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BCC Annual Show 2015 Catalogue

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Black  Cube  Collective  

Annual  Show    September  2015  

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Ronald  Binnie    My  research  as  a  PhD  student  and  my  practice  as  a  visual  artist  intertwine  around  the  problematic  question  of   the   ‘animal’.  Artists  have   long  been   fascinated  with  using   the   form   of   the   nonhuman   animal   and   have   employed   a   diversity   of    methodologies  and  strategies  to  explore  their  ‘otherness’.  This  very  concept  of  an  animal   ‘other’  belies   the   inescapable   reality   that  humans  are   simply  one  species  amongst  many  others.    More   recently,   I   have   been   rediscovering   the   process   of   painting   and   moving    towards  an  investigation  of  materials  that  whilst  experimental  is  concurrent  with  a  narrative   context   of   environmentalism  such  as   the  undifferentiating   pollution   of  natural  systems  by  companies  such  as  British  Petroleum  on  which  this  painting  is  based.    Ronald   graduated   from  Edinburgh   College   of   Art   with   a   first   class   degree   in   BA  Hons  Painting  and  subsequently  gained  an  MFA  in  Painting.  He  is  currently  a  PhD  candidate   in   Visual   Culture   and   lectures   at   Edinburgh   College   of   Art.   He   is   a    founding  member  of  Black  Cube  Collective.    www.ronaldjbinnie.com/    

Mexico,  (2015)    Oil  &  graphite  on  board,  100  x  100  cm  

 

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Magdalena  Blasinska    Blasinska’s   painting   taps   into   a   number   of   conceptual   veins   in   contemporary    painting:  nostalgia,  memory,  anonymity  and   identity.  She  often  draws  on  human  experience  of  history  and  its  documentary  forms,  art,  nature  and  popular  culture.  Her  paintings  examine  how  the  memory  is  collected,  recovered  and  understood.      Blasinska’s  preoccupations  are  many  layered,  but  she  still  places  painterly  focus  at  the   forefront   of   her   work,   blurring   in   elastic   borders   of   abstract   shapes   and    defined   objects.   She   is   particularly   interested   in   gestural   representation   of    pictorial   elements,   constantly   looking   to   extend  her  vocabulary   of  mark  making.  She  often  challenges  an  image  by  exercising  full  potential  of  paint  upon  the  same  subject  matter,  which  results  in  diluting  the  pre-­‐mediated  image.  Her  work  reflects  the  creative  process,  displaying  various  painterly  techniques,  forms  and  patterns,  which  engage  the  viewer  in  a  spatial  dialogue.    www.magdablasinska.com    

Flagellation  of  St  Anthony,  (2014)  Oil  on  linen,  101  x  51  cm  

 

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Edwina  Bracken    I   am   interested   in   the   process   and   phenomenon   of   painting.   Questions   about  phenomenological   considerations   have   led   me   to   experiment   with   the    boundaries   of   painting   and   its   inherent   object-­‐hood.   In   recent   work,   I   have    created   an   expanded   field   through   the   inclusion   of   furniture.   The   liminal   space  between  the  work  and  the  viewer  is  addressed  in  the  placement  of  the  seat.  The  re-­‐representation  of   the  paintings  on  the   seat  upholstery   counterpoint   the  wall  exhibits   and   problematise   the   empirical   value  painting  holds  while  making   that  involvement  and  dialogue  actively  present  in  the  work.        My   current   line   of   enquiry   involves   the   experimentation   with   other   media    including   sound   and   sculpture   to   develop   new   routes   into   the   production   of    multi-­‐sensory  and  immersive  installations.    www.edwinabracken.com  www.vau.org.uk    

What  Does  Thinking  Look  Like?  (2014)  Oil  on  canvas,  100  x  100  cm  each  &  bespoke  upholstered  armchair    

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Ross  M.  Brown  

My  work  channels  the  experience  of  architectural  space  through  the  medium  and  history   of   painting.   I   am  drawn   to   ambiguous   spaces   on   the   edges   of   the   built    environment  where  boundaries  between  civilization  and  nature,  order  and  disor-­‐der,  past  and  present  have  become  blurred  and  indistinct.  

 Exploring   subject   matter   found   within   abandoned   Modernist   architecture,   I    employ  a  painting  process  which  pits  rigidly  constructed  perspective  against  the  fluid  materiality   of   poured,   smeared   and  dripped   paint.     Layering   chance-­‐based  processes  upon  a  precisely  plotted  framework,  each  painting  undergoes  a  series  of   constructive   and   destructive   phases;   mirroring   each   site's   descent   from   a    rational,  geometric  state  into  one  of  ambiguity  and  flux.   www.rossmbrown.co.uk

The  Hacienda,  (2010)  Oil  on  canvas,  150  x  120  cm  

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Sarah  Calmus      

P.I  was  created  from  the  lyrics  of  Pure  Imagination,  written  by  Leslie  Bricusse  and  Anthony   Newley   for   the   1971   film  Willy  Wonka   &   the   Chocolate   Factory.   In   a  momentary  creative  lull,  solace  was  found  in  the  repetitive  action  of  layering  the  lyrics   over   themselves,   creating   stages   of   overlaid   text.   This   text   was   overlaid    digitally   upon   itself   fifty   times,   each   layer   becoming   a   new   page,   a   new    visual  adventure,  until   the   lyrics   became   so   dense   that   they   turned   the   space  black.   The   last   stage   of   the   process   overlays   the   same   text   and   lyrics   in  white,  suggesting  the  cyclical  nature  of  the  process  and  allowing  a  new  cycle  to  begin  in  the  imaginations  of  those  who  view  it.  

