Nicola Davidson Reed (Focus Photography exhibition)

 

Nicola is a Photographer because she has a drive to capture raw moments in time a compulsion a need, a passion.

Nicola feels as fulfilled taking a snap shot as she does photographing a structured set with a model, although it is the spontaneity of the street which is so exciting. When working with photography, Nicola is reminded that she exists, conversely she also disappears into a monochrome world with occasional visits to colour.

Nicola's work finds her, through so many avenues and alleyways. Inspiration is the biggest driving force but so are dreams, time, emotions, patterns, ideologies, expectations, roles in society, affluence and the absence of it, textures, family,  towns, cities, the countryside, photographers of the past but above all love and all that comes with it (including the not so cool emotions!)

Nicola's photography work is her own take on the world its strengths and fragility.

 

Nicola Davison Reed | Photographer/ Mother | Nottingham

 

 

Karoline Rerrie (Portfolio)

 

 

Karoline is an illustrator who creates intricate and delicate images by hand using drawing, painting, silk screen printing and Japanese Gocco printing.

Karoline does not see her work as art but sees her work as a craft and strives to maintain a handmade element which is what initially led her to explore printmaking. She now designs, makes and sells a range of multiples including greetings cards, small books and prints.

Collaboration and participation are also important elements of her creative practice; and are key elements of craft as a whole. She shares her skills and ideas with others through a variety of projects. These include co-ordinating group exhibitions and the publication of limited edition postcard books, fanzines and colouring books featuring her artwork and that of other women illustrators.  Karoline also has considerable experience of facilitating workshops in a variety of settings such as schools, galleries and libraries.

She works with a wide range of ages and abilities including children, young people, adults and people with learning disabilities.



Roman Sakovich (Half | FOUR - Barnaby Festival 2013)



http://romansakovich.co.uk/

 

Half

Half highlights the drastic physical effects of substance abuse.

 

London based photographer Roman Sakovich creates split images that simultaneously portray an individual prior to and post addiction, leaving the viewer with a stark visualization of the damaging effects of drug use on our bodies.

 

The project was inspired, in part, by the experience of the artist's own friends.  In the series, he specifically focused on the dramatic change in appearance that a person undergoes while addicted to crystal meth. By showing the before and after images of the individual in the same frame, the snapshots reveal the Jekyll and Hyde nature of the psychoactive drug.

 

But look again, if you think the series is just an example of photoshopping trickery. The unsettling images have been created using talented make-up artists and costume designers in camera rather than post production.


Natasha Sabatini (Image Conscious) 



Natasha Sabatini

 

Natasha Sabatini is a young visual artist who believes her work has a strong and stimulating visual impact.

 

With a simple twist on the traditional theme of the landscape in Natasha's work, the audience will be thrown off balance as gravity falls weak and the ground is pulled from underneath their feet. The large scale of the photographs will envelope the audience, throwing them up into the sky.

 

Focusing on the earth as a planet and the surface in a wider universe, the hobbit view is undermined.

 

Natasha's photographs are intriguing, initially they appear simply as photographs hung upside down, but the more you delve into them, the form, colour and composition of the urban landscapes draw you in. The unique, possibly mundane fragments of life captured by Natasha are then pushed further. The concept of looking at the world from a different perspective, and the beauty found in the shapes and contrasts of our world.

 

Natasha Sabatini | Photographer | Inkjet prints |

 

 



 

Roman Sakovich | Photographer | London

 

Roman's highly unique documentary approach to photography charts changes within society, be it in people or the urban landscape.

 

With a distinctly Soviet aesthetic in his urban works Roman gives away his Russian roots. Educated in Photography in London, Roman now bases himself in the UK, namely in order to distribute his works to an international audience.

 

Roman has ensured his work is part of the contemporary art market by showcasing projects at the Institute of Arts & Design in Milwaukee, USA, Daniel Cooney Fine Art - Emerging Photographers Auction in New York and most notably at the Copenhagen Photo Festival in 2012.

 

His works have seen international press coverage and rightly so, given that the themes, topics and troubles speak to audiences across borders.


Catherine Sales (Image Conscious) 



Aurora hunting

 

Catherine Sales is a freelance photographer based in London, graduating in 2012 from Middlesex University with a BA in Photography. Catherine has a passion for travel which she combines with her photography skills to shoot impressive travel landscapes.

 

The photographs on display are a collection of works capturing the Northern Lights in Iceland in beautiful detail.  These same photographs were selected as Highly Commended in the New Talent category in The 2012 Travel Photographer of the Year Award.

 

Catherine's photography work is her own take on the world; its strengths and fragility. The photographs are striking, capturing not only the dazzling illuminations, but also the life that exists underneath. The natural vivid lights in the sky paired with the subtle flickering lights from the houses and streets beneath this phenomenon speak wonders. The intense colours within each photograph capture the viewer's attention immediately.

 

Aurora Hunting is shot with a Nikon D90 and Tamron 12-24mm lens and they are printed on fujifilm paper using an inkjet printer. No Photoshop has been used on any of them.

 

Prizes and awards:

 

Highly Commended in New Talent category in the 2012 Travel Photographer of the Year Award 

 

Shortlisted for The Art Gemini Prize 2013.

