My work is loosely based on the industrial aesthetic in contrast with its natural surroundings, reflecting on the concern of early romantic era painters as well as the coincidental beauty of the modern and the man made in its invasive and alien presence. The images in this series are an investigation of not only two types of aesthetic but two types of mark making, ranging from erratic splatters to detailed technical style drawing, which gives room to a selection of organic ‘happy accidents’ on which to bring out and add detail. This contrast in texture and pattern produces a vivid and exciting set of abstract landscapes based on the idea of taking the more interesting extremes of these two visual elements. Based on the notion of opposites, I attempt to connote the equal harshness of both nature and man made structures by placing them side by side below a shroud of beautiful and foreboding cloudscapes. My fascination with this theme comes from my love of expressive landscape painting, such as the work of Turner and John Martin. This fascination of natural phenomena and often aggressive seeming architecture highlights my interest in buildings and machinery and its strangeness amongst the vast emptiness and mess of the universe. Rather than a glorification of might and supremacy of human progress I find it more fitting to highlight and contemplate our own fragility amongst our surroundings.
Victoria Lucas (b.1982) is an interdisciplinary artist based in the North of England. Working predominantly with photography, video and installation, she creates markers of time through the moments and objects that are captured. The work is concerned with flux, as she searches for evidence of the futile struggle against the effects of entropy. Buildings, living organisms, moments and the medium of video and sound are explored in conjunction with one another to create works that archive this constant shift from order to chaos and existence to extinction. These elements form an investigation into the everyday, capturing and bringing to light minutiae as a means to address underlying existential concerns.
Recent works include Untitled (Cranes) (2013), a four screen installation that sits somewhere between photography and video. Stationary landscapes are punctuated with a series of elegant movements, as the cranes pivot and hoist materials across various construction sites situated in Berlin. Caught in a state of transition, this video installation emphasizes a constantly shifting landscape as motion is captured and repeatedly looped. Similarly, the photographic series Remedy (2012) captures a number of empty billboards situated on either side of the European Route E94, as one travels between Athens International Airport and the capital city of Greece. Once clad in brash advertisements, these large sculptural objects denote economic austerity in Greece, whilst offering a solution in the face of late capitalism.
Tor Simen Ulstein & Geir Stian Orsten Ulstein collaborative series’ ‘Det Som Var: Er’. For this series Tor travelled with his brother around europe and photographed the remnants of concentration camps and Geir Stian Orsten Ulstein wrote poems to accompany the individual photographs.
Hinderet bak det største hinder.
Skjult av avstand, det uformidlede,
Det absurde i elendighetens nåtid.
Reveljetårn i stillhet.
Ingen å vekke,
Ingen å terrorisere.
Ikke lenger en leir.
Stadig går mennesker til grunne
Bortenfor alt kjent,
i ugjennomtrengelig grått.
Natt. Tåke. Utslettelse.
Bortenfor deg og ditt, de utslettede.
I naturen eksisterer ikke tilgivelse.
Ufortrødent visker den ut våre ugjerninger
hvor mye vi enn skulle kjempe imot.
Menneskene bryter tausheten i naturen;
Og vi, vi ser mot fortiden,
Vi ser alle andre veier
Mens vi lytter til gode formaninger
Om det som var. Vi ser ikke vår egen tid.
Vi ser bare skogen.
This months featured artist is Tor Simen Ulstein. We feature parts of his series ‘Przystanek’
To tie in with our degree show special our featured artist section will be be split between three talented graduates of this year, here we are celebrating University Of Derby graduate Ciaran Jones.
‘The images are created by placing negatives inside a pair of shoes and going for a walk. The shoes have holes in the toes and sides. This combination of light leakage and the friction caused by the repetitive physical action of walking has the double effect of both exposing and wearing away at the emulsion at the same time’.
To tie in with our degree show special our featured artist section will be be split between three talented graduates of this year, here we are celebrating Fine Art SHU graduate Amy Collins.
To tie in with our degree show special our featured artist section will be be split between three talented graduates of this year, the first of the three is Fine Art SHU graduate Huw Noble.
Process and the relationship between the maker and the materials used is something that I find intriguing. Through the juxtaposition and joining of contrasting materials I am granted an insight into their properties. My fascination lies within the reaction that the materials have to this joining. The usual focus of my practice lies within the realms of moving image, sound and the three-dimensional form. Much of my influence is drawn from nature and its ability to adapt to change.
‘Material Dichotomies’ is an ongoing series which explores the energy that forms on the assembly of contrasting materials. The work considers points of tension that form from an amalgamation of angles, weight and balancing points. These points allude to the properties of the materials but also open up a dialogue between the forms and the space. The addition of sound allows for a deeper insight into the core reaction of the raw material
I am a London based artist. My work explores the physical and emotional consequences of human relationships, employing a mixture of photography, collage, found objects and digital media. The mixed media pieces often portray frayed and faceless figures as they collide with idyllic tableaux, patterns and textures in order to articulate their intimate narratives of loss and abandonment.
I look within myself and at my own family history, observing (at times negative, though always human) behaviour of loved ones and the consequences of their actions. Juxtaposing antique objects and environments that have an existing history with the emotions lying latent within these situations is a fascination of mine.
Artists that inspire my own practice include David Lynch, Sarah Lucas, Jenny Saville, Jon Stezaker, Polly Morgan and the sculptures of Berlinde De Bruykere.
‘Paula & Amber’
My practice centres on the creation of digitally manipulated photographic images that aims to bring together a conjunction of three themes: artistic invention, thwarted narrative and the consequences of looking. I am particularly interested in creating works that concentrate on the problem of pictorial narrative, especially where this intersects with ‘realism’ and how seemingly emphatic images that deny ultimate decoding raise questions around the differences between ‘seeing’ and ‘reading’.
The work draws on elements of a visual language taken from classical western European painting, particularly in its seductively appealing look, arrived at by constructing images through digitally enhanced photographic techniques. There is an attempt at disrupting the solidity of this aesthetic through engaging visual complexities that may lead to multiple and unstable connotations, particularly in how codification within the work may be read. It is the balancing of this aesthetic, describing what is a clearly readable image on one level coupled with potential layers of significance on another, that aims to bring tension and dynamic to the work.
Developing work in series and sets of images allows for exploration of a wide range of what may at first appear to be disconnected elements and themes. A complex interweaving of aspects of concealment, revelation, sexuality, ambiguity, and codification can then take place. The sets are continuously added to and refined as elements reveal themselves as possibilities for further exploration, and works are brought together in various combinations to form larger composites where a mosaic of imagery deepens resonances across the whole. The placing of seemingly disparate images together, whereby new works and dialogues are created, aims to develop understandings of ‘frame’ and what is happening outside of and between photographs.
‘Young Woman Reading A Book’
‘Young Man With A Cafetierre’