows, proof that a personimagined every detail of these imposing structures. The same rhythm

and detail is translated into my quilts. The process of making this quilt

allowed me to explore my relationship with structure and control, how

this relates to my own experience and ultimately learning to let go.


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Anne Blades

My main interest is in nature and in particular trees; they are the

major inuence and starting point of my work. I want to capture the

invisible essence of trees, the spirit. To achieve this I have been work-

ing with the grain of the wood, as this, along with all its knots tells part

of the life story of each individual tree. I have burnt into the wood and

then sandblasted the black back, which emphasises the colours. In

some cases I have burnt right through the wood to allow a sense of

what is going on below the surface.


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Anna Blair

Nature is a constant source of inspiration for me and a strong inu-

ence on my work. It never fails to provide new, interesting and capti-

vating subject matter. For this project I have become quite fascinated

with lichen, the delicate subtle qualities which usually go unnoticed

have really captured my attention. Also the contrast between this deli-

cacy and the structural, elegant, linear qualities of bamboo is some-thing I have tried to capture within my work.

My lighting pieces are made from Lutradur, a heat modiable mate-

rial, I have combined this with organza, shocked silk and satin fabrics

to add tone and subtle difference in texture.


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Nik Burns

I draw my inspiration from a passion for the fantastical.

The work that I create has an element of mystery, it is my intention for

the viewer to be drawn in by the work and ask the questions what and

why?

These small scale sculptural pieces are informed by my long held

love of mysterious ship wrecks, a love which has fascinated me since

childhood. What I achieve in my work is the illusion of an organic oc-

currence to a man-made form, creating a life history. The desire to

create forms like this stems from my interest in fantasy and science

ction genres in particular the work of HG Wells and JRR Tolkien.

These pieces were formed from sections of copper sheet which were

then welded together. The surfaces are treated using chemical proc-

esses, giving a textured patina. The surfaces are endlessly varied as

the processes involved allows for little intervention once it has begun.


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Joshua DevenishSculpture

The natural environment and the use of natural found wood is the main

driving force behind my work. Using materials such as bark, bog oak

and rotten branches to create something beautiful to be appreciated in-

stead of overlooked. I aim to make people look deeper into nature andsee it for what it really is, looking beyond the surface to discover

how exiting even the most mundane of materials can be. My work

shows the relationship between man and nature, how nature is

changed over time through a series of interventions both natural and

man made. Revealing the unseen I hope to understand this history of

interventions to then add my own, using geometric shapes and order

amongst the natural forms. Resembling mans inuence on the

environment to create a simplistic style that abstracts and enhances

the material.


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Alice Finch

These gurative ceramic pieces and paintings are expressing the

complicated relationship between women and the beauty industry. The

ropes made of ax are meant to represent a womans hair plaited and

then utalized by its time consuming nature, to bind and restrain the

woman from persuing more productive activities.

I found this old fashioned method of advertising with fear still being

utalised by cosmetic and fashion companies. The continued pressure

for women to perform is cemented in the cultural bre by increasing

the importance of engineered beauty and ridiculing public female

gures for not attaining the standard demanded by the

Industry.

A lie told often enough becomes the truth Lenin.

This dehumanising of a womens body into public property has bound

the everyday women into a constant battle to maintain a beauty ideal

or she has failed as a women.

Men look at women .Women watch themselves being looked at( in

modern media)Critic John Berger.

The option is to opt into the beauty motived crowd or face continu-

ous alienation from the social norm thus creating a perpetual cycle

of fear and undermined condencein the female populace. Although

gender roles set by media stereotypes are equally damaging to me , I

felt there was a stronger visual to be explored with focusing on female

themes.


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Lucy HubbardMy work takes inspiration from life around me, family history and times

that havepassed. Using postcards, photographs and family documents

as references in mywork, gives me a personal connection with the

things I am making.

Narrative is also a big part of my work, allowing a small insight into thepast throughthe words of someone else.

I have experimented with layering in a mixed media approach to

achieve theportrayal of a memory. This has developed into work using

Perspex as the main material and printing onto this to create a translu-

cent image.

