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Judy Pfaff
Magnes Plessen
Helen
Julien crezut

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phantasmagorical:a scene that constantly changes. 3 : a bizarre or fantastic combination, collection, or assemblage

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phantasmagorical:a scene that constantly changes. 3 : a bizarre or fantastic combination, collection, or assemblage

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Kudo sees scope for new biological collectives. In his many small cultivation environments. we find human limbs, plants and electronics growing together in new symbiotic relationships.

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Its not a dream world. it's your current situation. Its your portrait decomposing amid polluted nature and the tide of technology. This decomposition of humanity does not signal its death; in reality, we are being decomposed, we are being metamorphosed, and we are being kept alive. My work consists in making you cognizant of this situation in the form of a visual maquette."

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Idea of artificially replicating nature. 

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Idea of artificially replicating nature. 

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“We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.”
― Aldous Huxley, The Doors of Perception

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I find it difficult to put words to ideas - the work is the embodiment of the idea which forms its own place.

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Meaning of suchness - concrete essence or nature of things before ideas or words about them.

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American, b. 1985

For Whom Tha Son Sets Free, 2019

Ink on paper

13 x 19 in. (33 x 48.3 cm)

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For Whom Tha Sunsets Free 2019 acrylic on canvas 142.2 x 152.4 cm

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Let Us In Too (Tha Light), 2018 Acrylic on canvas 182.9 x 152.4 cm 72 x 60 in

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"Legibility teeters on the edge of lack and excess—when we lack information about a thing, it is vague. However, as information accumulates, the risk for contradiction increases and legibility tips into ambiguity.

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Teaching snakes to be snakes, 2008 Oil on canvas on Aluminium 170 x190 cm 

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On going investigation to identity

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Working in painting, installation, sound and performance, Rachel Jones explores a sense of self as a visual, visceral experience. In her paintings, she grapples with the challenges of finding visual means to convey abstract, existential concepts. In depicting the psychological truths of being and the emotions these engender, abstraction becomes a way of expressing the intangible. The artist repeats motifs and symbols across her series to create associative, even familial, relationships between them, underscoring their kinship as part of her ongoing investigation of identity.

Her expressive use of colour becomes a way of provoking or communicating with viewers, who bring their own lived experiences and cultural backgrounds to the interpretation of her works.

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We begin with colour - the ground to challenge the order of empty space. And so shape emerges as colour cannot sit by itself - it like us has the need to travel, merge and intwine. growth side by side with intimacy sometimes mirroring the opposite. Paradise within hell maybe art is the map. But the line has no direction

often repeat symbols, colours and textures, creating associative, even familial relationships between works varying in scale from the monumental to the hand-held and jewel-like.

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“Untitled”, 2004-2021, stitching, bindings, different fabrics and laces, 180 x 100 x 80 cm

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Introjection is a psychoanalytical term with a variety of meanings.

Generally, it is regarded as the process where the subject replicates in itself behaviors, attributes or other fragments of the surrounding world, especially of other subjects. Cognate concepts are identification, incorporation, and internalization.
an unconscious psychic process by which a person incorporates into his or her own psychic apparatus the characteristics of another person or object.

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Untitled, from Torção series, sewing, moorings, different fabrics on wire, 430 x 120 x 50 cm

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BIOMORPHIC SCULPTURE

—bulbous, lush, sumptuous looking forms— that are neither representative nor geometric, but that are uncannily familiar; people recognize them and connect with them on a primal level, though they have never seen them before.

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transformative power of creation in situations of vulnerability and invisibility.

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Rumble

2018
Steel, chicken wire, newspaper, UV resistant PVA, paint, plaster
180 x 120 x 90 cm

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Grille (landscape)2020Steel, chicken wire, foam, newspaper, UV resistant PVA, household acrylic paint, plaster131 x 150 x 42cm 

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Her compositions have a well-poised awkwardness, and the asymmetries and balanced imbalances are subtly choreographed. Space is bent and stretched: pickpocketed, wrapped into corners, made to slide down ravines, trapped in gullies and sheltered in caves

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He explored sculpture increasingly through the framework of the ongoing dialogue between viewers and objects, while probing the internal aesthetic relations between sculpture and painting. Manipulating everyday materials and imagery in order to examine art’s relation to social experience, West revolutionized the interplay of concealment and exposure, action and reaction, both in and outside the gallery.

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Franz West, Lips, 2012, aluminum, epoxy resin.

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Franz West, Lips, 2012, aluminum, epoxy resin.

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mock the usual formal decorum of abstract sculpture.

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Attritive = That causes attrition; gradually wearing away or weakening something or someone. constant wearing down to weaken or destroy.

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Messing around with different compositional layouts. 

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Messing around with different compositional layouts. 

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New wax ripple sculptures in green and blue

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New wax ripple sculptures in green and blue

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Recent wire and plaster sculptures ready to be painted. 