 

 

Catherine Sales | Travel photographer| London

 

 

 

 

Frances Seba Smith (Cheshire Open Studios)

 

 

 

Frances has showed some of her prints with us in the past but we could not resist her latest works, featuring pop turquoises and lush lime greens to really highlight features within the landscapes.

 

Using up to six layers within her printing process a real catalogue of colours and forms are created, ultimately combining to create a stunning and unique scape.

 

Frances Seba Smith is an artist, and printmaker trained in Canada and the UK. Exhibits worldwide and in Manchester at the Wendy Levy Gallery. Her recent work consists of drawings, paintings and prints of Cheshire and Anglesey.

 

Frances Seba Smith | Block prints | Cheshire 




Lucy Sparrow (Sew your soul)



 

Working at the intersection of contemporary art and craft, Lucy Sparrow's work sets the agenda for textiles within the urban art scene. She works mainly with felt and wool, creating over-sized soft versions of existing objects and major art works The aim of this ‘feltism’ is to question, playfully, the politics of artistic production and to tackle (often collaboratively) some of realities of contemporary living, dealing with issues concerning the politics of consumerism, social exclusion, gender, and neurological diversity.

 

She have advanced her arts practice and social agenda through her own solo shows (“Imitation”, 2012, Hoxton Gallery, London; “Softcore”, 2013, Crocus Gallery, Nottingham), and her work has been shown alongside notable street artists, including Banksy, in the “Urban Take-Over”, the Victoria & Albert Museum’s touring Street Art exhibition and in the “Urban Art Show”  (Louise T Blouin Foundation, 2013). She also have works in private and corporate collections in the EU and the US. As part of the strategic vision she has for this field of practice, she curated the "Craftivism" Group Show (W3 London, 2013), reflecting critically on the intersection of fine art, craft, politics and social change. She has been an invited contributor to over 35 group shows, including the annual Modern Panic exhibition (2009-2013) and the City Art Institute of Mental Health Exhibition (Nottingham, 2013-14). Alongside her gallery based practice, she have developed a series of participatory high profile public art projects, including activist work with Greenpeace, and  “mini-structures’ a six month long commission for Time Out.

 

In August 2014, Lucy will unveil an 8-month long project to create an entire cornershop out of felt for a month in Bethnal Green, London. It will then move to Brighton in October 2014.

 

 

 

 

Matthew Spencer (Portfolio)

 

Matthew's focus is our landscape, our everyday environments, how our world is represented to us through visual information and how this influences our comprehension of the world around us, including the processes and materials that we form our landscape with and in turn how this forms our sense of identity.

 

He  sources his materials from large DIY stores, to ensure that they have a soulless feel to them, cheap mass produced things are bought and sold in bulk, going on to form our everyday environment. Matthew takes them before they go on to that stage and transforms the raw material into something that questions soulless bulk mass producing.

 

Old abandoned buildings, vehicles, sometimes vandalised or burnt out amidst woods and forests are some of the subject matter that occupies Matthew's disenchanted landscapes. They originate from images of man-made structures and trees found online. Visual information in the online environment forms a large amount of how we now come to experience things. Matthew is interested in how this visual information can be altered and manipulated to form alternate interpretations of our world.

 

To explore this, he projects multiple numbers of these images (for a single painting) onto MDF, these images become the foundation for the drawing process, partly an accurate representation and partly from imagination. Premixed shades of matt monochrome household paint contribute to the raw, abandoned, gritty aesthetic of the landscapes which stems from his cynicism of utopian notions surrounding our relationship with the natural world.

 

Matthew cuts them with an electric jigsaw and uses fretsaw blades between his fingers to produce the fine detailing in place of using a CNC laser or router machine for the outlines of the trees and braches.

 

Matthew's current paintings, displayed here, have stemmed directly from earlier work which involved the same painstaking hand cutting of very detailed tree branches in MDF, often taking hundreds of hours but without the use of any paint. This element of his work was/is a response to the effect mechanical production is having on our landscape and the alienation to the natural world it produces when our everyday environments loose resemblance to nature and become based on themselves.

 


Liz Sterry (Image Conscious) 



Liz Sterry

 

Liz Sterry is a visual artist based in Chelmsford.

 

Her haunting imagery is made even more surreal when the viewer discovers many are self-portraits. Liz is interested in the performance of how a piece of self-portraiture work is created.

 

Liz explores the wonderful moment in self-portrait photography between setting up the camera and then posing in front of it. The strange moment where the artist skips back and forth between the two. The performance between this relationship with the camera and behind the camera.

 

Performance is however also created in the characters Liz creates in front of the lens, in each image she is almost a different person. An interesting subject in today's society of manipulation of a photograph and what it can portray.

 

Liz uses performance, popular cultural tropes and widely accessible photographic tools to create her images. There is a surreal dreamlike quality to the images created by various techniques. Some, like 'lately I've been drinking too much whiskey' are long exposures; others are photoshoped like "London", "factory" and "you're holding something back". Then "moth story" is made using the 'free-lensing' technique. 