 The  P.I  film  was  created  from  the  scrolling  image  of  the  PDF  version  of  P.I.  There  are  many  versions  of  PI.  This  one  happens  to  be  blurred.  It  is  with  hope  that  the  blurring  of  the  text  allows  space  for  the  individual  to  become  lost  in  the  hypnotic  rhythm  of  the  flowing  text  and  therefore  their  own  imaginations.  

 The  video  was  part  of  a  combined  work  for  take-­‐over  exhibition  TRANSLATIONS  at    Generator  Projects,  Dundee,  2014.    Sarah  Calmus   is  an   interdisciplinary  artist   currently  based   in  Edinburgh  and   is  a  recent   Art,   Philosophy   and   Contemporary   Practices   graduate   of   Duncan   of    Jordanstone  College   of   Art   and  Design.    Interested   in   immersive,   environmental  and   experimental   creative   experiences,   Calmus'   work   ranges   from   large-­‐scale  light   installations   to   month-­‐long   nomadic   social   interventions   with   thematic    focuses  of  interaction,  perception,  space  and  play.  

 http://cargocollective.com/sarahcalmus  

P.I,  (2014)  Still  image  from  film,  5  minutes,  55  seconds  

 

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Andrew  Connor    

Andrew  Connor  is  an  audiovisual  artist,  whose  area  of  interest  is  the  intersection  of  sound  and  vision,  especially  in  creating  immersive  audiovisual  work.  His  aim  is  to   create   intensely   immersive   works,   creating   highly   abstract   sound   and   visual  work  that  envelops  and  fascinates  the  audience.  

Canto  (2015)  combines  music  synthesis  and  manipulation  of  real  world  sounds  in  combination   with   abstract   3D   CGI   animation   and   timelapse   photography.   The  work  is  loosely  based  on  Dante's  Divine  Comedy,  split  into  three  sections  depict-­‐ing  Inferno,  Purgatory  and  Paradise.    www.andrewconnor.net  

Canto,  (2015)  Audio-­‐visual  animation,  11  minutes  

 

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Paul  Corbett    

My   sculpture   examines  minimalist   ideals   of   industrial  material   and   commercial  colour  as  well  as  popular  subject  matter.      Minimalism  invented  a  new  vocabulary  of  aesthetics,  this  language  cites  a  means  for   me   to   juxtapose   certain   visual   and   practical   elements:   material,   space,    symmetry,   situ,   colour,   function,   and   using   them   to   augment   a   selection   of    contemporary  objects.    [email protected]  

 

http://cargocollective.com/paulcorbett    

SKP,  (2015)  CLS  150  x  105  cm  

 

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Kristina  Cranfield      Largely  concerned  with  migration,  borders  and  human  identity,  Kristina’s  work  is  presented   through   films,   installations   and   photographs.   She   continuously    experiments  with  these  mediums,   finding  unconventional   techniques  to  tell  and  capture  compelling  visions.  

What   is   the  future  of  citizenship   in  Britain  and  what  new  rules  will  be  proposed  for  immigrants  to  become  citizens?  Manufactured  Britishness  is  a  project  derived  from  the  compulsory  and  very  real  Life   in  the  UK  test,  which  examines  skills   for  integrating   into   British   society.   The   project   critically   explores   the   assessment    program   contrived   by   Britain   in   testing   for   citizenship   by   proposing   a   future    manifestation  of  the  Life   in  the  UK  test.   In  this   future,  we  see   immigrants  as  an  exploitable  material,   a   living   currency,   compelled   to   sustain  national   identity   in  order  to  maximise  capitalistic  agendas.  

Kristina   has   given   talks   at  TEDx,  UCLA  and  Liverpool   Salon.   Her   works   are    exhibited   internationally   and   published   by   Dezeen,  We   Make   Money   Not   Art,  Grafik,  Line  Magazine  amongst  others.  Her  films  have  been  screened  at  a  number  of  international  galleries  and  film  festivals.  Her  film  Manufactured  Britishness  has  been  added  to  the  library  collection  of  the  Live  Art  Development  Agency.      

[email protected]  www.kristinacranfeld.co.uk  www.kristinacranfeld.com    

Manufactured  Britishness,  (2013)  Still  image  from  film,  14  minutes,  

 

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Sarah  Dale      Informed  by  the  Scottish  referendum  of  September  2014,  my  work  has  recently  focused  on  flags  and  Nationalism.   I  present  Nationalism  as  a  necessary  ideology  and  flags  as  its  visual  metaphor.  I  produce  imagery  that  seeks  to  visually  question  the   apparent   paradox   of   a   unified,   yet   liberal   society   that   holds   freedom   of    expression  as  its  imperative  ideal.   I  use  kinetic  sculptures  to  create  repetitive  narratives,  and  subvert  appropriated  objects  to  instill  in  them  life  and  movement.  These  draw  upon  my  previous  career  as   an   international   coach   driver,   constantly   on   the   move   they   are   fleeting    temporary   structures,   reflecting   a   transient   philosophical   perspective   and    inducing  a  soporific  state.   http://sarahthebus.wix.com/sculpture-­‐animation    

Subjective  Antiquity,  (2014)  Balsawood,  whitewood,  cotton,  plastic  &  electrical  components

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Christopher  J  Deeks    

Hyperplasia  explores  efforts   to   control  and  manipulate   the  human  body   (in  this  case,   body   building)   through   a  Deleuzian   theoretical   framework.   It   looks  at   the  body,   not   as   a   fixed   form,   but   as   something   fluid   and   changeable.  Organs   and  body   parts   explosively   growing,   reproducing   and   changing.   The   foundation   of  body   building   is   formed   around   the   process   of   destruction   in   order   to   build.    Hyperplasia  is  a  hypothetical  realisation  of  that.  

