MOVING ON is a group exhibition of artists who are presently postgraduate students and Alumni from Northumbria Fine Art. It is a selected exhibition by Galleries Inc - taking place on the 4th floor of Central Square in Newcastle upon Tyne.
Northumbria Fine Art are pleased to work with Galleries Inc. to showcase the diversity of practice that is part of the cultural landscape in the region.
These artists have selected to study at Northubria Fine Art and the alumni have chosen to stay in the region after graduating contributing to the lively reputation of Newcastle and Gateshead for visual arts.
Of particular interest to those artists involved in education are artists : Emma Hardy, Naomi Hart and Becky Woodhouse who are all graduates from the Postgraduate course MA Fine Art & Education which Northumbria University run in collaboration with BALTIC Centre for Contemporary Art.
David Foggo, Clarita Lulic, Siobhan Verral, Graham Patterson, Louise Winter, Michelle Goulder, Kath Dolman, Linda Dodsworth and Jeremy Fay.
"My practice can be loosely divided into three categories: Sculpture/Installation, the Collection and Text Art, though it also incorporates other disciplines such as Collage, Photography and Performance.
I would describe my work as conceptual but with a comedic sensibility that also references art history. Language and wordplay are also key elements in informing my practice, as well as humour also (comic theory is especially relevant.)
A lot of what I do could be seen as poetic responses surrounding the pun, where a jokey element is elaborated on and articulated both subtly and succinctly into something more substantial. I also stretch affinities connected with an object, thus allowing for a new take on the already familiar, but delivered, crucially, in a deadpan manner.
I would place my practice at the comic fringe rather than at the cutting edge."
** Louise Winter
"Within my practice I?m interested in visibility, permanence, the idea of the trace and memory. I?m interested in questioning the fixed identities of objects and materials so they defy usual definitions and expectations, or, as the artist Tom Friedman has commented, Testing what matter is by allowing it not to be."
Statement about the work:
Untitled, Leaf pile with suspended hand-held fan, 2011
"The work consists in part of material collected from a site. Having placed this in the context of the studio, the breeze now seemingly unavailable indoors, is ?substituted? for a small, hand-held fan. The fan?s association with its original purpose has been enhanced by it being denied: it cannot possibly hope to stir the leaves beneath it, as it flails it propels nothing other than itself, questioning our relationship with things in the world and our often mediated relationship with nature."
My paintings are gestural in the sense that they are often unusually executed. Deft and quite unusual line akin to contour drawing gives the impression of faux-naivete and the line is somtimes lost. Energy heightened by a frenzied attack of the canvas is is disappated by purity of colour although not in all cases. The works shown are small to medium scale, one a self-portrait with an anachronistic repose with staring eyes which slightly pierce the viewer. The other is a photograph of a pregnant woman a beautiful face with sense of vulnerability within the expression this timetaken from a book of colour photos by Nan Goldin. Originality and energy and at times, humour wish to be conveyed in my painting as often as possible.
My work lies on the threshold between the made and the unmade. I use spontaneity, improvisation and provisionality to make subtle changes to everyday readymade objects creating ambiguity, uncertainty and humour. I often use low grade and modest materials to transform and elevate, giving new life to disregarded and forgotten items. My work involves systematic gathering of materials and obsessive, repetitive processes of construction using non traditional sculpture techniques.
**Naomi A. Hart
My work addresses memory, absence and loss, physicality and communication. I am interested in how we use material objects to memorialize events, people and moments in time. We archive objects as an attempt to provide tangible links to inevitably fading memories, precarious in their permanence. Banal and ubiquitous objects become fetishised, acquiring value through their role as signifiers, tracking out memories and defining our identities.
I am also fascinated with the relationship we have with dust, dirt and the physical traces of existence that we leave behind us. I have for a long time been engaged in an ongoing practice of collecting, archiving and recording materials including the clusters of hair and dust that gather in my home. Like domestic tumbleweed, these delicate structures are formed as a result of the gradual disintegration of objects and matter. These physiological cast-offs contain traces of existence, a natural archiving of presence and absence within a space.
Through my interest in absence and what remains I have also become engaged in a visual enquiry into the ways in which ideas can be expressed and then erased, leaving a space where an expression is muted, and can no longer be received.
My work work is highly personal and explores themes surrounding my own views and concerns with life, identity, self-expression and emotion. The snapshot and its value in contemporary culture are of particular interest to me. I consider myself an ?obsessive? photographer and I collate large amounts of personal images.
I have recently returned from completing the initial stage of a self-initiated project exploring life on board a cruise ship as photographer. Seven short one long is the result of a seven-month contract through 2010 working in the role of ships? photographer and documenting my experiences. I am a graduate and fellow of Northumbria University currently living and working in Newcastle, UK.
"I am influenced by global issues going on in the world around me, hunger, homelessness, lack of basic facilities, and my work deals with making statements about these issues.
I work in sculpture, building, making or adapting pieces from ready made and collected items. I like to use junk, leftover or mundane objects, which would normally have a different use and re-make them, giving them a different function and identity. My most recent work has been made using leftover textiles materials, threads, zips etc, or items of old furniture.
The labour and time intensive execution echoes the monotonous and labouring tasks of craftsmen and women in the textiles and other factory industries.
Each object brings with it its own memories and stories of previous lives and ownership and makes a connection with things and people from the past and people we will never meet."
"Motivated by my daily interaction of walking over vast tracts of beach near my home, the work is informed by the Japanese philosophy of ?ma? meaning sensory space and ?positive emptiness?.
I have utilised found objects, such as rubber rings, transparent packaging, stones and pebbles collected from the shoreline. These have been laid onto rolls of Japanese hosho paper and used as a stencil, sprayed with clear lacquer. Objects have also been directly exposed onto silk-screens, which have been printed with varnish and iridescent paint.
The rolls measure approximately 4m X 1m. Ideally it will be suspended next a window space or light source with the roll extending onto floor; enabling light to pass through the transparent varnished areas of hosho."