Anonymous passers-by, individuals and crowds are the subject matter of Rosie James’ artwork. Within her figurative thread-drawings and screen prints, she draws attention to often overlooked details found in  everyday occurrences, seeking to capture the commonality within groups. We see people passing on the street, on the way to work, whilst shopping, and little acknowledgement is made of them. James, however, carefully represents each individual in stitch, looking for detail in the ordinary and commonality within the group. Through layering, James allows us to see both aspects of this, with the block of pattern representing a lack of individuality, and the intricate sewn portraits depicting the individual.

Best known for her Wallpaper series (2005-2010)- in which she painstakingly camouflaged the human form by hand painting her models into the remarkable designs of the late Florence Broadhurst. Emma Hack’s diverse artwork collections draw inspiration from the unique Australian flora and fauna, as well as Oriental influences.

Oscillating between photo and painting, Richter’s works mirror the musings of William Faulkner about arrested motion being the ‘aim of every artist’, allowing art to hover between past and future. As such, his art becomes non-impositional, creating a space to be definitively unfinished, an act which is, in itself, hysterical. Richter represents something passed and something about to happen in his works. They signpost an elsewhere in and out of here and now that is indisputably visible and palpable. Not to be mistaken for anti- conceptual works, they simply open a margin between the utterable and visible, producing a space:time continuum of possibility. Subsequently, Richter’s art becomes more than momentary distractive art, and extends to being thought of in terms of percepts, one of which could be the confusing aesthetics. Refusing to conform to conventional aims of art at the time, Richter almost aims to make the viewer feel uncomfortable and gain a sense of confusion that cannot be articulated or relieved. These works hint at something that once was perfect, whilst being in a state of perfection presented in a gallery as ‘finished’, which could evoke disorientation or dizziness for the viewer. With these two experiences beings symptoms of hysteria as found in sufferers of war, we are invited to ask the question of whether Richter was knowingly disturbing the subconsciouses of his audience through his works, forcing them to experience similar things to him, or if infact, he was completely unaware of his hysteria, like most may be, and was unable to create work without his symptoms infecting it.