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Fiona MacDonald makes alternate realities, scenarios or details -paintings and sculptures that act together –which are constructed from various sculptural materials, found objects, living and natural organisms. Her work borrows from sci-fi, Romanticism and an overactive imagination as well as the ongoing experience and observation of nature. There is a constant exploratory roving between the act of making, dealing with the nature of the material, and the seductive gazing at or being in nature. She shows a way through the philosophical and aesthetic fracture between nature and our cognitive experience of it. |
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Working from documentation, photographs and drawings, as much as the memory of places traveled, from Scandinavia to The Baltic States and the forests of California, Douglas-Morris creates paintings of beautiful dreamlike idylls. Rather than relating to any specific place or destination, they are fleeting glimpses of landscapes that slip between the abstract and the representational; far removed from human presence. She lives and works in London and studied Fine Art at Brighton University.
Selected exhibitions include: 2006: Group Show, Start Gallery, Brighton. 2005: Picture This, The Bargehouse, London. 2005: Chase, RCA, London. |
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SELECTED SOLO EXHIBITIONS
2006 Tooks Chambers, London
2005 Lounge Gallery, London, 'Sublime State'
2003 University Of Hertfordshire
2002 Galerie Van Der Planken, Antwerp
2002 Holland Art Fair, Den Haag. Galerie Van Der Planken
1999 Windsor Art Centre, Windsor
1998 Institute of Physics, London
1997 Orfeo Gallery, Luxembourg
1994 Philip Graham Gallery, London
1994 Pump House Gallery, London
SELECTED GROUP EXHIBITIONS
2007 Lounge Gallery, London, 'Wintry'
2007 CAP Projects, London, 'Close at Hand'
2006 Lounge Gallery, London, 'Talkshow'
2005 Lounge Gallery, London, 'Real Strange'
2002 Elzenveld Foundation, Antwerp
2002 Prenelle Gallery, London |
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The structure of my work is based mostly from industry and architecture, however, the meaning comes from issues surrounding us: social, religious, political and environmental. My work has often been compared to that of Heath Robinson as it has an element of the mad inventor's quality to it. I feel that juxtaposing a natural or recognisable element within the mechanics, gives the piece life; a connection for the viewer to hold on to.Gemma Coyle is based in Edinburgh, Scotland |
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Cerveira’s luminous intensely patterned paintings reflect the powerful impact of fashion in contemporary society. By exalting clothing to the authority of icon, her visually arresting works bring the spectator face-to-face with mythical consumer counterparts to religious icons. Cerveira lives and works in London and studied at Central Saint Martins, London and Chelsea School of Art.
Selected exhibitions include: 2006: V22:ON, V22 Contemporary Art Collection Exhibition; Outdoors, Danielle Arnaud, London; 2005 And it all went Brazilian, Design Shop, Edinburg Festival Fringe. She was shortlisted for the 2006 Celeste Art Prize. |
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She lives and works in London, studied at Royal College of Art and Central Saint Martin’s College of Art & Design. Selected exhibitions include: 2006: Solo Show, Gimpel Fils, London; Day-To-Day Data, Danielle Arnaud Contemporary Art, London; Between Place and Space, Blythe Gallery, London. 2005: Dyscotopiary, Hockney Gallery, London; Day-To-Day Data, Angel Row Gallery, Nottingham and Aspex Gallery, Portsmouth; Intervention, Camden Arts Centre, London; Short and Sharp, Royal College of Art, London. |
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Hannah Kaye’s work highlights the essential fluidity and structure of natural forms. Sculptures emerge from an organic process of drawing and experimenting with materials, leading to the creation of ambiguous structures. Drawing and sculpture are strongly interlinked within her practice. Sculptures become an extension of her drawing practice and present themselves as three-dimensional drawings. Works are often informed by the linear structure of trees and fluid structures such as flames and water. |
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MA Painting, Royal College of Art, 2007. "There is a hillside with a waterfall cascading down it. Richard heads towards it knowing that at the bottom would be the perfect creek for trout fishing. It's a long journey but he knows it'll be worth it. Nearing the creek he can almost feel the cool waters and sliminess of the trout as he tickles them. Finally he arrives at the point where the creek should be, but there is nothing. Puzzled he looks back up to the waterfall, to follow its path and ponder where he went wrong - only the waterfall was never a waterfall; it was a white spiral staircase set into the hillside."
Hannah Knox, The Great Exhibition 2007, Royal College of Art Catalogue. |
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Plants, strange creatures and landscapes in bold and acid hues of 1960’s pop-candy colours reminiscent of cartoon imagery and graffiti, populate Helen Melland’s canvases. Playful, upbeat and quirky, they are rooted in an interest in exploring the sensation rather than the illusion of space as found in medieval painting and traditional Japanese picture planes. It lends her work the effect of a curious caustic celebration whilst retaining twentieth century abstraction’s moments of elegy. She lives and works in London and studied at Chelsea College of Art and Design. Selected exhibitions include: 2005+2003 Solo show, Coningsby Gallery, London. She was also selected for the Royal Academy Summer |