 

Liz Sterry | Performance Photographer | Chelmsford



Ben Thompson (Portfolio) 

 

 

 

Ben Thompson grew up in York, North Yorkshire. Having achieved a BA Honors First Class in Illustration and Animation at Manchester Metropolitan University, he continued studies with a Masters at the Royal College of Art, London. Currently BT resides in London where he freelances as an artist, illustrator, animator, video/filmmaker, teacher, theatre costume and set designer/builder. Throughout his studies and professional career BT has concentrated on the creation of experimental film, video, sound and performance, however over the past few years this focus has become directed toward composing Collages or 'Faux-Documents' as he regards them.

BT's collages are composed by hand using imagery direct from publications unless otherwise stated.

From a continuously central focus on the mechanisms of the mind and their effects in/on the physical world, Ben's work finds its base in the experiencing, exploring and expressing of various aspects, or rather notions, of mental "being". Drawing upon an array of creative influences from the areas of fine art, film, video, literature and his own practical and academic progressions in the field of animation, Ben thus makes consistent use of the collage technique across his employed mediums of video, sound, image and text. His dyslexia also serves as a catalyst, whether willingly or unwillingly, for much of his creative output and he has found respite from the potential difficulties of external communication through the philosophies and writings of 20th Century literary figures such as William S. Burroughs and R.D. Laing. Interest in the latter and his book "Knots" in particular has emerged from his investigations into the effectiveness of successful communication with others owing to the earlier adoption of a personally devised and interpreted form of spelling, grammar and syntax, illustrated more prominently in his written work but making frequent appearance in practical manifestations and, as can be seen in the video installation "3tu4", their titles and subtitles.

David W. Jones, January 2012 

 

Steve Thornhill (Focus photography exhibition)

 

 


Steve Thornhill - Lives locally in Macclesfield with fellow artist Carol Hutchinson. Self-taught and with no formal training he has developed his own style of photography as he sets his own rules and follows none.

A keen film photographer in his 20's he fell out of favor with the expense and slow processes of the time. Fast forward 25 years and he re-discovered his love of the still image and fully embraced the digital age. Buying a pocket point and shoot in early 2008 he was amazed by the shots it could produce.

Upgrades followed and kit now includes Sony A550 and canon 7D cameras.

Hooked again and with the added advantage of digital, instant results and the ability to manipulate images how he wants to see them he found himself lost in a world of 'digital artistry' sometimes spending hours manipulating the same image.

No subject is taboo and he likes to explore a darker side.

                                             

Steve Thornhill | Self Taught Photographer | Macclesfield

 

Full Leather Jacket

"Full Leather Jacket, features Steve's own vintage biker jacket from his old motorcycle days and takes its name from a spin on Kubrick's cult classic, Full Metal Jacket.

Steve said that the exhibition explores our urban landscape with models from all walks of life, though all of them are connected by a common bond: the same leather jacket.

"I personally have a lot of empathy with the jacket having owned it for the last 20 years.

"I kept seeing my jacket (no longer worn) hung in the garage with lots of happy bike-riding memories attached to it, so I'd never throw it away. I'd been thinking about using it in a shoot for some time, but never knew what," he added.

The idea for 'Full Leather Jacket' was inspired by seeing a fellow photographer stopping random people in the street, asking each one of them to pose in the same way.

"This gave me the idea to shoot different people but to link them together in some way and 'Full Leather Jacket' was born."

You can expect to find muted tones and a very gritty style consistent throughout the exhibition. No subject is considered taboo.

Steve likes to explore the darker side to life's situations in still form, often leaving the narrative of the images open to interpretation, encouraging thinking and debate from his audiences.

Several models helped bring the concept together with some images purposefully reflecting the passions and lifestyles of the models themselves"

Wesley Young | Freelance Copywriter | 2013 


 

 

 

Adam Quinn (Macarbe Macclesfield & Portfolio)

 

 

 

Adam's layered and instinctive paintings are a development of his ideas, processed through painting, printmaking and sculpture. Often a piece of Adam's work is an expression of all three processes.

 

The way in which Adam approaches a piece of artwork is very instinctive with an inventive use of colour, line and composition, often using found objects as a starting point.

Adams work is currently inspired by Klee, Basquiat and Gary Hume and his Artist studio in Congleton is truly worth a visit to understand the workings of an artist! 


 

 

 

Sean Roh (The Collection)

 

 

People can read the point of view between the manipulation Sean would like to tell and reality after watching the photos without the manipulation which seems to be manipulated. There are the events people don't feel them at all though they always happen around the world, on the contrary, there are the ones they think they happen due to the several collected evidences though they don't happen actually. Those two phenomena look like very opposite, but they look like very similar to people. And, whatever the truth about those is, it is difficult for people to feel the event because it is so unrealistic or they behaviour more than necessary because they know that based on intelligence. Anyhow, those two have something in common which is felt like unrealistic though they are real.


Such things are felt like trivial though they are really great like the air that performs the thankful works enabling us to breathe and live and on the contrary, they are felt like so great if they learn it from the knowledge though it is very natural if following the origin of life on earth.

