Samantha Harvey’s practice explores the over abundance of images and information thrown at us on a daily basis and re-contextualises them to create rhythmic hypnotic short films that turn the idea of information overload on its head. Often sending us confusing and contradicting messages, Samantha’s work turns advertisement images, all kinds of information we face daily into aesthetically intriguing visuals. These use a Creative Commons license, that then it turn can be shared and distributed how one likes (not for profit). So giving the power of distribution back to the viewer instead of feeling like a commodity to be sold products through using emotive incentives. Samantha explores open source’s ability to connect communities and spread information across global networks; sharing and opening up social barriers.
However, Samantha also looks at the paradox of this ability to share emotional and personal information online, versus the discoveries of PRISM that this same information is a commodity being spied on by governments and being used and sold to third party companies for a price. Questioning this sharing intimate content to what seems like a neutral tool and giving up emotional information, and asking can open source sharing undermine this? As If everyone can share anything what is there to be sold, and who is left to sell it to?
What happens when you integrate beauty into online networks? Not as a way to sell a product but as a way to understand desire in these new technological informational times. Samantha has started making videos that are uploaded to YouTube, and also gifs and stills are taken from them and distributed on Ello.
Ruoru Wang is studying at Chelsea College of Art. Ruoru’s works are seemingly abstract but directly record or reappear the images by photography, video and installation. She is interested in exploring, how we perceive the world through our bodies and experience the state of ourselves. The ’visual’ and oral noise of information not only clashes constantly with the inner calm and peace we naturally require, but is also a menace to our existence, she chases a real and active part while tend to black&white, blue colors in making her pieces; for her, the physical involvement is as important as making the work.
Rosie Munro Kerr
Rosie Munro Kerr works with installed systems that capture and digitally replicate analogue experience. Her research investigates the metamorphosis of skill and the role of the Maker within an evolving biophysical condition where the made object appears as a synthetic and symbiotic process of maker, process and environment. Working with networks of independent systems, Rosie produces electronic interpretations of human sensory input that communicate information and impulses through the spacial and material installation of the work itself, manifest as a visual, digital output. Rosie is a recent graduate from Wimbledon College of Art MFA Fine Art.
Dávid Icko Kovács
Dávid Icko Kovács modifies everyday life objects to give them a new meaning or just present them in an unordinary perspective. In the first instance the viewer faces a familiar situation, which makes it easier to distract their expectations with the solid but crucial modifications on the objects I stage. He applies this approach to diverse mediums like cast, woodwork, 3D digital print and electronic gadget. Currently, Dávid is working on projects which interact with the viewer providing an opportunity to give new meaning and purpose to the original work. He is interested in generating an interactive situation with a playful manner.
Dimitri Yin is a French-American sculptor currently enrolled in the MFA Program in Fine Art at the Wimbledon College of Art. Prior to commencing his studies in the UK, Dimitri lived in Paris, France for nine years where he maintained a studio practice and worked as an English teacher. His work combines personal narrative with impressions drawn from the environment. Through the use of both industrial and organic materials, Dimitri creates site-specific works that examine nature as a force to be emulated, harnessed and re-interpreted. Natural forms, symbolic imagery and the sacred geometry of man-made structures inform his practice. The production of each piece begins with intuitive analysis followed by a more conscious method of physical extraction or refinement, from which he is able to arrive at the finished product. In the final stages of creating each piece, Dimitri lets it speak to him, allowing for autosuggestion to occur through the direct manipulation of materials. In his work, nothing is outsourced. Appropriation never outweighs the manipulation or transfiguration of materials and he is the sole author of each piece made. This is key to imbuing his work with a life of it’s own at a scale that is accessible, human and personal. The artwork in Dimitri’s selection represents a small display of his practice, which encompasses both sited projects and work that has been presented in galleries.
Juan Covelli (1985) is a Colombian Visual Artist and Photographer living in London, where he is currently studying towards an MA in Photography, at Central Saint Martins.
He is fascinated by gender identity in the Digital Age and the dynamics and approaches of the body within this framework. Through his practice, he seeks to explore ideas that allow for multiple conceptions of identity.
Juan employs a wide array of media, spanning: photography; video; 3D scanning and 3D modelling, among others. He has been featured in various publications and exhibited in spaces such as El Cirulo de Bellas Artes (Madrid, 2013) and La Casa Encendida (Madrid, 2015).
Daphne Karstens graduated from the MA in Costume Design for Performance course at London College of Fashion, University of the Arts London, in December 2014. She obtained her BA in Scenography from De Theaterschool, Amsterdamse Hogeschool voor de Kunsten (The Netherlands), in June 2013. As part of her BA graduation (2013) she was part of a collaboration with the ‘Dutch National Opera Academy’ and the Dutch ‘Residentie Orkest’. Daphne designed the costumes for the short opera’s ‘Mavra’ (directed by Javier López Piñón) and ‘Pulcinella’ (choreographed by Itamar Serussi Sahar) by Igor Stravinsky. The operas were shown combined with two other opera’s under the name ‘Fourstelling’ at the ‘Kees van Barenzaal’ in The Hague (The Netherlands). In December 2014 she graduated from the MA Costume Design for Performance with the performance piece ‘PING’, inspired by the piece of prose Ping by Samuel Beckett. Near-death experiences and out-of-body experiences were the main inspiration for the performance and the costume. The performance visualizes the struggle of a person submerged in an unknown and ephemeral world, exploring the relation between the physical body and out-of-body ‘spiritual body’. The spiritual body is ephemeral; it might only exist for the briefest of moments. ‘PING’ was exhibited at the Critical Costume Exhibition in March 2015 at Aalto University, Helsinki (Finland). Currently she is exploring the sculptural side of costume to create experimental performance pieces. Wearable sculpture interests her; sculptural costume can be worn in a live performance, as part of a story. But it could be an installation by itself, telling it’s own story. Experimentation with unconventional materials often is a part of her designs. Besides this she is interested in technology incorporated in the design.
