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Merrell creates seductive dreamlike scenarios reminiscent of theatrical staging and fantastical still life compositions. In the past she used model trees, animals and buildings as visual references. Eventually, the restrictions imposed on by available props led her to create scenes based on beautiful postcards and tapestries and any other place where she could find fabulous, fairy-tale imagery. She lives and works in London and studied at the City and Guilds of London Art School. Selected exhibitions include: 2005 Brixton Open, Betty Morton Gallery; Sussex Open:Word-Fantasy Imagination Tale. 2004: The Discerning Eye, Mall Galleries, London; Open Market, Shopfront Gallery, Brixton. |
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I wish to show life forms and for them to have an impatience to be looked at. Against a black or white backdrop I want them to be movie stars snapped by the camera flash, or like deep-sea creatures caught for a fleeting moment as I turn the torch on and then off again.
She lives and works in UK and studied at The University of Newcastle BA Honours Fine Art. Awarded 2:1 (2001- 2005)
and at The University of Gloucestershire, Art & Design Diploma in Foundation studies DISTINCTION (2000- 2001) |
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A marginal man is a man caught in the boundary; a person from another world, struggling to fit into the different way of life, a new cultural environment. A stranger in a strange world,, living in the margins, the outskirts of a society.I am a marginal man. Time, space, objects and subjects in-between, I exist in the margins of thoughts, habits, culture, lifestyle, words and speech. Bound by my old habits, incomprehensible things surround me. I am also keenly aware that I am incomprehensible to them.Solo Exhibition:2008 Margins (MIKI WICK Contemporary Gallery, Zurich, Switzerland),Margins (Stables Gallery, London, UK),2003 a bit of space (Kwanhoon Gallery, Seoul) |
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Wilmot is a painter who revels in the medium. Playing with paint to create claustrophobic scenes, she generates a tension between the gestural handling and her sleek subject - the ultimate consumer object - the car. Her painterly technique constructs work which is dark and foreboding, frequently heading towards abstraction.
Wilmot’s paintings are generally flat with passages of glossy, built-up areas and with visceral areas of crusty paint. |
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BA hons, Fine Art, Brighton 2002-2005.
Foundation diploma in art and design 2001-2002.
Alevels: Art and design/Drama/Photography.
Awards: Residency exchange University of Arts Nagoya, Japan, 4months 2004, 2 exhibitions at gallery be and be. |
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“Things are not always as they seem”
“Joe duggan’s large-scale photographs of family life could be read as a bleak exploration of the hollowness at the heart of idealised pictures of contented domesticity, travestying the ideal of the affluent, nuclear family.” Aidan Dunne, The Irish Times, 17/07/06 |
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Education:1982 Trident Fellowship; 1981 Royal College of Art; 1977 Central School of Art and Design.
Selected Exhibitions: Singer Friedlander Watercolour Competition (Prize) 2004, 2005; The Cut Gallery, Halesworth 2004; Chisenhale Artists, Jack Dash House, London 2001; Peter de Francia, Painter and Professor, Camden Arts Centre, London 1987; Gallery Artists, Danielle Harrisson Gallery, London 1985; Six Painters, Imperial College, London 1980; John Moores, Liverpool 1980. |
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John Holden studied at Medway College of Art & Design and the Royal Academy Schools London. He was awarded a sabbatical from John Moores University (1998). Solo shows include ‘ The Liverpool Years’ Dean Clough Gallery, Halifax (1996), Liverpool University Senate House (1997), Bury Art Gallery (1997). Group exhibitions include John Moores, Walker Art Gallery, Liverpool (1995), Hunting Prizes, London (1996, 98, 99, 2001, 03, 04), Jerwood Drawing Open & Tour 2004/5. Recent shows, John Holden and Paul Mason at Fermyn Woods Contempory Art (2004) and John Holden at the Redbrick Mill, Batley (2004), Discerning Eye, invited 2005; Royal West of England Academy Open Painting (2005); |
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John Holland’s installations portray a kind of nature that’s at once intimate, romantic, and totally adulterated by man made tat. He uses a plethora of ordinary but out of context materials – sawn timber, plasticine, silicon rubber, gaffer tape, fibreglass, polystyrene, vaseline, house paint, fur, air freshener – making landscapes in which realistic birds and animals inhabit a space toxically laden with barely transformed matter. ‘I assert the primacy of material specificity as a tool against the bad generalities of ideologies, strategies, metaphors and literary interpretations. The job is to avoid everything bar facts, sentiment, and the hope of a little bit of sympathetic magic.’
John |
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It was a development beyond mono-tonal minimalism where I still wished to cover, control and, I felt, thereby "possess" the rectangle of the painting. This is not unconnected with an interest in a "sculptural" quality associated with the work - dates and colours noted, around the edges.
I felt I wanted to do this initially without immediate use of verticals, horizontals or 45 degree diagonals although these would come into the works later. The solution - the knight's move - was at first geometric rather than numerical or to do with degrees. It was earlier developed in my non¬systematic works - simply one square forward and one diagonally. |
