Leeds Metropolitan University Fine Art Publication 2010
-
Upload
huw-andrews -
Category
Documents
-
view
223 -
download
2
description
Transcript of Leeds Metropolitan University Fine Art Publication 2010
FINE RAT
SCHOOL OF CONTEMPORARY ART & GRAPHIC DESIGN
LEEDS METROPOLITAN UNIVERSITY 2010
38
6
‘Rory Macbeth’s practice probes the gap between ideals and their realisation, between what is presented to us and what
we actually get. That’s magic!’
- Rory MacBeth - tutor.
Edited & designed by: Huw Andrews, Kay Herbert, Matthew Merrick, Jasmin Patel,
John Slemensek & Tom Williamson.
Cover by: Huw Andrews.
Special thanks to: Sarah du Feu & Andy Edwards.
And finally: a big thank you to all the Fine Art staff.
A large amount of artists in an area could be the key for A degree in Fine Art does not necessarily leave one well
prepared for facing disaster, however as this odd collection of people disbands society in the typical sense, I can’t
help but feel a sadness to see everyone go. and it can be difficult to define what one actually learns, and what skills one
gains, during the course. For me and I’m sure a lot of us, these three years more than anything else, will have seen
an incredible change in character, and has been gone through together. Welding, programming a laser cutter and
building free standing walls, to name a few, are unconventional skills and it is hard to imagine a particular situation when
they become appropriate.
A great man once surmised that However, as well as the broad and perhaps sporadic range of skills acquired, perhaps
most importantly one learns the skill of initiative. on an art course we essentially spend three years being completely
open with our thoughts and feelings to not just each other, but also to people we have never met before. We have
the ability to be both aspiring and proficient, to realise ambitious ideas and take on much more than the traditional role of
the artist. We will enter the world and be the educators, the carers and the entertainers. Maybe some of us will
make art too. As an artist It is often underestimated the amount one embraces and even relishes uncertainty of work
that goes into an art course, but many sleepless nights, and doubt as we continuously question what we observe. the
constant see-sawing of loving and hating yourself and Art becomes a fluid concept, your work, a way of living; and
far too much money spent at Neville’s says differently.
even during the course We attempt to create something entirely new in the world, and along the way, there is a vast
blurring between art, education and life, we are simply pursuing what we do naturally. we change too.
- Jasmin John Patel Slemensek.
Separating the portrait into a grid highlights every area of the face
and gives equal significance to every feature and skin imperfection,
implying that the portrait is a surface. The slippage between the
assembled units is a visual product of my frustrations towards
adopting the grid method when drawing portraits. In isolating small
portions of the image I deny myself the view of the completed
portrait until the last unit is assembled.
‘Today, there are no longer images that are beautiful, there are chains of images.’ - Philippe Parreno.
47
Simeon Barclay’s practice mines the expanded field of avant–gardism and
high design to create sculptural assemblages that, whilst paying reverence
to modernist paradigms, seek to undermine their significance as barometers
of cultural refinement. Exploring ideas around the conformity of consumption,
Barclay views the seduction of fetishised objects as a means to indulge
internalised emotions that exist in contradiction to a coerced social idealism.
Barclay’s formations although sometimes appearing ad hoc, are the result of
a playful, discursive involvement with materials, allowing him to establish an
object that hovers ambiguously between function and formality.
21
3
‘Does this go towards your course then?’
‘So what skills have they actually taught you?’
‘So how is this going to make you any money?’
- Mum.
‘No animal confirms man, either positively or negatively. The
animal can be killed and eaten so that its energy is added to
that which the hunter already possesses. The animal can
be tamed so that it supplies and works for the peasant. But
always its lack of common language, its silence, guarantees
its distance, its distinctness, its exclusion, from and of
man.’
- John Berger
34
53 42
35
In contemporary western society we often find the values of materialism and consumerism forced upon us and are encouraged to believe
that they are the key to finding fulfilment and happiness in life. The idea that money cannot buy happiness is a piece of folk knowledge
that we are all familiar with and yet seem reluctant to act upon. Change in our approach to life, if it occurs, needs to come consciously
and collectively from the individuals that make up our society, and the recognition that a self-serving individualist approach to life cannot
constitute the building blocks of a healthy society.
Patel creates a space for a cry for individuality, freedom and personal expression; she does not present us with an alternative and idealised
life model to follow, we are left to investigate this idea freely and independently. Her work is a starting point for inquisitive thought, a
gesture towards a destination rather than the destination itself. What it does offer, however, is the realisation that a rejection of the given
structures and systems of our society is possible.
‘You have the right to action only, never to its results; never to the results of your actions; but don’t take to inaction also.’ - Gita (2.47) from the book of Hinduism.
The
syst
emat
ic e
xcha
nge
of b
eing
for
hav
ing
is b
oth
fasc
inat
ing
and
unse
ttlin
g.-
Huw
And
rew
s
Art is a great gateway, providing the viewer with knowledge
and information that can in turn inspire them to act in a
positive way.