Such thing is shown to the people who are experiencing the global warming, however, it influences on the ecosystem of earth as a lot of media already insisted on the phenomena of global warming and its risk and it is the scaring phenomenon that risks the existence of human seriously as well as other animals on earth if it lasts for long time. On the contrary, there are people who say that it is not big problem realistically because the time of measuring data so far is terribly shorter than the whole life of the earth, but how do the ordinary people who accept such phenomenon recognize that assuming those are all true? If they are not some of scientists or the people who are interested in ecosystem of nature, it is difficult for people to feel it directly because this phenomenon is so abstract and unrealistic and also hard to find the people who are really concerned and afraid of it because there are many more realistic and serious prior tasks to be resolved. All the more the people are concerned about it extremely are rather called as paranoid often. Of course, it is true that the waste is separated and collected owing to the frequent promotion and national policy or people's interest are raised a lot, but it is difficult for them to the basis of the insistence saying that people's concern over the global warming is not abstract.

Like this, though the certain issues are sometimes so abstract that people cannot feel it as they are, it is hard to disregard them because they are so realistic. This project was begun to show the gap between such reality and recognition, however, it shows the reality we are facing and another reality which is difficult to forecast or accept it as it is because it is so abstract by showing the unrealistic shape which there is nothing to be melted down in reality but the unhardened paint flows down on the surface, all the more which the paint gets hardened in reality. 




Robin Ross (Print)



Image is all there is for me be it from my head, a camera or a sketch book.

 

Kerouac, Warhol, Jasper Johns, Robbie Robertson...... they all influenced somewhere along the way.

 

The Seri - grafff journey continues.




 

Stuart Royse (The Collection)

 

Themes such as frost, sand, ice, woodland, rock structures and the effects of water in the natural environment have always held great interest for Stuart. He endeavours to keep the image very simple, concentrating on formal aesthetics such as form, colour, tone and texture. The work is very specific, showing close detail and often the images are made in a series, in order to represent a more complete experience of a place - which perhaps could not be conveyed in a single image. Some of the work can be subject to chance or opportunity, especially the frost and sand work and it is exciting to witness something that is so transient and will cease to exist even minutes later. 

With 'Flooded Woodland' Stuart explored an area of 'wet' woodland located on the edge of a reservoir in the Peak District, and documented the seasonal changes over the period of one year. This series shows the visual transformation throughout the seasons of just one small area and highlights just how different the same place can appear when viewed over such an extended period of time.

In order to produce this project he had to draw upon not only the traditional skills and values as a photographer, but also embrace new digital technology. To achieve such a wide view he took 14 separate frames horizontally. Even specialist software could not cope with the fine intricacies of the twigs and leaves, so he had to 'manually stitch' them together to form one complete image.

More detail of  Stuart's projects and professional reviews of his work can be found at: www.stuartroysephotography.co.uk/personal.htm




Will Sharpe (The Collection)

 

 

"… In the ancient caves of Lascaux, France, for example, the reason for mankind to make pictures was to ''bannen', to fix it, to bring out, to capture the demons, because when you name them, they'll lose their power. That was the first reason people started to paint…. I think that is a lot like film, because cinema is like a modern cave, people come together - that's why the darkness is so important - and you have a screen like a wall in caves. And the aim is to put a spell on demons.  To exorcise, if you want. But we have other demons today, because our civilization is different from old cultures."

Fred Kelemen.

Will has been studying photography at Manchester School of art for three years and during his progression he has developed a great fascination for the Grotesque and the constructed image.  His pictures illustrate how the grotesque and the monstrous body are disclosed in physical representations of the invisible and the unseen.  Filmmaker Fred Kelemen states the art of image-making is to "capture the demons", however in Will's work, his images evoke the idea of unleashing the inner demon, constructing grotesque scenes that illustrate worlds of the unconscious mind, the spiritual world or the internal body.


Subjects like anatomy, the spiritual world, the supernatural, unconscious, divinity and demons are inclusive to the idea of being invisible or unseen, and are all associated with the grotesque.

As a result of creating tableaus for photographing, Will's work is notably multidisciplinary and he considers himself not only to be a photographer but also a set designer, sculptor and draughtsman; working in the disciplines of photography, 3D and drawing. 



Sarah Sharpe (Print) 

 



Sarah's interest is in the landscape of the human condition and what makes us who we are. Her fairy tale inspired work is captures childhood but with a dark and menacing twist.

 

Her work is inspired by old and new stories; often poetry and folk law, but also stories of the here and now. 

 

She is drawn to those who engage with their inner world and favour the imaginative as opposed to the literal image and landscape. Writers and artists such as Emily Dickinson, C. G. Jung, William Blake, and modern day depth psychologists such as Donald Kalsched inspire her. 

 

Sarah works primarily in media such as intaglio etching, paint and  stitch. She would call her work Narrative Art.

 

Sarah's print work is primarily intaglio etching, working on aluminium plates. She strives to work with non-toxic materials to explore the full potential of Aluminium."

 

Sarah Sharpe | Intaglio etching 




 

Julia Snowdin (Abstracted) & (Barnaby Festival)

 


 

According to the eating disorder charity Beat (2009), there are 1.6 million people suffering from an eating disorder in the UK, and the majority are adolescents, adolescents who spend more time watching television than any other activity, apart from sleeping. (Cash, 2002, p.91)

• The average model is 20% underweight (Byron, 2008)


• If a person is 15% under-weight they are considered Anorexic (Morgan, 2000, p.4)

Has the media created a thin, unhealthy ideal? Are adolescents influenced by commercial media and advertising strategies? Do celebrity trends glamorise thinness, making it seem virtuous and desirable? How are we shaped by the media?