Nicola Lorini’s (b. 1990) artistic practice comes from the Northern European design context but he now works across a range of media such as photography, sculpture, drawing and installation with a particular interest for the relation between space and object. Nicola’s main interest lies in the potential of images and in issues such as the dualism natural/synthetic. He is fascinated by the relation between artistic and religious object and he conceives the artistic practice as a spiritual process where a central role is played by aesthetic sensibility. His work is inspired by nature and ethnographic material and he likes to re-frame found and ex-novo elements with the aim to challenge the surface of the medium used, displaying both a concrete and an abstract story, yet maintaining a “quid” the viewer can’t see or fully comprehend. Beside his independent works some of his recent projects include: Te alchemic behaviour of specifc thoughts (a trial of absence), a series of sculptural objects made of crystallised paraffin wax created releasing molten material in specifc water sources and Soft Hierarchy, a self publishing project – started during a one week residency in Nablus , West bank – investigating the relation between western and middle eastern visual culture.
Marion Phillini is a venture in new ways of collaborating. Uncertain of where the public ends and the private begins, Marion Phillini investigates the space where the public and private collide. Utilising the media of video and installation to create liminal experiences, I ultimately question the value and existence of this delineation. In reality, I acknowledge the difficulty in separating fact and fiction.
Bo-min (Bom), Kim
Bo-min (Bom), Kim is studying at Chelsea College of Art and Design. Bom is interested in the landscapes she has experienced through travel. She captures the instantaneous surroundings of strangeness in our daily lives, after which, she creates a dreamlike space that combines ambiguous abstractions and specific figurations. The fragments of anecdotal elements are simply floating anywhere on the canvas that express the dynamic compositions. This variation radiates the mysterious and illusionary space collapsed by enigmatic compositions. Bom has shown work in solo shows including (‘Memories of the moment’_Space CAN (Beijing, China)_2014, ‘Walking to the I’ll’_ CEAAC (Strasbourg, France)_2011, ‘Pictorial map’_Kwanhoon gallery(Seoul, Korea)_2008). She has also shown work in group exhibitions since 2007.
Judith Lyons graduated from the London College of Communication in 2009 with a First Class Honours degree in Photography. She is currently a final year MA Printmaking student at Camberwell College of Arts. As a practitioner, Judith is fascinated by the materiality and mutability of the human body and by the way in which physical change over time affects both our own sense of identity and our relationships with the world around us. Her printmaking practice combines alternative analogue and contemporary digital photographic processes as a way of forging links between the material world of things and the immaterial realm of thoughts, emotions and memories. Judith lives and works in London.
Dario Srbic is an artist and researcher based in London, UK. His practice is concerned with what a photographer can do today, while everybody else is busy taking pictures. His work reveals photography as the medium of the copy, with uncountable recurrences of the same, all its subject and the objects becoming simulacra, rendering only difference as real and originary. It does not necessarily involve the camera and a framed print, but understanding the enframing, which photography is normally placed into, and looking for possibilities of letting multiplicity permeate identity, dissolving dominant/subordinate model which identity brings along. The thread connecting all the works is less obvious on the visual level, but rather comes through in the question of where photography can be found. “Where” here is opposed to “what”, preferring the location or territory of photography to the search for its essence. Dario holds an MA in Photography from Central Saint Martins and is also recipient of the Photographic Angle Award Bursary in 2014.
Abigail Yue Wang
Abigail Yue Wang studied filmmaking in Hong Kong and Bristol, UK and later graduated in MA Character Animation at Central Saint Martins, London. She is interested in adopting photographic images into animation and examining reality, especially movement, within the animated framework. The paper stop motion Lepus is based on the mythology of hare from various cultures and time periods, including primeval symbols of desire, reproduction, illogic, worship, purity and more, all of which reveal a spectrum of moral codes and psyche. Though a seeming anachronism, myth making in its new forms still pervades modern politics. The performer’s presence with the hare considers the human embodiment of the hare symbols, while the paper cut-outs are a means to dissect movement and to realign time. Abigail is also a journalist at Rooms Magazine in London.
In his practice, Gerard Carson (b.1987) employs mixed-media methodologies to produce works that register on multiple levels, considering transgressions of artistic labour and shifting modes of virtuality. He is a graduate from the University of Ulster School of Art & Design in Belfast, Northern Ireland, and is currently completing an MA in Fine Art at the Chelsea School of Arts. In 2014 he was awarded the Frank Bowling Scholarship and has previously received awards from the Arts Council of Northern Ireland under the “Support for the Individual Artist Programme”.Previous exhibitions of Carson’s works have been held at the Royal Hibernian Academy in Dublin and at Anchorage House, East India Docks, as part of the “Office Party” exhibition series.
Daniel Simon Ayat is an artist and writer based in London. His work addresses the political and historical development of hygiene, medical-scientific research, public health, state infrastructure, and urbanisation. His previous research has addressed the history of scientific instrumentation, and the socio-political constructions of sewage technology in nineteenth-century Paris. He has also conducted investigations on the development of public toilet networks in Paris and New York, and the place of the agricultural hinterland in the British social imagination. Daniel holds an MSc in the History of Science, Medicine, and Technology from the University of Oxford and an MA in Art and Science from Central Saint Martin’s College of Art and Design. He also has an MA in the Histories and Theories of Architecture from the Architectural Association in London, where he has assisted in the History and Theory Studies department. He received his BA from Tufts University with high honors in Architectural Studies and in International Letters and Visual Studies (ILVS). He has also participated in Columbia GSAPP’s Shape of Two Cities research and design programme.