We
shou
ld r
euse
eve
ryth
ing
we
have
cre
ated
. I
don’
t kn
ow if
thi
s is
a
stat
emen
t or
just
a p
erso
nal b
elie
f.
In examining aspects of buildings such
as Chamberlain, Powell and Bon’s
sixties extension to Leeds University I
hope to portray my love and passion for
Brutalist architecture and the material
of concrete. By pulling out a sculptural
quote from elements of the era I
exploit the simplicity and strength of
concrete, and reveal beauty that is often
dismissed.
A series of elements are set up in a situation which
is then given over to chance.
The audience plays a vital role in the success or failure of
an artwork and it is the continuous permutation of power
and control that interests me; I strive to communicate the
complex relationship between viewer and artist, using the
work as a means to expose and represent this process.‘When a part of self is given away, community appears’- Lewis Hyde
31
37
5
30
51 16
5 27
43
I am seldom established permanently in one physical place; my email address has
more permanence than my street name or number, and so I carry my corner of the
world with me wherever I go.
The space depicted may appear to
be within reach but for the viewer it
remains inaccessible. They are outside,
looking in, unable to fully engage with
the place that is portrayed.
‘When a part of self is given away, community appears’- Lewis Hyde 13
48 52
19
50
29 14 15 22
40 10
> OK riders sit back hold on tight.
> Ay, you’re riding the Twister baby n-n-n-number one, let’s have some crazy fun.
> Come on baby, move it.
> Hands up.
> Come on girls and boys let’s make some noise.
> Twa-twa-twa-twister.
> Feel the breeze, don’t open your knees.
> Hahahahaa.
> Let me hear you scream, come on boys scream.
> Oggi oggi oggi.
> Oggi.
> Oggi.
> Oggi oggi oggi.
> Hahahahaa.
> Slide to the end and squash your fat friend.
> OK let’s ride lets go.
> Pedal to the metal baby yeah.
> More speed more power, yeah baby yeah.
> Let’s turn it up, come on.
> Get those hands in the air.
> Rock your body baby yeah.
> OK last spin, let’s turn this baby up.
> Let me hear you scream.
> I can’t hear you, scream.
> Hahahahaa.
> All good things must come to an end, we’re slowing you down.
> Let’s ride face to face, let’s hit the brakes, let’s end this race.
> Want more?
> Come join me.45
> OK riders sit back hold on tight.
> Ay, you’re riding the Twister baby n-n-n-number one, let’s have some crazy fun.
> Come on baby, move it.
> Hands up.
> Come on girls and boys let’s make some noise.
> Twa-twa-twa-twister.
> Feel the breeze, don’t open your knees.
> Hahahahaa.
> Let me hear you scream, come on boys scream.
> Oggi oggi oggi.
> Oggi.
> Oggi.
> Oggi oggi oggi.
> Hahahahaa.
> Slide to the end and squash your fat friend.
> OK let’s ride lets go.
> Pedal to the metal baby yeah.
> More speed more power, yeah baby yeah.
> Let’s turn it up, come on.
> Get those hands in the air.
> Rock your body baby yeah.
> OK last spin, let’s turn this baby up.
> Let me hear you scream.
> I can’t hear you, scream.
> Hahahahaa.
> All good things must come to an end, we’re slowing you down.
> Let’s ride face to face, let’s hit the brakes, let’s end this race.
> Want more?
> Come join me.
44
Photography captures and preserves moments passed. Every photograph is unique, as is every
interpretation from each of its viewers.
Photography is addictive; chasing the perfect image, the greater high.
The best photographs always appear when I have forgotten my film or camera. Equally, I can
miss other moments by a split second, or even lose shots whilst processing the film. Funnily
enough, these are the ones that I remember most.
20
I have an idealist notion that human life can be sustained
by four basic necessities; food, warmth, shelter and
creativity. Creativity not only gives us the initiative to
attain the first three necessities, but also the ability to
emotionally understand, appreciate and enjoy them.
While the concept is romantic and optimistic it is my
suggestion that living the good life is not beyond an
individual’s reach in the contemporary era.
The alteration of household objects obliquely references the woman’s
stereotypical role as housekeeper. These adapted forms speak gently
about contrast and tension of matter through fundamental elements of
structure, texture, space and light. There is a juxtaposition of hard with
soft, light with dark and open with closed.
Filling these objects with plaster, or penetrating them with nails
imposes an assertive and less forgiving force upon them – a masculine
force which creates a strange opposition.
49 32
‘Unfortunately, it is
often the artist who
becomes invisible’
- Kirsten Little
12 18
2623
‘The wolf is a carnivore incarnate and he’s as cunning as he is ferocious; once he’d
had a taste of flesh, then nothing else will do.’
- Angela Carter
In creating small aesthetic values which have no musical
notation I can enjoy and interpret music as another form;
the limits to sound have no boundaries.
Leeds has a great acoustic environment, I use a lot of
field recordings in my work as well as real world sounds
and recordings. I place them together and compose my
work using my own unique recording method whereby
an artificial soundscape is created.