This work demonstrates life, and appreciating the small things, a think-

ing taken fromfamily documents as well as post-war slogans.


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Emma HughesEarth geography has always been an interest of mine.

Within this, I have focused on crystals and stalactite/stalagmites to in-

spire my glass ring collection, as I am intrigued by the angular qualities

and triangular structures.

I sculpt my rings in jewellers wax, and then create plaster moulds fromthese. The wax is then melted out of the mould and replaced with

glass. I appreciate glass as a medium, as it is unpredictable how the

colour will ow inside the mould. This to me also relates to lava owing

beneath the earths surface. Cracking each mould open is like a sur-

prise present.


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Becca Jones

The inspiration for my work is taken from nature, looking at macro

patterns and repetition in circular/spherical forms in owers and seed-

pods.

I make my work out of porcelain. By press moulding, texturing and

sticking metal pins into the porcelain I make small scale vessels whichare not functional. The pins are put into the clay before ring, and they

come out quite brittle and matt blue/grey in colour, which, in my opin-

ion, contrasts with the translucent white porcelain.


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Esther Mclaughlin

Half Cooked

My work is about capturing and highlighting the beauty of the last

moments of an animals life before decay begins. The resin holds the

artefacts in a moment, suspended amongst dust particles, unchange-

able by time.

The title however, reects where I feel my work stands at this current

time; an exciting and fruitful idea, arrived just a little too late in the day

for full realisation.


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Nic Peate

Spring is especially important to me as it is the time when the life-

force, the blueprint for new life bursts forth from magical vessels. Nuts,

buds and seeds have become symbolic for me of life, birth and

re-birth. These are recurring themes that I continue to attempt to

capture in my pieces both in a literal and an abstract sense.

Currently my practice is focussing on green wood, hand carving with

beech wood from the hedge in my garden. The pieces are minature

nut inspired shapes. I combine whittling with simple tools such as a

penknife combining it with treasure gleaned from the natural

environment, casting this in resin inside to compliment and contrast the

interiors and exteriors.

I am attempting to acheive a very smooth, tactile quality in my work

that invites people to touch them and once the pieces are picked up,

they reveal their exciting interiors.


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Lucy SalterInspired by the effects of erosion, I nd myself drawn to the detailed

cracks in the roads surface, contrasted with the manmade patches

slapped on in repair. These events create a map, evidence of the

surfaces history, a map which evolves the more its travelled. The idea

of journey is a concept which runs throughout my practice; for me it

brings together my fascination with maps and satellite images, as well

as the processes I use within textiles, dying, printing and

reconstructing.

Two Hundred and Fifty-Six, 2012

Three Hundred and Ninety-Two, 2012

Hand dyed and digitally printed fabric, deconstructed and reconstruct-ed.


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Danny Waples

Meditations in thought?

My work portrays a level of conscious thought. Considered and

composed to provide a datum, a point reference, where I am able

to see the wood and the trees. Need and purpose for simplicity, aneconomy of orderly structure that is reected through objects.

Investigating balance and volumes positively and negatively,

experimenting with transitions in plane, light and line. I am attempting

to catch a moment, with movement, ow and energy; as the hand and

the eye move around the object, to engage and focus, mentally and

physically.

Working with white plaster, pure and clean, each piece feels like a

hundred pencil sketches, but in every aspect better. The material

represents questions of value, of how we perceive and judge. They

have purpose and utility as illustrations of thought; in tokens,

objects used as evidence, symbols dened with contents and

meaning. Considering permanence, does the fragility of the plaster

enhance a beauty in the transient nature of their and our existence,

our thoughts and feelings?

Offering a direct connection, they are something you can hold on to

and feel, as our perceptions can be deceiving. I want to hold on for a

moment as through these I have found a peace and calm in a balance

of complexities.

Eloquence in simplicity


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point six six is ashowcase of thirteen

Contemporary Applied Artsstudents studying at

Hereford College of Arts

Catalogue Point Six Sixfinal

Documents

Transcript of Catalogue Point Six Sixfinal