 Graduating  from  the  University  of  Plymouth  with  a  1st  Class  Honours  in  Fine  Art,  Christopher  J.  Deeks  has  developed  a  primarily  digital  practice  that  explores  the  body,  narrative,  evolution  and  structure.    

 At  University,  Deeks  was  awarded  the  2013  Critical  Studies  Award  for  his  disserta-­‐tion   "Plastic   Trauma:   How   Physical   Interventions   to   the   Human   Body   are  Perceived   in  Contemporary  Art",  whilst  also  co-­‐founding  a  small  arts  publication  called  P.U-­‐L.P.  In  the  past  5  years,  he  has  exhibited  across  the  country,  including  2013's  Black  Cube  Collective  Annual  Show.  More  recently  he  has  joined  an  Essex  based  art  collective   to  put  on   local  exhibitions  and  works  as  a  Graphic  Designer  and  Print  Technician  in  Colchester.  

www.christopherjdeeks.com  

 

Hyperplasia  1,  2,  &  3  (2015)  Digital  prints

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Spike  Dennis    My   recent   works   have   explored   our   relationships   with   the   Internet   and   the  boundaries  between   the   digital   and  physical  worlds.  This  has   included  critiques  on  our   social   interactions,  personal  privacy,  sex,  death,   censorship,   identity  and  the  dissociative  imagination.    

We’re  More  Than  The  Sum  Of  Our  Pixels  continues  in  this  vein,  using  the  Internet  as  a  source  for  from  which  to  reflect  on  our  digitally  interconnected  society.  The  photographs  upon  which  these  works  are  based  are  photographs  of  people  who  have  died.  They  have  been  sourced  from  the  public  domain;  websites,  blogs,  and  social  media  channels,  which  act  as  digital  shrines  to  these  individuals.    

Death  provides  a  chance  for  us  to  pause  and  reflect,  and  an  untimely  death  offers  an  opportunity  for  the  media  to  play  a  significant  role  in  a  memorialising  process  that   reassess   the   life   of   the   individual   by   highlighting   features   that   have    contributed  to  the  image  over  time.      We’re  More  Than  The  Sum  Of  Our  Pixels   investigates  how  death   is  made  visible  and  questions  whether  the  camera  discloses  all  facets  relating  to  the  presence  of  death.   The   authentic   face   of   death   is   primarily   displaced   in   favour   of   a    recognisable  visage  that  assumes  characteristics  of  the  immortal.    

www.spikedennis.com  

We’re  More  Than  The  Sum  Of  Our  Pixels  2,  (2015)  Embroidered  Photograph

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Jennifer  Fergie    Detail  within  simplicity  has  always  been  at  the  forefront  of  my  work  as  I  explore  new  possibilities   of   how  everyday   objects,   colours  and  mundane   circumstances  can  be  captured  to  depict  more  intriguing  and  surrealist  scenes.    After   experimenting   with   collage,   I   found   that   my   greatest   interests   lay   with    paper.   Paper   has   been   the   most   dominant   component   in   my   practice.    Manipulating   the   shape   of   paper   until   it   becomes   unrecognisable   has   been   a    recurring  theme,  handling  and  changing  the  paper,  capturing  its  new  form  until  it  becomes  unrecognisable.    As  I  explore  the  possibilities  of  each  piece  I  find  my  interests  reverting  back  to  the  beginning   of   the   paper's   journey.   The   first   fold,   tear   or   bend   is   captured   as   its  natural   form   is   discarded   to   create   something  more   complex.   The   papers'   new  journey  is  forever  captured.    I  make  work  from  the  objects  around  me,  the  simple  and  everyday.  Each  item  has  a  connection  of  nostalgia,  as   I  am  unable  to  throw  even  the  simplest  of  receipts  away.  My  work  is  a  way  of  cataloguing  the  items  I  hold  onto  in  my  life  that  I  am  too  connected  with  to  discard.    http://www.jenniferfergiephotography.com/  

Pigs  Ear,  (2015)  Photography,  18  cm  x  12  cm

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Tyguepaulo  Gacita,      

Throughout   my   creative   studies   I   have   gained   and   developed   many   skills   in    different   areas   of   craft   and   design,   which   I   can   enable   into  my   own   designing    process.  From  the  basic  hand  skill  techniques  of  a  maker,  wide  range  knowledge  of  production  processes  and  the  understanding  of  materials,  through  interaction,  experimentation,   investigation   and   exploration   to   design   thinking   and   research  are   important   parts   in   my   design   practice.   Working   independently   and   the    attitude  of  being  self-­‐taught  gained  me  knowledge  of  the  foundations  of  creative  software,   encompassing   the   use   of   Adobe   suite   InDesign,   Illustrator   and   basic  Rhino  Cad.  

 http://tygueg.wix.com/tyguedesign    

Existence,  (2015)  Stoneware  ceramic,  14.8  x  21  x  10  cm  

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Ed  Hadfield    Urban   word   artist   Ed   Hadfield   uses   a   ‘wish   mentality’   employed   by   utopian    thinkers   in   the   pursuit   of   restructuring   their   world,   to   extract   positive    aesthetically  felt  experiences  from  his  interactions  with  everyday  environments.    

 These  small  truths  of  what  it  means  to  exist  that  are  valuable  in  their  own  right,  are  then  placed  back  into  the  urban  environment  as  ‘signs’  where  they  can  have  a  gentle  positive  affect  on  the  way  people  interact.  

