| |
name |
short description |
 |
|
Michael Bowdidge has been a practicing artist since 1989 and has worked in a variety of media, including collage, assemblage, installation and photography. His current sculptural practice makes use of found materials at a variety of scales ranging from small wall pieces to large-scale site-specific installations. All of these works share a simplicity of construction which aspires to an almost mathematical elegance, necessitating a high degree of formal rigour. There is also a fascination with the process of transformation, manifested here as a continuous testing of the representational limits of materials, in order to explore the tension between what they are and what they might become. |
 |
|
Drawing, Sculpture, Photography |
 |
|
Education: MA Photography - Royal College of Art 2002-2004. BA (hons) Fine Art - Byam Shaw School of Art 1995-1998.
Selected Exhibitions: Field - Fosterart London 2005; Peripheral Visions - Cork Film Centre Ireland 2005; Portobello Film Festival, London 2004; Essen Photography Festival, Germany 2003; Contemplation Room, Overgaden Gallery, Denmark 2002. |
 |
|
He lives and works in London and studied at his MA at Goldsmiths College, University of London and his BA (Hons) Fine Art at Bath Academy of Art. Selected exhibitions include: 2006: John Moores 24, Contemporary Painting, Walker Art Gallery, Liverpool; Ebb and Flow Part II, Raid Projects, Los Angeles, USA; Salon Connexions, Rivington Street Gallery, London; Michael Stubbs, Hollenbach Gallery, Stuttgart, Germany. 2005 Michael Stubbs, GlaxoSmithKline, Atrium Exhibition Space, London. 2002 Michael Stubbs, Marella Contemporary Art, Milan, Italy. 1998 Michael Stubbs, Entwistle Gallery, London. 1997 Michael Stubbs, Duncan Cargill Gallery, London. 1996 Michael Stubbs, Concourse Gallery, Byam Shaw School of Art, London.
In 2006 he was the finalist in the Celeste Art Prize.
Selected Collections
British Council. Gibralter Bank. Groucho Club. BHP Oils |
 |
|
Mighty monkey is not a donkey.
He’s a young business man who has started early and is going to be here for many years. |
 |
|
Miho Sato
is something of a militant magpie for the information age. Borrowing at will from a variety of printed source matter, Sato liberates the images she chooses of the artificial facets that bind them to time, place and sentiment and gives them back to us devoid of detail. But there is a catch. In choosing to re-present familiar subjects, Sato forces us to confront just how complicit we are within the endless cycle of data reproduction. Rifling through other people's histories, she is free to shine a light under the murkier aspects of contemporary image making.
Rebecca Geldard, London, December 2006 |
 |
|
I make paintings that respond to the Art World as I see it , literally. I make paintings that involve my love of figurative narrative paintings using my interest as a subject which I hope develop subtexts about the very nature of my Art experience. The history and presentation of people watching and being watched develop from quickly captured images to form small observational paintings. |
 |
|
Mimei Thompson graduated from the Royal College of Art in 2005. Her work explores the unstoppable proliferations of natural systems through luminous paint and baroque excesses of brush-marks. Dialogues are set up between meticulous construction and chaos- between control and the point of tipping beyond control. Neon meets earth; colours flip from naturalistic to the artificial, tuned to the frequency of a hyper-world. |
 |
|
Mindy Lee uses a repeated expulsion of paint,fusing layers together into a monstrous hybrid. These forms lure the viewer in through delicate detail.As the surface is infected, disgust and seduction are intertwined through a revelling in squeamishness. Lee lives and works in London. MA Royal College of Art 2002-4. Selected exhibitions:2007 ‘Gyre and Gimble’ Blyth Gallery, London. 2006/7 ‘Salon Connexions’ Contemporary Art Projects, London. |
 |
|
I work in a process of laying down paint and manipulating it, trying to find a point where the paint becomes pure image yet simultaneously folding back into matter. I am interested in this movement and how it leads not only to a deformation of the image but also of deformation of understanding. Potentially, opening up a space for a different understanding.
Education:Mphil Painting, Royal College of Art, London 2007 - 2009
MA Fine Art, Goldsmiths College, London - 2004.
B.A. (hons), Fine Art Painting, University of Brighton - 1999.
Foundation in Art (part-time), Leeds College of Art & Design - 1993.
Award:Grants/Awards
Shortlisted for the Celeste Art Prize 2006 Arts Council exhibition award, |