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Recent wire and plaster sculptures ready to be painted. 

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Experimenting with making plaster wire sculptures in the foundry. 

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Experimenting with making plaster wire sculptures in the foundry. 

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Miscellany- a group or collection of different items; a mixture.

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A collage I made out of different artists work in an imagined space.

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A collage I made out of different artists work in an imagined space.

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Horniman museum

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A collage I made out of different artists work in a gallery space.

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A collage I made out of different artists work in a gallery space.

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Thinking about the degree show proposal and the final aesthetic outcome I am wanting to work towards.

image includes work by: Frank Stella, Meg Lipke, Raquel Quevedo, Louise Bourgeois and Christian L

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A collage I made out of different artists work in an imagined space.

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A collage I made out of different artists work in an imagined space.

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Copeland Gallery - Copeland Park & Bussey Building

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In My Room, Hannah Quinlan & Rosie Hastings, Humber Street Gallery - 

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In My Room, Hannah Quinlan & Rosie Hastings, Humber Street Gallery - 

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I like this screen frame situation - which allows the painting to be in the centre of the room.

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Louise Bourgeois exhibition at the Hayward Gallery

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Louise Bourgeois exhibition at the Hayward Gallery

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I was specifically interested in the metal stands Louise used to display her sculptural forms. This is something I would like to try and incorporate into my work.

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wrap wire around canvas top n bottom suspend 3d printed drawing

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wrap wire around canvas top n bottom suspend 3d printed drawing

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Organism series

Ongoing
She is obsessed with the graphic documentation of processes and methods, due to the personal need to intervene in the matter through registration (gaze). This transformation responds to a maternal sense of caring, protecting, directing, cultivating to see the result of a constantly changing fruit. Her works move between organic and visceral vs. transcendental and ephemeral.

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Organism series

Ongoing

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Fluid Crust Surgery

Etage Projects

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Moving from a well articulated conception of the rhizome, you developed Krauss's understanding of the 'expanded field' into a critique if is limits, arguing that these are no longer a useful set of distinctions. Looking at Helen Marten and Judith Pfaff, you prioritise 'gathering’ as a form of engagement over the material qualities in the work. The idea of recycling becomes central, and while it is of questionable importance in relation to Marten/Pfaff, this was a well-constructed piece of writing, a satisfying engagement with theory that links precisely with the studio practice. Your presentation was a convincing practical application of your ideas around the porousness of media, and the possibilities of colour and material. This is a focused effort to contextualise your own work and a very strong engagement with practice and theory.

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Paint, varnish, cord, metal, saw dust and glue on masonite 56 x 65 x 13 cm/22 x 25 5/8 x 5 1/8 in

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Cool Zone, made from enamel, rope, and found objects, marks a seamless transition from drawing to sculpture

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Tomorrow’s Apples (5 in White) Enamel, gouache, varnish, cord and papier mâché on board

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Hesse trained as a painter but, in the mid-1960s, experimented with making reliefs like this one, and began to use materials such as wool and string. This development was prompted by the difficulties she was having in translating her often complex drawings into painting. From making reliefs, Hesse naturally gravitated towards sculpture. This is one of Hesse’s earliest relief works and, like others of the time, is characterised by semi-organic shapes and trailing linear elements.

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Julien Creuzet – ‘Too blue, too deep, too dark we sank…’ – Camden Art Centre

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Please book a FREE timed ticket online in advance of your visit.

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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'The Fiddlers Elbow' Interim show piece 8th March 2022

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Collaborative studio piece with work by Honor Cicely and a ceramic vase by Lila Vail

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Collaborative studio piece with work by Honor Cicely and a ceramic vase by Lila Vail

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Collaborative studio piece with work by Honor Cicely and a ceramic vase by Lila Vail

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Collaborative studio piece with work by Honor Cicely and a ceramic vase by Lila Vail

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MEG LIPKE

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Experimenting while taking down installation

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Experimenting while taking down installation

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Position of Power, 2016

Acrylic and dye on muslin over canvas

72h x 60w

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Pandora Covell, 3rd Feb 2022 Presentation of enquiry installation

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Pandora Covell, 3rd Feb 2022 Presentation of enquiry installation

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Sisters, 2017

Muslin, felt, acrylic, dye, beeswax, thread, fruit netting, polyfil stuffing, ceramic, aluminum

72h x 72w x 12d

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Pandora Covell, 3rd Feb 2022 Presentation of enquiry installation.

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A Rhizome, Carrier Bag and Painting Expanded

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A Rhizome, Carrier Bag and Painting Expanded

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Installation in studio connecting and combining elements I wrote about in my dissertation.

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Pandora Covell, 3rd Feb 2022 Presentation of enquiry installation

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Pandora Covell, 3rd Feb 2022 Presentation of enquiry installation

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Oil paint on canvas

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Oil paint on canvas