Santiago’s substantial body of work acts to reveal the perverse networks of power that inspire the alienation and exploitation of workers, the injustice of labour relations, the unequal distribution of wealth produced by capitalism, the deviance of work and money, and the racial discrimination clearly evident in a world scored with unidirectional (south-north) migratory flows.
David works with variety of media and technologies to explore the social and political tendencies of a world at once shared and divided. His practice is typified by an interest in intersection; the breaks or nuances in the human condition that can lead to a less ambiguous understanding of the world we inhabit. Encapsulating the roles of programmer, producer and director, David’s projects embrace the quiet, indistinct spaces that are the sites for action, and which may (or may not) be understood more clearly in the future. David was commissioned to travel to Helmland province in Afghanistan in 2007 and 2008, where he observed various medical teams such as the Joint Forces Medical Group and the Combat Medical Technicians of 40 Commando at work. He also spent six months in 2009 documenting the continuing care pathway at Selly Oak and Headley Court. He continues to return regularly to the region, considering the challenges to empathy that occur prior to the descent into the polarised engagement of military forces.
Jon Thomson and Alison Craighead work across video, sound, sculpture, installation and online space, using technology as a means to reformulate fundamental human questions for contemporary times. Over the last twenty years, they have produced a generous body of lyrical artworks that examine the changing socio-political structures of the Information Age. A particular focus is the ever closer connection of the digital and physical worlds, creating an additional geographical layer in our collective sensorium.
London fieldworks, formed in 2000 by artists Bruce Gilchrist and Jo Joelson is a collaborative practice working across social engagement, installation, architecture, video and animation, situating works both in the gallery and the landscape. Looking for and thinking about correspondences between landscape and imagination has led to an interest in the idea of fieldwork as artistic practice. Projects have been developed in remote sites such as Northeast Greenland, the Brazilian Atlantic Rainforest and East Iceland as a way of generating material through an open-ended, extempore, creative enquiry based on people, things and phenomena rooted in a particular place. Subsequent multi-media projects have created speculative works of fiction out of a mix of ecological, scientific and pop-cultural narratives, exploring themes of suspended animation, technology, fantasy and death.
Dave Beech, Andy Hewitt and Mel Jordan are the three members of the Freee art collective. Freee uses manifesto, spoken choir, kiosk and bodily endorsement of slogan to attempt to form community through the declaration of agreement and disagreement. They use kiosks to assemble groups of people around ideas which are published on badges, clothing and signage. Conceiving of publics through techniques that derive from montage: cutting, pasting, rearranging, splitting and joining, their work explores how individuals and groups can be temporarily cut out of the community and pasted into new configurations, rearranged through discursive processes of splitting and joining (disagreeing and agreeing) and then reassembled in a new totality through acts of collective publishing. They are preoccupied with the idea of ‘the collective’ and methods for us to all act more collectively within the public domain.
Adrian works in video, performance and sculpture, re-examining and reworking the overlooked trappings of our culture in an investigation of the processes of communication and persuasion used on domestic and international scales. Isolating and dismantling devices including government health warnings, health & safety signage and bureaucratic small print, multinational corporate advertising and brand mascots, he probes their function, reorganising familiar rhetoric and disrupting assumed authority. Adrian is fascinated by the way people attempt to define themselves through the things they purchase, what they believe and what they are told. In this world of hi-viz, feedback and data release forms, we collude in our own manipulation by becoming devotees of product designers, advertising executives, spin-doctors and charlatans.
Roxanne Gatt, also known by the pseudonym Roxman Gatt, works with video, performance, photography, painting, text and CGI. Roxman’s research explores sexuality, identity, consumer culture and the position of women within popular culture and consumption. Mundane aesthetics and the internet become both a tool and a trigger to produce work. Roxman is interested in capturing and communicating aspects of own intimacy and approaches art as a form of sexual and emotional healing. The aesthetic qualities of authentic emotions and real relationships, including love and friendship, as well as encounters with strangers is a crucial part of Roxman’s practice. ®egistered ©opies™ is a collective set up by Roxman with fellow artist Charlott-Maeve Perret in 2014 and is an online platform exploring the area between the bedroom, gallery and online shop.
Christopher MacInnes works across computer-generated animation, installation, sculpture and computer programming, drawing on visual languages from consumer technology, the corporate web and science fiction. Through the creation of immersive environments, he explores the heavy infrastructure of information based cultures, contrasted against the glossy hyper-texture of our luxury-tech devices, articulating the practice and nature of being human in a simultaneously industrial and intangible environment
Lizzie makes meticulously detailed works that are often produced following long periods of obsessive research. Her approach to collecting and then structuring data has allowed her to remotely explore distant landscapes and briefly enter the private worlds of others. Her work provides an access to structures and networks so massive or complex that they defy comprehension, and while the obsessive act of making her work appears futile, something important is revealed.