 His   post-­‐studio   practice   is   specifically   located   between   his   job   as   a   restaurant  waiter  and  domestic  environment,  where  he  navigates  the  stresses  and  strains  of  ordinary   existence.   From   these   tangibly   felt   common   experiences   he   taps   into  human  values.  

 Ed   is   influenced   by   philosopher   John   Dewey’s   notion   of   ‘an   experience’   being  strikingly   felt,   unified   &   consciously   undergone;  whilst   also   pursuing  within   the  boundaries   of   his   lived   environment   more   contemporary   notions   of   ‘an    experience’   including   fragmentation,   reflection   and   events   occurring   in   the    twilight  of  consciousness.  

 The  work  Urban  Interventions  was  originally  installed  as  street  signs  outside  train  stations  in  London,  giving  commuters  a  generous  value  to  take  with  them  as  they  rush  toward  their  contractual  work  environments.    

 Street  sign  installation  video:  http://youtu.be/E00BslE5L20      www.edhadfield.com      

Urban  Interventions  1,    (2015)    High  Intensity  Microprismatic  Vinyl  &  Aluminium  51cm  x  51cm  x  2cm  each

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Maira  Hashmi    I  have  a  strong  conviction  that  art  is  a  metaphorical  statement  of  our  subjective    world-­‐view.   My   work   tends   to   focus   on   the   meaning   of   existence   by   visually    reflecting  the  complexity  of  human  existence  in  a  simplistic  manner  that  touches  the   soul   of   the   audiences.   My   work,   emanates   from   a   metamorphosis   of    self-­‐realization   into   social   consciousness.   It   offers   a  glimpse  of  my   soul  and   the  complex   world   I   live   in.   In  my   view   the   purpose   of   art   is   to   resist   established  norms  and  challenge  dogmas  in  order  to  bring  all  fraction  of  society  into  the  fold  so  that  humanity  and  sanity  could  prevail.      I  try  to  visualize  these  themes  through  stylized  figure  compositions  and  mundane    domestic   objects   for   instance,   boat,   umbrella,   cage   and   birds.   My   art   practice    focuses   on   these   seemingly   ordinary   things   from   daily   life   and   their   ‘real’    connection  with  us.  This“  realness”  inspires  my  creativity.  My  sculptures  tell   the  visual  tale  of  my  artistic  journey,  my  joys,  sorrows,  contemplation  and  angst  of  a  female  being.   https://twitter.com/mairahashmi92  [email protected]  

Bows  and  Vows,  (2015)  Mixed  media  sculpture,  53  x  42  cm

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Ian  Healy    

I  combine  culled  images  from  a  variety  of  sources  into  a  vision  of  a  world,  which  include  sticky  personal  memories  and  an  eye  to  the  history  of  figure  painting.    Paintings  can   include  full   figures,  to  cropped  or  cut-­‐off   figures,  or  even  simply  a  hand.   I  will  often  use  devices  such  as   ‘Rucken  figur’  (the  figure  from  behind),  or  the  face  in  concealment.  They  are  initially  formal  in  approach,  with  an  emphasis  on  surface.  I  use  wet  on  wet  technique  to  achieve  spontaneity,  and  like  to  make  visible  the  physicality  of  the  medium  of  oil  paint,  this  use  of  paint  is  integral  to  the  finished   works.   This   in   turn   introduces   moments   of   abstraction   into   the   works    often  by  accident;  which  makes  the  act  of  painting  very  exciting  and   legitimizes  the  painted  Image  anew.    Ultimately  the  work  itself  is  about  the  medium  and  how  it  raises  questions  about  representation  and  identity.   www.ianhealy.co.uk/  

Polka  Dots,  (2015)  Oil  on  panel

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Matthew  Herring    Tay,  Spey,  Clyde,  Tweed,  Dee,  Forth,  Don,  Avon,  Findhorn,  Nith,  Deveron,  Beuly,  Glass,   Affric,   Concon,   Ken,   Lochy,   Spean,   South   Esk,   Leven,   Endrick,    Conon,  Meig,  Annan,  Esk,  Isla,  Oykel,  Earn,  Ayr,  North  Esk,  Teviot,  Ythan,  Lossie,  Nairn,   Lyon,   Ericht,   Ardle,   Whiteadder   Water,   Blackadder   Water,    Moneynut  Water,  Dye  Water,  Bothwell  Water,   Faseny  Water,  Till,  Glen,  Wooler  Water,  Leet  Water,  Eden  Water,  Leader  Water,  Darnick  Burn,  Gala  Water,  Yarrow  Water,  Leithen  Water,  Quair  Water,  Eddleston  Water,  Talla  Water,  Fruid  Water,  Eye  Water,   Ale  Water,   Biel  Water,  Water   of   Leith,   Almond,   Carron,   Pow   Burn,  Black  Devon,   Bannock   Burn,   Allan  Water,  Teith,  Goodie  Water,  Braan,   Tummel,  Garry,   Allt   Camghouran,   Gaur,   Luther   Water,   Water   of   Tarf,   Water   of   Mark,    Water  of  Lee,  Bervie  Water,  Burn  of  Monboys,  Burn  of  Muchalls,  Dulnain,  Nethy,  Druie,   Feshie,   Tromie,   Allt   Mor,   Calder,   Truim,   Mashie,   Ness,   Farigaig,   Enrick,  Coiltie,  Foyers,  Moriston,  Allt  Doe,  Oich,  Shin,  Tirry,  Fiag,  Merkland,  Evelix,  Fleet,  Brora,   Wick,   Thurso,   Forss   Water,   Strathy,   Naver,   Borgie,   Hope,   Keisgaig,    Sandwood,   Rhiconich,   Laxford,   Inver,   Abhainn   Bad   na   h-­‐Achlaise,   Kirkaig,   Polly,  Canaird,   Ullapool,   Lael,   Broom,   Dundonnell,   Gruinard,   Inverianvie,   Ewe,    Talladale,   Grudie,   Abhainn   an   Fhasaigh,   Kinlochewe,   Sand,   Kerry,   Badachro,    Erradale,   Craig,   Torridon,   Balgy,   Applecross,   Toscaig,   Kishorn,   Taodail,   Attadale,  Ling,  Elchaig,  Glennan,  Croe,  Shiel   www.matthewherring.net      