A Beauty Disaster responds to these questions. A hanging installation made from 160 spirals represents 0.01% of the people suffering from an eating disorder in the UK. Each downward spiral comments on the emotional and psychological impact of having an eating disorder, and the winding layers of the spirals allude to the secrecy, vulnerability, and fragility of the condition. Out of 1.6 million suffers in the UK, only 8% decide to share their problem, 92% (1.5 million) of sufferers choose to keep it a secret. 92% of the spirals in this installation stand in the dark, hiding their secret in shame. (Beat, 2006)



 

Lucy Sparrow (Pop, print & stitch)

 

 

 

'Lucy Sparrow is a roaming artist (she lives in a caravan). She works mainly with felt and wool to create over-sized soft versions of existing objects which, when placed in different surroundings, convey an altogether fantastical approach to life. This playful affection she has with her work relieves the conditions that are often put upon artists to produce something deeply profound and monumental.

Lucy's 'Feltism' plays on the distorted scale of childhood and the dreamlike quality to textures. Whilst taking a walk through the surreal fabric landscape where giant sardines lollop next to an innocently blunt pen-knife, the land of the soft conquers the harshness of a sharp edged reality.

The subject matter that she uses with her work is often one that provokes nostalgia and a wish for all things to remain unharmful; a kind of felt Utopia if you like.' 



Amy Sterly (Print)


 

Now that Amey has moved to rural wales her work is influenced by themes relating to the meaning of 'homes/house' - how is a building valued?

 

Whilst having a serious thread, the investigation results in a quiet playful set of works, a reflection of how we really value properties and why.

 

The property market uses buildings only as a commodity and does not acknowledge the deeper value of a house or it's placement in the landscape. The traditional woodcut prints of rural scenes are subverted with comic asides and discount stickers. She is playing with the images of a 'rural idyll' and the cheapening of our own homes.

 

Amey is clearly interested in comics and graphic art, the simple line and flat depth of field allows the images to be clear and direct.

 

Amey Sterly | Printmaker | Wales 



  

Ritty Tascum (Pop, print & Stitch!)

 

 

 

Ritianne Muscat (b.1990) known as Ritty Tacsum is a largely self-taught experimental photographer and multimedia artist who has a keen and sensitive eye for the abnormal, absurd, weird and surreal.Having started a course at MCAST, she quickly felt the confines of the educational system stifling her creativity and sought to explore and expand her horizons solo. In the 15 months since she has been working as a freelance photographer, specialising in artistic and experimental work, she has had her work published in several local and foreign magazines (online and in print) and also in a Dutch publication. Last year marked an important milestone in her career, when she was asked to give a debut show at St James Cavalier Centre for Creativity featuring a collection of 18 portraits. Titled Ritty Tacsum and her Humanoids, the exhibition featured more than mere photographs, going a step beyond the norm, and integrating props, costumes and memorabilia in the show, giving it a very distinct and personal touch.She is currently working on 2 exhibitions, a number of commissions and also, as an assistant to the cinematographer for a short movie to be produced in Malta. 

 

Slightly disturbing, visually entrancing and definitely different, Ritty Tacsum's photography touches a raw nerve with the viewer. I met up with the artiste to discuss her current exhibition, Ritty Tacsum and Her Humanoids.Describing this lady's photography is not an easy thing. You can say it's about real life… but to paraphrase Dr. Spock, it's not life as we know it. Every single photograph in the artiste's current exhibition portrays a life that is a touch darker, a touch more macabre, but also a touch more alive than we're used to.The collection goes by the name Ritty Tacsum and Her Humanoids - and a more appropriate title I have yet to see. Because, while the photos all depict people, something about them is not quite "right". Some are twisted, some distorted, some are so full of pathos that it's like getting a shotful of emotions thrown right in your face. There's something about them that's more surreal than real. In short, they're more humanoid than human." Ramona Depares

 

 

Oksana Veber (Abstracted) 

 

 

 

There are different sources on which we feed in our quest for peace, equivalence and harmony. Artist Oksana Veber founds harmony in the beauty of the landscape, still life, woman's face, which, transferred into the harmony of colors and forms continue they life in art work. Guiding her through the need for equivalence and exploring themes like peace, harmony and emptiness, the artist - influenced by the ideas of Taoism and Eastern philosophy - transferred her longing and revelation on the canvas. From her first works to the present days she developed her work relayed on that same philosophical thought, developing her work by changing it through different styles and exploring the medium of painting and yet modulating it according to her spirit and inspiration she founds inside herself. Female portrait is main motive in most of the paintings. It is usually shown as sensual figure, with full lips, almond eyes, and slightly tipped head, that leads us in world of dreams and fairytales. Two paths lead us when we follow this mystic. One has roots are in Jugendstil (Art Noveau) and further  in art of Japan that was inspiration to Jugendstil, and in Russian fairytales that we can find in work of Chagall, and the  other in tendency toward harmony in choosing colors that evoke Kandinsky and Marc. Artist settles her characters on the background defined with colorist effects, that are, unlike in her early works when they were much expressive and with vivid tones, tranquil and given in pastel tones of blue-gray combination and beige in gradations. Colors, painted in wide brush-strokes combine anintrusivly and melt one in another, making abstraction that in some works could be defined piece in manner of abstract expressionism. On that background painter successfully adds figuration with tiny, playful black lines that give sparkle to meditative tranquility of background and open space to a new story. Much more than in early works now appear double portraits or even more characters on one painting. To former motifs of landscapes and dreamy female figures author adds new inspiration - motif of birds, fishes, music instruments and pottery that she brings in correlation with main subject. She paints them like the main motif with the same, almost calligraphic, brush-strokes and intensifies some silhouettes fulfilling them with color. In adding those motives, although they bring their own poetry, we can feel transfer to greater opening to the world. Now characters are not so alone, closed up in their dreams and wrapped in shroud of mystic, on contrary, they have opened path forward observer through subtle communication with objects it is surrounded with.