Democratised from minimalist couture chic to high-street decor to budget home-ware chintz, Matthew’s assembled objects try to define just what it is that makes candy-coloured plastic so modern, so appealing. A provocative repackaging of the homogenisation of contemporary design: the moulded retro-furnishings and CMYK colour schemes that dominate both public and private space, his homey assemblages function as models of modern living, the kind of dioramic displays that might represent 'today' in design museums or shop windows.
Tristan’s work incorporates dark room photography, 8mm film, sculpture and installation. Typically monochromatic and process driven, his work explores surface, geometry and place. The presence of his work is peripheral, providing a subtle arrival at a set of ideas, and hiding a meticulous and controlled process of trial and error. At the core of his work lies an enquiry into the way we interact with space and perceive our environment, brought about through subtle spacial interventions and manipulations and meticulous attention to detail. Tristan’s practice is informed by his many ongoing exchanges as part of his multiple roles as artist, gallerist and studio owner. He co-founded Moot gallery in 2005, and this project evolved into One Thoresby Street, an artist’s studio complex, project space and production facility where he currently holds the position of director.
Rod Dickinson’s works are research-driven, exploring various mechanisms of social and digital control, and how we as individuals and groups interact with them. His projects critically reflect on both the focus of their enquiry and on their own construction, revealing how interaction is often unconscious, as people perform pre-prescribed roles. Many of his projects have utilised methods of reconstruction and re-staging, focusing on historical objects and events that have clear parallels with the present.
Jacob’s practice is comprised of two interconnected processes, making and writing, focused on an exploration of material transformation and embodiment. This has manifested as architectural-scale interventions, artist’s books, photographic assemblage and cast objects. Jacob works regularly with graphite, a material usually associated with pencils and so drawing, but in it’s powdered form; nocturnalising colour, reproducing the condition of twilight.
Working with photographic commissions, residencies and exhibitions, paula is interested in the intersection of photographic research and the materiality of paper-based publishing. Her photobook works are photo-textual narratives tracing place, memory and identity. paula's long term research project, the Found Photo Foundation, examines the collecting, archiving and publishing of orphan photography, and she is also the founder of the photobook publishing platform msdm......
Jonathan’s work explores the relationship between, technology, image, and political subjectivity. His work is performative and driven by a thread of serious research that is played off against the surreal and the ridiculous. This is a response to what he sees as an unresolved issue within art, of it being both a philosophical investigation into the structure of culture(s), and a form of gratification as either spectacle or fetishised object. One of his key sources of inspiration is The Twelve Articles of the Upper Swabian Peasants, a political manifesto from the German Peasants’ War of 1525 and one of the first secular manifestoes to receive widespread, print-based distribution, through which the peasantry presented their political desires in their own words and images.
Marcia works in performance, photography, painting and object-making. Her site-specific works have been staged and exhibited internationally in museums, galleries, lecture theatres, kitchen showrooms, hotels, pubs, parks and leisure centres. Precariously balanced between the prescribed and the unpredictable - socially open, broadly embracing of circumstance, and resolutely focussed in the live and unrepeatable moment, her performances make frequent and subversive use of popular cultural forms such as pop-psychology, TV cookery, the Punch & Judy show, the fashion catwalk and the guided tour. Her work is conceptual in nature, but deeply personal, drawing on personal observations and the intricacies of interacting in everyday life.
Scale plays an important role in the work of Ilona Broeseliske, her sculptures being no larger than the human head. She calls her practice P.P.P. (Petrified Porcelain Poetry) and compares the work with 3D line drawings escaped out of white A4 copy paper and ’becoming stone’.
Through tactility, a highly-finished surface and almost engineer-like precision she calls the observer to come closer, inviting an intimate and sensuous relationship between the object and the viewer.
Broeseliske studied at the Academy of Art and Design St. Joost in Breda and attended an exchange program at Kyoto City University of Arts. She holds an MFA from the Royal College of Art.
Antonia McDonald’s work is influenced by her former career as a Forensic Scientist. In her recent work, she has explored the juxtaposition between textiles and the damage caused by high explosives. As the lines between state-sanctioned warfare, insurgency and terrorism become increasingly blurred she uses high explosives to damage knitted fabric and garments in order to highlight the impact that explosive weapons can have on ordinary, peaceful societies.
In an age of continuous media coverage, an awareness of the futility of trying to communicate the brutality of violent warfare with representational imagery has led her to use objects rather than images to elicit an empathetic response in her audience towards the victims of the conflict.
McDonald graduated from Chelsea College of Art in September 2017
Shinji Toya has a diverse practice that includes video, programming, installation and painting. He is interested in how digital technology can be used as a catalyst to interrogate cultural discourse. His recent work has been concerned with digital memory and in particular issues surrounding digital forgetting, immortality of digital memory and the precarious nature of identity and memory within the digital realm. His work can be thought of as multi-media poetry.
Toya was born in Japan and graduated from Central Saint Martins in 2013 where he received the Contagious Nova Award for his work.
Louise Long’s work centres around site-responsive research, making and re-telling in conjunction with the natural and man-made environment. By exploring the intersection between photography and alternative forms of image-making, the concern is to reflect both on the physical materiality of a place as well as less visible narratives beneath its surface. Here, the handcrafted is interwoven with the archival, the psychological with the historical, the philosophical with the geological and archaeological.