Shifted  Scotlands,  oil  and  acrylic  on  board,  20  x30  cm  Overlapping  Scotlands,  oil  on  board,  22  x30  cm  

Two  Scotlands,  oil  on  board,  21  x  30  cm  Two  Scotlands,  one  black,  one  white,  oil  on  board,  21  x  30cm  

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Roxana  Ionescu    

Since  2004  my  work  meant  for  me  installations  that  use  natural  elements,  shaped  and  express  with  the  sculptured  pieces.  Forceful  wind,  air  bubbles,  plastic  wrap,  three-­‐meter  size  pictures  as  well  as  furniture  used  as  a  symbol  (piano  chair,  piano    itself),  or  architectural  structure-­‐like  pillars,  helped  me  express  or  put  into  visual  the  contrasting  concepts  that  surround  us  all.  

Tranquility,   expensive   pieces   of   sociological   collapses,   obstructive   structures,  build  fading  glory  and  immense  necessity  of  freedom,  very  much  declared  but  yet  somehow  not  attainable.  Society  creates  dependencies   from  sugar/salt   to  drugs  and  alcohol  that  make  this  collapse  hidden.    Nature  at  its  best  is  fragile  but  persistent,  always  fighting  for  us  and  fighting  with  our  messes.    With   paint   or   sculpture,   with   natural   elements   and   concepts,   there   is   a   lot   to    express;  the  structure  of  us  becomes  a  very  good  imagery.    Translation   from   fact   to   art   permits   our   creative   inheritance   to   take   such    a  different  discourse  that  is  wonderful.    +004  0729  360  179    

Air  Comfort,  (2008)    Installation  

Study,(2015)    Limestone  

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Neil  Johnstone    In  all  of  my  work   I   like   to  have  multiple   layers,  multiple  meanings  and  multiple  interpretations  both  figuratively  and  conceptually.    

 The   Maritime   series   of   three   prints   are   digitally   manipulated   marine-­‐related    images   of  my   father   in   the   merchant   navy   in   the   late   1950s,   interwoven  with    current  images  from  places  he  visited.      They  are  concerned  with  time  and  memory  and  erosion  and  personal  history.   http://artbyneilinprogress.wordpress.com/  http://facebook.com/Neil.A.Johnstone  

Dunedin  Jim,  (2015)  Manipulated  photographic  print  on  Hahnemuhle  paper,  61  x  50  cm

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Marion  Kennedy    I   make   hand   thrown   stoneware   ceramics.   Most   greenware   is   hand   burnished    before   biscuit   firing   in   an   electric   kiln   then   a   sawdust   firing   gives   the   finished    effect.  

 I  love  the  feel  of  clay  and  its  plasticity.  I  also  love  how  we  talk  about  pots  in  terms  of  body,  neck,  shoulder  and  foot,  making  them  very  human.  Forming  pots  on  the  wheel   -­‐   opening   out   the   clay   and   closing   it   in   again   -­‐   is   like   a   mouth   forming  sounds.   I   like   to   keep   the   natural   clay   surface   which   is   warmer   to   the   touch,    preferring  not  to  encase  or  hide  the  clay  in  a  hard,  glassy,  glazed  shell.  The  final  sawdust  firing  gives  the  surface  a  finish  which  I  have  little  control  over  and  is  left  to  the  fire  and  smoke  to  create.    

 The  overall  effect  I'm  trying  to  create  is  natural  and  simple.  I  like  to  create  shapes  and   surfaces   which   are   smooth   like   beach   pebbles   or   rough   and   irregular   like    artefacts  uncovered  at  an  archaeological  dig.  With  the  latter  I'm  aiming  to  make  something  less  uniform  and  more  primitive.    My  aim  is  for  the  pieces  to  feel  both  ancient  and  modern.  

 http://plumtreeceramics.wordpress.com/  http://www.etsy.com/uk/shop/PlumtreeCeramics    

Open  Bowl,    Stoneware,  5.5  cm  x  8  cm

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Svetlana  Kondakova    The  7  deadly  sins  are  effective   in   instilling  guilt  with   the  premise  that  everyone  will  be  able   to   relate  one  or  more  of   the   ‘sins’   to  themselves  or  others   in   their  lives.  This   series  of  paintings   in  particular  addresses  each  of  the   ‘sins’   in  excess.  Sloth   represents   laziness,   the   most   common   limiting   factor   to   our   ability   to  achieve   our   highest   potential.   I   have   chosen   a   young,   fit   looking   model   to    highlight  the  concept  of  waste.  This  guy  is  so  lazy  that  he  cannot  be  bothered  to  put  his  food  on  a  plate  or  to  hold  his  own  drink.  The  pose  and  composition  both  work  to  convey  a  sense  of  immobility,  while  the  clinically  white  pillow  and  tubes  of   the   beer   helmet   hint   at   disability.   The   elongated   limbs   remind   us   of   the    namesake   animal   and   the   whole   setting   implies   a   very   American   persona,    deliberately  playing  on  a  certain  stereotype.  His  tattoo  reads  a  Greek  expression  ‘Siga  Siga’  which  literally  means  ‘Slowly  Slowly’  and  represents  an  attitude  to  life  that  can  be  summarised  as  ‘taking  it  easy’.    