 

 

Mike Von Nixon (Macarbe Macclesfield)

 

 

 

Mike likes to explore ways in which to use objects in new ways and to find avenues with which to transform everyday familiar objects into something entirely new and unique. He finds his inspiration from a variety of sources , such as steampunk, humourous things, classic cars and his own overactive imagination!

 

Mike works in range of media, does not limit himself when it comes to what he uses to make art, always trying to incorporate a high level of experimentation and a willingness to try new things.

He paints, sculpts, builds and draws, but most of all he is guided by his imagination and desire to create something that provokes a reaction, wherever that be laughter, reflection or any number of emotions. 



 

John Walter (Focus photography exhibition)

 

 

 

In my early twenties I found a second hand copy of The Outline of Art (edited by Sir
William Orpen). This journey through art history shows the same puzzle being worked out
by generations of people, each trying to make sense of their world through art. It is an
addictive challenge which I have not been able to quit since.

 

From a soup of extraordinary information and mundane reality we build, knock
down, and reconstruct our human operating systems: Like many other people growing up
in the Sixties and Seventies, I followed the Apollo missions on TV, and made the Lunar
Module kits which came in cereal packets. I watched Tomorrow's World, and used giant
pocket calculators. I saw Arthur C. Clarke's Mysterious World, and had a state education
which endorsed the use of fear, humiliation and physical violence as teaching aids.
As is still the case in England, we were forced by law to practice Christianity. Art
meant felt tip pens, magic colouring books and dot to dots.

 

During my engineering apprenticeship I learned to create, read and work from
detailed drawings. We dealt with scale, projections, developments and basic geometry
used in setting out components and spaces. I came to appreciate the practice of
expressing three dimensional ideas, in a two dimensional language of lines and symbols.
At art college I became interested in other forms of visual material with the ability to
convey information. I was not so much interested in the information, which may be more or
less believable, but in the power of the artifact to make us accept something as fact.
Later I played with bits of creative writing, old radios, reel to reel tape recorders, old
stills cameras and super 8 film cameras. Mediums through which information is made and
sold to us. I tried to get a grip on the little people inside the boxes, along side my everyday
reality.

 

Of course this statement is edited and has its omissions and inclusions. This
process of choosing what to present can be a very powerful tool which can be used to
misinform and confuse.

 

We each have our own editing room, a space in which to question reality and
attempt to reconcile the pieces. It is this grey area, or ambiguous moment, where received
information meets experience, via some kind of intervening visual language, which
continues to fascinate me.



Sherrie-Leigh Webb (Print)



Sherrie's stunning, delicate and layered works are Fragments of collaged material, perspective; colour, space and scale mix in a fluid manner skewing our preconceptions between objective and imagined realities.

 

Jewel like in their appearance the work is situated between states of consciousness and dream. Often serene and playful, undefined by time or space, a sense of escapism is aroused with imagery that is familiar yet distant. Suggested narratives offer transportation to mythological realms, made tangible through personalised and fantastical portals.

 

The works are a mixture of screen printing onto blocks with collage layers to create an extra depth. 

 

Sherrie Leigh Webb | Printmaker and collage artist 



Natalie Whitehurst (Image Conscious) 



Into the night

 

Natalie explores the themes of childhood, nursery rhymes, family, dreams and memories through her work. Through the playful exploration of scale, composition and layers each individual photograph tells a story.

 

Found objects and ephemera are sourced by the artist to create each unique and original photo collage.

 

The series of photographs 'Into the Night' is exhibited here at Marburae Art Gallery. The work is based upon children's dreams; it focuses on the symbols and imagery that were present in each child's experience.

 

The carefully constructed layers re-imagine and interpret the children's dreams. The collection of photographs displayed represents the emotions felt in these dreams; fear, aspirations and hope are visible, and seem somewhat familiar.

 

There is also a strong sense of surrealism, communicated through the use of layered imagery, but also the underlying theme of the unconscious mind. 

 

Natalie Whitehurst is a Manchester based fine art photographer, currently studying at Salford University.

 

 

Natalie Whitehirst | Photographer | Manchester  

 



Hannah Williamson (Select)



Hannah is interested in questioning location points in time/space. As subjects; Landscapes, organic forms and the body in space are compelling matters through which her ideas can be considered. Hannah investigates these subjects through exploring different processes to making while questioning her role as an artist.

