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Photographs of things that aren’t there: human presence and absence; disappearance and imminence; empty, ambiguous, and transitional space; silence, the uncanny and the unheimlich. |
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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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2001-3 Master of Fine Art, Glasgow School of Art, Concordia University, Montreal
1996-9 BA Fine Art, Ruskin School of Drawing and Fine Art, St. John’s College, Oxford
1995-6 Art Foundation Course, West Cheshire College, Chester
SELECTED EXHIBITIONS
2007 Group project, Tag, The Hague, Holland (forthcoming)
2006 Amongst gnarled roots, Glasgow Project Room, (solo show)
How to do white, Tramway, Glasgow
New arrivals, 10 Mercer St, London
Group show, Fosterart, Rivington St, London
2005 SV05, Studio Voltaire, London
2004 Short Stories about Glamour, Hiscox Art Projects, London
Inbox:Glasgow, NCA Mexico City, Mexico
Weeds, Hiscox Art Projects, London
2003 Cittadelarte &, M HKA, Antwerp |
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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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BA Painting Wimbledon 1990
Post Grad Printing London College of Communications 1994 |
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My concern is making aspects visible through installations, aspects of objects conceal things: and it's this association of states of flux, that I engage within.
My objects and installations are not permanent. I work in temporary modes, and draw on and engage with materials, processes and spaces. Familiar and unfamiliar objects provide assemblebadges and re-constructions, often hinting at fragility, ambiguity and imaginary worlds. |
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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 |
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