Louise holds a MA in Fine Art Photography from the Royal College of Art, and BA in Art History from Cambridge University. In 2017 Louise was awarded the Labyrinth-Royal College of Art Graduate Award, and the Travers Smith CSR Award.
Oliver Durcan’s paintings realistically render objects, photographs and screenshots found in art settings and in popular culture. They are ‘replicas’, produced with an intentionally robotic, engineered approach and a more photographic outcome than a painterly one. His work explores the function and purpose of painting when it is used as a disguising tool to mimic and replicate. He is interested in looking at the behaviour of painting and the lifestyle of the painter who is contained within a multi-tasked, distracted contemporary culture. Recent paintings have used tromp l’oeil effects, rendered in a way that folds our perception of their three-dimensionality. The imagery in his work is often taken from the ambient background of contemporary culture, using painting (and Painting) as a means to bring it to the foreground. In Durcan’s work subjects invisible through their saturated repetition in popular culture, present themselves with the aura of the one-of-a-kind.
Ruby Rossini’s work explores the convention of boundaries, their limits and inherent contradiction as opposing states. She does this through a conceptual and physical investigation of material interaction. Her images aim to interrogate the accepted system of representation; its failure, its bias, and its limited perspective. In Rossini’s images the organic and the man-made merge to become physical and conceptual puns. One material will act on another in such a way that they appear displaced, their original context is lost and they become other.
Rossini studied at the Fine Art Foundation at LABA, Brescia, Italy and graduated with honors from the UAL, Camberwell College of Arts, in Fine-Art Photography.
Shayna Fonseka is a multidisciplinary artist, exploring the ideas of the ‘alternate present’ and digitization. She has fictionalized a ‘trans-naturistic’ realm, where nature has started to grow beyond its environmental and physical limitations. A place where organisms begin to disguise themselves within her strange untouched lands. Using plasticine and other haptic materials, she makes sculptural artifacts and organisms ‘taken’ from this realm. Her instinctive methods when sculpting with plasticine celebrate the importance of the unmediated gesture.
Fonseka graduated from The Slade School of Fine Art in 2017.
Theo Turpin is an artist whose practice revolves around the production of installations exploring how history, language, narrative and romance combine to make ideal and idealised space. Through sparse compositions of juxtaposed material, his work takes many forms from collage to audio work and installation. These arrangements are used to explore ideas of narrative and myth being constructed and edited around us in real time, signified through the shared languages of architecture, film and popular culture. It is in this space of globally visible culture that everyday lives are augmented by popular narratives. Turpin is interested in the manifestation of this narrativisation and the ways in which it can not only support but also call into question such norms.
Jon Rafman makes environments, films, photographs and sculptures that examine the blurring of the real and virtual. Much of his work focuses on melancholy in modern social interactions, communities and virtual realities (including Google Earth, Google Street View and Second Life), while still bringing light to the beauty of them in a manner sometimes inspired by Romanticism. His videos and art works utilize personal moments intended to reveal how pop culture ephemera and subcultures shape individual desires, and will often define those individuals in return. His work is made from a composite of materials, including video footage, images, texts and quotes that he encounters in his extensive internet research. Occasionally shocking and always engaging, his works force the viewer to enter into uncomfortable and unsettling psychological realms.
Rafman was born in Montreal, Canada. He holds an M.F.A. from The School of the Art Institute of Chicago and a B.A. in Philosophy and Literature from McGill University.
Mustafa Hulusi works across a diverse range of media, including sculpture, photography, film, and installation. Using his native Cyprus as inspiration for much of his work, Hulusi draws imagery from the country’s endemic flora and fauna, juxtaposing these natural forms with abstract motifs, often making references to op art and Islamic art, pop culture and advertising. Hulusi is interested in how different visual languages shape our perception. He established his reputation with “guerrilla” campaigns in which he plastered London neighbourhoods with leaflets, posters, and original large-scale works. Hulusi is a British artist, currently living and working in London, UK.
María Paz García is a Chilean artist who works with various media to develop a visual language that questions the sense of cultural identity. She makes use of simulations and irony to play with preconceptions and assumptions made by observers.The blurry lines between what is normal, what is real, and ilussion are also part of her research.
María Paz García studied Fine Arts at Universidad Católica de Chile and holds a MFA from Goldsmiths College at University of London
Max Colson is an artist and educator based in London, England. He uses photography, animation and computer graphics to create films and installations that explore architecture and the built environment. His most recent work has found him working closely with online comments on architecture and landscape. He has drawn on these to produce films (such as the award-winning Construction Lines) which combine his interests in documenting the construction of specific architectures and landscapes with the strange, speculative viewpoints of armchair and expert observers.
Colson holds a MA in Documentary Photography and Photojournalism from the London College of Communication and is a an Associate Lecturer on MA Graphic Communication Design at Central Saint Martins.