 Svetlana  believes  that  human  figure  is  an  incredibly  powerful  image  that  is  able  to  connect  with  audiences  on   intrinsic  emotional   levels.  She  utilises   the  figure  and  portrait   to  create  personifications  of   issues  potent   in  our  contemporary  society.  Furthermore,  by  employing  mythology  and  allegories   she   speaks  about  timeless  and  universal  social,  psychological  and  political.    Svetlana  is  a  Russian-­‐born  artist  who  grew  up  in  Scotland  and  graduated  from  the  Edinburgh   College   of   Art   in   2011.   She   is   a   founding   member   of   Black   Cube  Collective.  

 www.svetlanakondakova.com/    

Sloth,  (2015),  from  the  series  7  Deadly  Sins,    Oil  on  canvas,  180  x  110  cm

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Ralph  Klewitz      

WZ156_Inst1   and  WZ158_Sculp1   belong   to   a   body   of  works   in  which   I   was   in-­‐trigued  to  use  banal  objects  of  everyday  life  to  create  artwork.  By  rearranging  the  objects,  they  lose  their  original  functionality  and  simultaneously  gain  a  paradoxi-­‐cal   expression.   I   experienced   this   new   artistic   proposition   as   a   negotiation  between  real,  dream  and  fantasy  worlds.  In  this  context   I   found  it  interesting  to  contemplate   the   fleeting   thresholds   between   existing   and   imagined   environ-­‐ments  made  out  of,  and  represented  by,  objects.  

   Whilst  reflecting  on  my  artistic  process,  I  realised  another  quality  that  refers  back  to   the   production.   Thinking   back   how   I   have   playfully   combined   the   objects,   I  found  it  fascinating  that  the  final  pieces  have  been  given  a  playful  aesthetic.  The  transformation  from  rationality  to  play  is  thus  another  angle  that  I  consider  is  in-­‐herent   in   the   artwork.   This   playfulness   might   then   be   contextualised   with   an  approach   that   the   objects   could   have   been   arranged   experimentally.   From   this  perspective,  I  suggest  that  the  processuality  of  the  artworks’  making  could  evoke  negotiating  the  state  of  artwork’s  completion:  does  the  artwork  represent  a  con-­‐cept,  a  prototype  or  is  a  final  piece  as  such?  

   An  alternative  approach  could  be   to  perceive  the  artwork  as  a   suggestion  of  an  expansion  of  originally   intended  dispositions.  The  notion  of  absurdity   that   is   in-­‐herent   in   some   of   the   artwork   might   disrupt   the   search   for   a   new   functional  meaning  of  the  objects.  This   jolt   in  the  contemplation  process  that   I  experience  tempts  me  to  interpret  the  artwork  in  multiple  directions.  The  shift  from  utilitari-­‐an   applications   of   the   objects   to   open   ended   perceptions   is   thus   an   additional  quality  that  I  appreciate  in  this  group  of  works.  

http://ralphklewitz.blogspot.com/  

WZ156  Inst1,  (2015)    

WZ158_Sculp1,  (2015)    

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Dimitri  Kosiré    Born  from  a  Russian  and  Paraguayen  family,  Dimitri  Kosiré  works  and  lives  in  Paris  where  he  was  born  in  1968.      With  an  ‘informal’  brushwork,  his  painting  “reaches  forces  that  include  messages  quite  different  from  those  of  the  banality  of  current  art  forms  and  which  is  linked  to   the   inner   universe   of   the   Being   and   to   its   existential   problems   in   the    contemporary  world.   It   is   the  ordained  representation  of  the  chaos  surrounding  contemporary   man   in   his   relationship   with   the   cosmos“,  written   by  Belgica    Rodriguez  in   the   last   publication   about   Kosiré’s   works.   His   paintings   brings   us  back   to   the   evocating   power   of   a   painting   “read  by  means  of   the  most   blazing  part  of  felt  sensations.  Powerful  and  tonic,  it  provides  it  with  the  freshness  of  an  independent  eye.  

 www.dmitrikosire.com  

Monochrome,  (2014)  Mixed  technics  on  canvas,  73  x  60  cm  

 Monochrome,  (2014)  

Mixed  technics  on  wood,  80  x  60  cm      

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Yulia  Kovanova    Yulia   Kovanova‘s   work   aims   to   investigate   the   inter-­‐connections   in   nature   and  connections   between   humans   and   nature   through   movement,   exploring   the    constant   shift  and  change  of   the  pattern.   She   is   looking   to   strip  all  unnecessary  layers  in  her  work  to  unveil  the  ‘essence’.  

 Through   interrogating   the   constantly   shifting   relationship   of   humans   within    environment,   Yulia   aims   to   find   ways   of   breaking   through   the   human-­‐made    barriers  to  be  present  and  connected  with  the  world  around.  She  has  been  largely  inspired  by  Japanese  aesthetics,  in  particular  shadows  and  silhouettes.  

 Originally   from   Siberia,   Russia,   Yulia   is   now   based   in   Edinburgh,   Scotland.   She  studied  art,  linguistics  and  cultural  studies  in  Russia  and  is  currently  undertaking  an  MFA   in   ‘Art,   Space  &  Nature’   at   Edinburgh   College   of   Art,   the  University   of    Edinburgh.  