 

The interplay between mark and space is vital in the delivery of her imagery. The tension, suggestions and disintegration of boundaries which occur between the accidental and deliberate, dislocated and fixed offer a language through which the meaning of the work is best articulated. The process of 'drawing' is used in both in literal and conceptual senses. The landscape of form is negotiated through a mixture of marks, where colour, form, space and scale are paramount.

 

Despite teaching full time for the last several years, has been been consistent in researching and developing her artistic practice.



 

Pauline Woolley (Image Conscious)


 

Pauline Woolley is a Visual Artist based in the East Midlands and graduated from Leeds Metropolitan University in 1997 with a degree in Fine Art.

 

The aesthetics in science, geology, space and the natural world have underpinned her work for the last 15 years. This includes a deep interest in the terrain of Iceland in which she visited in 2009 and 2011.  The first visit to the country concluded in a three-week residency at the 'Goldfactory' in Nottingham in which photography, drawing and painting pulled together the primary research from the trip to produce a series of paintings.

 

Her more recent work has seen a move into photography and camera less methods of image making, often combining digital and analogue techniques to explore these areas of interest in a new way. 

 

In 2012, she was invited by Rednile Projects to participate in one of their Factory Nights Events.  The event saw 7 artists travel 1100 metres down and 6 miles out underneath the North Sea to the workface of Boulby Potash Mine in Cleveland. Potash is the name for mined salts that can be used as a fertilizer.

 

 

Health and safety prevented any use of photographic or electrical recording devices underground so the creation of the work pulled extensively from a few jotted notes, visual memory and samples of potash taken from the trip.

 

Digital photography, drawings, photograms and darkroom printing have been used in constructing this series of work which aims to create a romanticized otherworldly meaning of the mine that also encompasses the writing of fellow Boulby artist Joanna Brown.

 

'Rock is crumbling somewhere, falling apart from the earth, into the hands of man, somewhere under the North Sea.  We are in the Earth, and if I stress this, it is because it is so…

…This is more than simply being underground.

We are in ground.'

 

 

Excerpt from 'Grace is the art of the fall ascending' by Joanna Brown

 

This recent series 'Subterranean (and above)' was show at the Lakeside Art Centre, University of Nottingham in May 2013 with three pieces travelling to GV Art, London in July 2013 for the show 'Nature Reserves'.




Phillip Woolway (Image Conscious) 



Curious

 

"There are things that are warm and familiar, they serve to reassure, there is no threat as all is known and comforted are we. There are things that are dark and surreal, they often cause unease, there is a threat with things unknown and uneasy now we be. We may not want a look at them but alas we can't resist, we'll even cover eyes with hands but still peep through the gaps. We may not want to speak of them but undoubtedly we will, with gasps and exclamations our experiences are relayed. While warm things are forgotten, the dark surreal will stay, we are bewitched and powerless by the curious mystic spell."

 

 

The collection of work Curious exhibited here in Marburae Art Gallery has a very strong sense of surrealism, a cabinet of curiosities.

 

If curiosity entices you to seek the unusual, then you may be (un)fortunate to discover a mysterious shop which rarely opens, except upon request.

 

From the period of the Victorian Curiosity Cabinets or Wunderkammers to the sometimes unnerving world of surrealism, these shops, with their heady mix of intrigue and superstitious fear, can possess the most wondrous and unimaginable things beyond your wildest dreams or nightmares.

 

A fur ball from a cow, a carved skull from Borneo or even a hunchback's spine; all very desirable and the 'must have' items for the wealthy Victorian gentleman eager to impress.

 

But what if your decor and taste are more contemporary, what would you then choose to consider?

 

Eastern European prosthetic and stainless steel testicle covers are quite popular at the moment apparently but if you are seeking that quintessential, unnerving object d'art, then the iron lung is the guaranteed show-stopper (especially in pastel green). The work radiates the feeling of unease, and uncertainty, slightly dark without being gruesome. The sharp colours and strange contraptions depicted lure the viewer in to the weird and wonderful creations.

 

Curious is subtly uncomfortable but impossible to stop looking at, contemporary photography, dedicated to the challenging.

 

Philip Woolway ARPS | photographer | Southsea

 




Keith Wright (Focus Photography exhibition) 

 

 

 

 

Keith's photography is inspired by industrial landscapes and the built environment.

Drawn to marks and patterns that have been created naturally or by mistake. Even the most mundane road, wall or pavement can contain beautiful colours, patterns and design.  In situ these can be missed or ignored as they form only a small part of the visual information our eyes and mind experience. Keith wants to share the hidden natural beauty created by use, the elements and passage of time.

 

After spending some time seeking out and mentally recording these marks, he realised that some of the most fascinating sights were of a temporary nature and when he visited again they had been changed destroyed. As a result Keith began to capture these markings photographically and began to create a series of work based on these images.

 

He closely crops and carefully arranges these images into grids removing all context, scale and location. The resulting artwork is often visually abstract but with the contrast and accessibility of a geometric composition

 

Keith Wright | Photographer | Nottingham



 

 Marc Yeats (Sound As I See It | FOUR - Barnaby Festival 2013)

 

 

 

 

Sounds As I See It

Dynamic, expansive, explosions of colour.

 

Marc Yeats has created this sound and visual installation by employing methods of painting that investigate chance and random effects.