I’ve only met form and content once on a cold day
in the Angel pub in Leeds. They were both on cask
which, at the time, was £1.46 a pint but has recently
gone up to £1.50, I think because of a VAT or tax
increase, same thing I guess, but it’s still one of the
cheapest pints of cask in Leeds and there’s always
good conversation to be found. Anyway, I digress.
‘Ah; this terrible gibberish… No solace for refugees, no point in looking back. The question, as always, is now…?’ - Hunter S. Thompson
60
1 56
I am lonely and my inventions are my friends. I am like a mad scientist. I enjoy performing,
I entertain people directly.
If I was the last man on earth, I would still make art; if it can be called art that is. In
reference to a quote by Marcel Duchamp - ‘Society takes what it wants. The artist himself
does not count, because there is no actual existence for the work of art. The work of art is
always based on the two poles of the onlooker and the maker, and the spark that comes
from the bipolar action gives the birth to something - like electricity. But the onlooker has
the last word, and it is always posterity that makes the masterpiece. The artist should not
concern himself with this, because it has nothing to do with him.’
My inventions only become art when I give them an audience to interact with, so in the
case that mankind was obliterated perhaps there would be no such thing as art. But I
would continue to make my kinetic sculptures, I think they would help keep me sane.
☺
57
enjoyenjoy our show to a certain degree
opening tuesday 8th june 7-10pmwednesday 9th-12th june 12-6pm
unit 22, mabgate, leeds, ls9 7dz
Taking responsibility for the curation of their own exhibition the enjoy collective have formed an independent response to their degree show. This marks the opening of their new artist run studio and events space.
Kirsty MacDonaldJane McGeeneyKayleigh MorrisSophie PeelRian TreanorBen WalkerSara Wolfson
contact us at: [email protected]
Victoria Alexander 07527 177251
Huw Andrews07723 627047
[email protected] www.huwandrews.com
Simeon Barclay07773 376542
Paul Barugh 07927 342725
Jenny Beagley 07906 355223
Louise Burdett07792 194526
Kerry Butcher07981 479102
Lauren Campbell 07919 512978
Oliver Croome07981 411965
Ellie Deakin 07910 836293
Jonty Donebauer07508 502141
Lisa Dyer 07533 691284
Charlotte Field07875 364048
Fraser Gray 07769 184744
Mel Green 07775 269142
Laura Ellen Gregg 07969 307440
Archie Gullan
Kay Herbert 07762 659429
Nick Hodgkiss 07866 016331
Kyle Horn07894 959527
Stephen Jackson 07547 753441
[email protected] www.stephenjjackson.co.uk
Caroline Jolly 07930 308500
Serafina Kryeziu 07794 719369
Daniel Lawrence 07908 111840
Nikki Lewis-Logie07779 845227
Kirsten Little 07871 005701
Kirsty MacDonald07580 575986
Sophie MacWhannell07886 610750
Hannah Maya 07707 394206
Matthew McCarron-Shipman
07717 034630 [email protected]
www.woolgatherart.co.uk
Jane McGeeney07962 211162
Matthew Merrick 07971 617350
www.matthewmerrick.com
Tom Moore07725 473989
Anthony Morgan 07779 946158
Hannah Morris07904 972899
Kayleigh Morris 07843 927499
Amy Naylor-Morrell 07854 147559
Annie Nelson07746 327308
[email protected] www.annienelson.co.uk
Beth Newton07857 769369
Jess O’Keeffe 07828 154277
Myles Oxton07986 320205
Jasmin Patel 07853 247759
.com
Sophie Peel07877 487951
Prince07725 884426
Betty Savage07805 004160
Jack Piers Scott 07812 715626
John Slemensek 077467 522010
[email protected] www.woolgatherart.co.uk
Kelly Speed 07973 378486
Kathryn Stamper 07792 053225
[email protected] www.kathrynstamper
.blogspot.com
Bryony Stockdale07763 853110
Rebecca Strain 07765 179421
Kasia Synowiec 07794 099558
Rian Treanor07853 406135
Benjamin Walker07730 348333
Christopher Wheeler 07525 496663
[email protected] www.myspace.com
/landscapesandlullabies
Tom Williamson 07772 141972
www.woolgatherart.co.uk
Michael Wilson
Sara Wolfson07879 670052
Chris Woodward 07747 801581
[email protected] www.woolgatherart.co.uk
Verity Woolf 07581 682543
That Old Chestnut (Chris Kubiszewski & Elly Robinson) 07837 869091 & 07834 163836
‘If I see another self-portrait I’ll shoot myself in the head.’ - *** *******
J.P.S. - 21 year old male, GSOH, seeks to understand himself and the world around him. WTT in physical/mental space, exploration necessary. Seeks open minds, hopes for better relationships, better society.
1 2 3 4 5
6 7 8 9 10
11 12 13 14 15
16 17 18 19 20
2524232221
26 27 28 29 30
3534333231
36 37 38 39 40
41 42 43 44 45
5049484746
51 52 53 54
58575655
59 60 61
BUT DON’TLOSE THECONFIDENCEAS THEREARE MANYOPPORTUNITIES- 第二十四屆 5 2010