 The   piece   presented   at   the   Black   Cube’s   Annual   Show   2015,   was   originally    exhibited   at   the   Edinburgh   International   Science   Festival   2015   and   is   part   of   a  project   researching   bird   life   in   Scotland,   done   in   collaboration   with    Edinburgh-­‐based  artist  and  photographer  Kenny  Lam.   www.kovanova.com/      

In  collaboration  with  Kenny  Lam,  Untitled,  (2015)    Still  from  video  

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Jean-­‐François  Krebs    My  work  is  a  physical  illustration  of  poems  that  I  wrote  in  the  past  or  most  recent  ones.   Through   an   exploration   of  my   own   history,   I   transform   traumatic   events  into  performances,  re-­‐write  the  story,  and  try  to  transform  personal  history  into  personal  mythology.      My  work   is  about  physical   impact  of  mental   state  on   the  body,  gender   identity,  and   attempts   to   transform   the   body   or   its   appearance   in   order   to   impact  the  mind.      Because  my  work  often  shows  graphic  contents,  I  make  it  a  priority  to  avoid  shock  value,  and  to  emphasize  on  the  meaning,  the  aesthetics,  to  allow  the  spectator  to  get  past  the  strong  physical  response  they  may  have,  and  access  the  piece.      

Poem  1,  (2015)    Live  performance  &  video,  15  minutes,  Charcoal  &  black  ink  

 

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Colin  Lawson      

I   am  interested   in   the   extended   life   of   painting.   Through   collaborative   projects  with  musicians  and   artists,  I  work  with  tools   such  as   file   sharing,   animation  and  projection  to  research  the  various  applications  of  painting  and  the  space  painting  can  occupy  in  contemporary  art.        I  have  always  been  fascinated  by  surface,  surfaces  of  paint,  surfaces  of  sound.   I  am  greatly  influenced  by  ambient  music  and  in  particular  its  ability  to  envelop  the  listener  without  drawing  attention  to   itself.  From  the  early  experiments  of   John  Cage   through   to   present   day   recordings,   I   have   been   working   towards   a  visual  equivalent  of  this  remarkable  discipline.  It   is  not  my  intention  to  illustrate  sound  however.  My   compositions   are   informed   by   responses   to   repeated   notes   and  subtle  variations   in  aural   textures:   the  gradual   introduction  of  stronger  rhythms  and  the  smaller,  hidden  sounds  which  surface  periodically.      My   aim   is   to   create   an   unobtrusive   form   of   painting   which   will   encourage    attention  rather  than  demand  it.    

www.colinlawson.net/  

Primary  Two  (Parts  1-­‐3),  (2015)    Oil  and  Enamel  on  Canvas  

 

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Rory  Laycock  

Rory  Laycock’s  work  explores  the  platform  of  the  Internet  and  how  people  launch  their   likes,   dislikes   and   opinions   in   the   social-­‐media   platform.   The   trampoline    becomes  a  metaphor   for  this  by  making  connections  to   social  activities  through  group  and   individual  play.  The  act  of  bouncing   can  be   linked   to   the  build-­‐up  of  public   interest  and  performance,  where   ideas  are   ‘thrown  around’  a  space.  The  two   differently   sized   platforms   (trampolines)   that   are   physically   present   in   the  installation   attempt   to   explore   this   continual   launch   of   oneself   onto   the  wider  online  world.  

Despite   the   Internet  platform  being  a   continuously   fluctuating  one,   it   is   viewed  from  a  very  stationary  perspective.  Therefore,  the  trampolines  attempt  to  explore  this  motionless   quality   whilst   the  monitors   divulge   the   rapid  movement   of   the  Internet.   The   small   trampoline   highlights   an   individual’s   boundaries   within   the  physical  space  of  the  installation,  acting  as  a  bridge  to  the  large  platform.  

Beneath   the   trampolines   will   be   a   structure   of   wires   and   technical   playback  equipment,   conveying   the   Internet’s   technical   construction   that   is   kept   away  from   the   public   view,   of   which   will   become   a   major   feature   of   the   work.    Beneath   the   cloud   and  wireless   systems   that   appear   to   us,   are   the   cables   and  technicalities  that  operate  this  system.  

www.rorylaycock.com    

Group  Play,  (2015)  Video  Installation  5.5  x  4.3  m  

 

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Beth  Longmore      

Concerned   with   everyday   observations,   I   aim   to   create   interventions   which    elevate  the  unnoticed  yet  provide  a  pause  to  reflect  on  our  own  position  within  a  larger   system.   Through   photography,   film   and   installations   I   aim   to   unravel   the  viewers’   relationship  with   familiar   elements   of   their   surroundings.   Objects   that  function   within   a   large   network,   such   as   pipes   are   wires,   are   isolated   and    repositioned   in   a   space.   I   am   interested   in   questioning   these   quiet   details,    positioning   the   viewer   in   an   uneasy   position,   flickering   between   the   objects    perceived  role  in  an  invisible  system  and  its  physical  intimacy  within  a  space.  

   The   act   of   reading   and   understanding   surfaces   we   encounter   in   our   everyday    surroundings   is   a   process   equally   poetic   as   it   is   empirical.     Focusing   in   on   a    particular   area   is   as   much   about   exploring   the   gaps   in   our   vision   as   what   is    actually  there.  Through  accentuating  small   features  of  our   lived  space   I  hope  to  create  tangible  pauses  within  which  the  viewer  can  engage.    www.bethlongmore.co.uk    

Untitled,  (2015)    Photograph  

 

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David  MacDiarmid    David  MacDiarmid’s  practice  explores  the  intermediary  zones  which   lie  between  the   boundaries   of   subject   areas.   He   draws   from   sources   such   as   geometric    theory,  domestic  design  history,  and  representations  of   science   in   the  media  to  create  his  abstract  works.  