 

The planet like works have been created through glazes and tonal densities, so as to explore the relationship between time, event (subject material), and space.

 

The installation also compromises of an electroacusmatic piece of music 'Sound surface No.1' composed by Marc Yeats especially for the exhibition. The piece reflects the process and structure of Marc's visual works.

 

Marc states that in music, all elements are set in time and against a background of silence or non-event. The paintings therefore visualise the sound loops that Marc has composed.

 

Piano recital featuring two world premiere composed by Marc Yeats  Sunday 16th June 11am

 

Artist Talk | Sunday 16th June 12.30pm


Marc Yeats is a nationally renowned composer and artist. As his talents span the two art forms that Marburae art gallery and Shackleford Pianos is all about. As such, we have asked him to compose a piano recital alongside a collection of his artworks to be showcased over the Barnaby Festival. 

 

Marc has a special interest in communicative, challenging work that pushes boundaries, including immersive installations combining music, visual art, dance, word and digital media.

 

He is currently Chair of DIVAcontemporary in Dorset. DIVAcontemporary is an artist-led organisation committed to creativity and experimentation in the arts and practice-based research, working internationally, nationally and locally to his home town of Bridport, Dorset.

 

With a core development team of practicing artists, producers and curators, DIVAcontemporary has extensive expertise across the creative and cultural industries. 

Marc is also a founding partner of SATSYMPH, (composer and visual artist Marc Yeats; poet, writer and context-aware media director and producer, Ralph Hoyte; and coder, composer and audio engineer Phill

 

Phelps). SATSYMPH compose 'context aware soundworlds' - located high quality contemporary soundscape experiences outside in the real world triggered by GPS (satellite) signals. 

 

Marc is also a composer-in association with Thumb Ensemble (Birmingham UK), Manchester Pride (Manchester UK), and most recently, Chamber Cartel, (Atlanta US). 

His visual art has been exhibited and collected across the UK and abroad and he has paintings in the collections of several public galleries in Scotland including An Tobar, An Tuireann and The Pier Art Centre, Orkney.

 

 

 

Hannah Wooll (Select)



Hannah Wooll was born in Norfolk, England. In 2000 she graduated from Manchester Metropolitan University with a 1st Class Degree in Fine Art, Painting. Wooll then went on to study at the Royal Academy Schools, London, graduating in 2003 and receiving the May Cristea Award for Fine Art.

Since graduating Hannah Wooll has been living and working in London, Newcastle, East Anglia, and the North West, England

Shows include "Radical Art", Jerwood Space, London, 2005; "New London Kicks", Wooster Projects, New York, 2005; "Jerusalem", Dean Clough, Halifax, 2006; and "Fastest with the Mostest", Carter and Gallagher, London, 2007; "The Future Can Wait", Atlantis Gallery, London, 2007; "Contemplating Life and Stuff", solo show with Comme Ca, Lowry Hotel Manchester, 2007; "Dysyopia For All", Carter Presents at the Wharf Road Project, London, 2008; "Jerwood Drawing Prize 2009", Jerwood Space, London, 2009 and 2010.

 

This series of works pays homage to the depiction of women within art history tethered with the apathy and frivolity of more contemporary media imagery. Large brimming eyes, flowing hair, smart mouths, bony fingers and faithful pets borrow from religious icons, plastic dolls, German old master blondes, society heiresses, and Gainsborough's girls.

 


Simon Woolham (Select)



Simon's enchanting work is concerned primarily with occupied spaces and the narratives that unfold in them.


Showcased here are a selection of Simon's delicate attempts to unearth this unpredictable and fragile process of his childhood memories, he uses biro drawings, paper interventions, animation, video and text.

 

The work is unassuming, made from simple materials and with seemingly modest aspirations. It is their quotidian qualities, however, that charges them with emotion, not that those emotions are easy to identify. It is not that these works are personal or autobiographical that obscures their emotional content, it is the fact that they are irreducibly, irrevocably unsettling. These sites are the scenes of humiliation as well as innocent play, of rejection and failure as well as fantasy and adventure.

 

Engaging drawings of school playing fields, junked underpasses. Through these glimpses of dilapidated environments comes to life a skint version of enchantment: a tree stump or broken fences are filled with the meanings of the events that go on around and about them. 

 

 

 

Paul Worpole (Select)



 

Our selection of Paul's playful photography showcases minute detail in his sharp shots but also his quirky side, in Scream 1 and Scream 2. The photographer's view of the world has always fascinated me and Paul's work is a clear example that perspective, colour and a little sense of humour can go a long way.

Paul Worpole grew up in London's East End and from the day he picked up his father's Kodak, he decided that "keeping the world in a 35mm frame" was a challenge he would relish.

Having initially taken a course in Industrial Design at Southampton College of Art, Paul eventually settled in the Art and Graphics department. After leaving formal education he worked in a commercial photographic studio.

His biggest influences are David Bailey, Rankin, Duffy, Annie Leibovitz and Jill Greenberg

"I am always looking to show something the eye doesn't usually see; emphasising some detail in the way the light falls on the subject. Most

of my work is commercial, but from time to time I get the opportunity to go out, have fun and just create an image of whatever catches my interest!"

Pa