The title is adopted from Elizabeth Bishop’s poem. A fragile iceberg is reconstructed in the fictional construction drawing, with our emotional attachment to the vanished physical landscapes. It is the virtual representation in this digital era of our aesthetic desire of nature.
About the Artist:
Yufei is a graphic and architectural designer. Flitting between China, Singapore and the United Kingdom for the past twelve years, her interests fall into narrative cartography and line drawing as a form of revealing remote and imaginary landscapes. She studied architecture at the Architectural Association and is currently based in London.
‘In general I am interrogating how we perceive our constructed spaces, both urban and rural, their different characteristics, their influence on our sense of self and our position in the world as well as their psychological effects in exposing our insecurities and vulnerability.
This particular image was made by combing 2 images. It was made as part of a project I am involved with. The group 6plus2 is working on a project called Hold. It is a site responsive project set in the now empty Petersfield police station. Part of my response to being in the cell was to feel trapped and want to escape. This image is a combination of the physical containment of the cell brick wall with the mental escape of imagining a seascape.’ (Richard Brayshaw)
Heloise Bergman is a lens based artist from New Zealand.
‘Rokit Girl was inspired by infatuation with the Dutch Masters. Vermeer’s female subjects were portrayed occupied by houshold errands, often with an intensity that elevates the everyday to something more profound. Almost a decisive moment. Over three hundred years later, Rokit Girl works in Brick Lane and I capture her between customers. She embodies an ephemeral look, gender fluid, time fluid; but when she meets my eyes across the shop, it feels like another decisive moment.’ (Heloise Bergman)
Mixed media glazed and enamelled bricks, 20x20x10cm, 2016.
Pamela Gerrie about her work:
‘My work is about life, people, human behaviour and our astonishing natural world. I record moments in time,experiment,beak rules.. Although the work can appear loose it is reworked and reworked until I am happy with it.
I exhibit in London and have work in private and public collections in the UK, USA and .’
‘I am a passionate artist, who loves working with oil on canvas, and through my work I always feel that I express my soul, each piece that I paint is part of myself, and because I am concerned about feelings, all my paintings titles and subjects are relevant to the internal human feelings and attitudes of life.
This artwork is named “A Man’s Moment”, and it figures a man, at a specific moment of his life, a moment that his mind travels through his thoughts, an internal journey.’
Presenting Seven Wonders of the World – key figures who have had substantial input into the way we live our lives in 2017. With the snap General Election on our heels it is important to heed the words of a classic work of ‘fiction.’ The artist has chosen specific passages from Aldous Huxley’s Brave New World, a surprisingly easy task all things considered. An artist for just two years, Farah’s career change from journalism to contemporary art has seen a dramatic progression from kitchen sink working to a scholarship to study a Fine Art MA.
Runner-up for this year’s Batsford Prize, Farah Ishaq has already sold hundreds of original prints by word of mouth alone – and unveiled her first public installation in conjunction with London Overground in Walthamstow. Juggling work, health and single motherdom, Farah’s practice aims to capture snapshots of stillness in everyday chaos. She searches for the feeling of ‘home’ through playing with relief printing, type, found objects and paper to explore possibilities. Seven Wonders is an edition of 10 – but number one is the key one for the vintage book pages chosen as paper and the hand-pulled lino prints are behind museum glass and finished off with an Ash frame.
Porcelain with gold and precious metal lustre, 30x30x30cm, 2015.
Liz Watts about her artwork:
‘Mythological Abstractions’ creates a piece which is entirely different on its opposite sides, but in which I have set myself the challenge of making these two sides flow into each other seamlessly. I have done this by extracting the shapes and colours from the two low relief sculptures and turning them into the background into which the opposite sculpture is set.
About the Artist: Sculptor and ceramicist producing work in ceramic, primarily porcelain, and also in bronze and papier-mâchè.
Trained as Veterinary surgeon at The RDVS, Edinburgh and Worked in large and small animal practice for 10 years.
In1992 moved to Chantilly in northern France. Here she studied decorative porcelain painting and between1998-2002 sculpture and ceramics at l’Atelier des Beaux-Arts Henri Matisse, Creil, France
I am a full member of the United Society of Artists. In April 2016 my work won First prize at their Annual exhibition at the Bankside Gallery, Southbank
In 2015 received a 5* ‘Outstanding’ review for my joint banquet installation on The Edinburgh Festival Fringe at The E.D.S. Gallery. In 2016 the gallery Invited me back with an installation ‘Beached’ in which she collaborated with poets and storytellers. Both these installations have subsequently been exhibited in other venues and Liz have plans to develop these ‘installation’ exhibitions further.
Liz Watts regularly exhibits in galleries, open studios, group and solo shows around the UK. Since 2013 she has been selected annually to exhibit at ‘Art In Clay’.
Liz Watts delights in storytelling both in art and with the written word. She collaborates with poets, storytellers and musicians. She has won prizes both for poetry and short stories and performed her poetry. Her porcelain and her have recently done collaborative performances with poets and film makers!
”Working in porcelain maintains strength in ornate pieces. My method of layering in building creates an air of delicacy whilst maintaining practicality. The strength in porcelain keeps the work tactile and creates objects which can be handled, used and enjoyed. I aim to bring to my ceramic pieces the design and movement for which my sculpture is known.” (Liz Watts)
Gesso and ink on watercolour paper, 71x89cm, 2016.
Suzsi Corio studied constructed textile design at the Royal College of Art in the 1980s, then worked as a textile designer in Italy and Hong Kong before setting up a textile design studio in London.
Painting has always played a large part in her textile design work and she has drawn upon her interest in texture and pattern to create a series of works on canvas and watercolour paper, using experimental and unusual mixed media techniques to create a series of enigmatic paintings of vintage party dresses exploring the theme of identity. Paintings in the ‘Dress series’ range in size and media from tiny postcard sized watercolour studies through to very large oil canvases incorporating shredded lace.
Paintings are built up using layers of textured gesso, watercolours, inks, acrylics or oils and are then sanded and re-worked to develop a unique and enigmatic identity. The boundaries of textile design and painting are merged when she incorporates her digital textile designs into some of the paintings using image transfer techniques directly onto the paper or canvas.
Her paintings have sold to collectors in USA, Europe and throughout the UK.