 His  sculptural  realisation  of  this  research  interrogates  the  idea  of  forms  which  can  appear  to  be   in  semi  or  partial  states  of  existence,  never   fully  being  part  of  one  definition  or  another.  

Cutting,  creasing,  tearing,  assembling.  Crafting  spurs  the  notion  that  these  objects  may  have  been  made  for  a  purpose,  but  their  forms  suggest  they  could  be  some  type  of  scientific  model,  or  an  unidentified  industrial  remnant.      The   process   of   making   is   laid   bare.   Touch   forms   a   connection,   as   a   record   of    making  and  as  memory  of  these  everyday  materials  which  we  have  experienced.    His   palette   is   drawn   from   the   everyday;   the   stuff   which   surrounds   us   in   our  homes:  glass,  mirror,  wood  and  plastics.  He  uses  their   inherent   familiarity  as  an  invitation   to  engage  with   the  work.  We  are   invited   to   discover   the  materials   in  these  pseudoscientific   forms  which  begin   to  establish   their   individual   identities,  and  create  for  themselves  their  own  uncanny  nomadic  personalities.   www.davidmacdiarmid.com  

The  Sculpture  of  Cosmic  Speculation,  (2015)    Glass,  wood,  brass,  acrylic  mirror,  tapestry  yarns  

 

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Megalomania  III  (Frontispiece),  (2014)  Faux  marble  cast  tiles  with  concrete  cast  tiles  and  gold  leaf  mounted  on  board,      

David  McDiarmid    David  McDiarmid’s  studio  practice  seeks  to  examine  the  concept  of  megalomania  in  architecture;  the  means  by  which  the  built  environment   is  often  purposefully  designed,  constructed  and  used  as  a  tool  for  power  and  propaganda.  

Many   of   McDiarmid's   paintings   and  models   play  with   ideas   of   scale   and   form,    taking   inspiration   from   historical   examples   of   power   architecture   in   order   to    depict   ambitious   plans   and   proposals   for   structures   which   will   never   exist   in    reality.  

Scaffolding  is  a  recurring  motif  in  McDiarmid's  work,  its  significance  derived  from  its   paradoxical   position   as   both   a   fundamentally   temporary   structure,   and   its    irrevocable  status   throughout  the  history  of   construction,  where  conceptually   it  time  and  again  outlasts  the  permanent  structures  derived  from  it.  

In  producing  his  work  McDiarmid   incorporates  materials  and  processes  typically  associated  with  architecture  and  construction.  He   often  paints  on   surfaces   cast  with  cement,  plaster  or  concrete,  juxtaposing  them  with  precious  materials  such  as  gold  leaf  and  faux  marble  to  further  explore  the  artifice  of  grandeur.  

Integral  to  the  development  of  McDiarmid’s  work  is  the  consideration  of  how  the  installation   and   presentation   of   his   paintings   and   models   in   an   exhibition   can    influence  the  viewer  behaviourally  or  emotionally,  like  the  architecture  of  power  is  designed  to  do.   www.davidmcdiarmid.co.uk  

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Calum  MacGillivray    An   artist   and   illustrator   based   in  Greenock,   Scotland,   Calum  MacGillivray’s  work  explores  narrative,  mythology  and  the  mysteries  of  the  natural  world.  Fascinated  by   the   phenomenon   of   human   perception,   his   practice   addresses   the   lingering    superstitions   that   persist   within   contemporary   society.   The   irrational   fear   of   a  flickering   shadow;   the   shudder   of   dread   as   a   gnarled   branch   brushes   against    exposed  skin  –  these  experiences  are  captured  and  preserved  in  the  imagery  and  atmosphere  of  MacGillivray's  work.      His   practice   serves   as   an   exploration,   delving   into   the   depths   of   an   eerie   and    mysterious  imagined  world.  MacGillivray  employs  new  media  and  technologies  in  conjunction   with   traditional   techniques,   striving   to   produce   works   that   intrigue  and  surprise.      www.calummacgillivray.com  

The  Bird,  The  Stag  &  The  Wolf,  (2015)    Engraved  wood  &  watercolour,  each  32  x  32  cm  

 

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Jamie  Alexander  McMillan    Memory   supplements   our   experience   of   the   past   as   an   ethereal   collection   of    moments   from   time   and   place.   However,   memory   is   flawed   as   the   mind   has    autonomous   control   of   remembering,   forgetting   and   the   occasional   creation   of  false,   artificial,   and   screen   memory.   In   essence,   my   work   explores   everyday    experience  and  sensory  reflection  through  digital  cinema.      Our   past   and   present   experiences   influence   our   futures   through   memory   and    relics  of  the  past  that  are  imbued  with  memory.  We  can  often  live  through  these  experiences  of  the  past,  however  the  recollection  of  those  experiences  becomes  a   trip   through   time   and   space   and   also   through   authenticity   and   the   truth   of    reality.  Can  we   trust  our   senses?  Especially  a   sense  within  a  memory.  My  work  entices  the   senses   to   remember  or   to   feel,  but  also   to   reconsider  and  question  ourselves  and  the  boundaries  of  reality  and  dreams.      In  today’s  contemporary  context  of  digital  culture,  memory  becomes  even  more  complex,   with   our   generations’   digital   memory   existing   completely   online;    consumable,   forgettable,   disposable,   but   potentially   eternal   and   forever.    These  drastic  changes  to  our  lives  over  the  past  decade  have  yet  to  even  come  to    fruition,  and  have  begun  to  show  their  effects  on  our  culture.    www.jamieam.com  

Untitled  (Memory  One),  (2015)  HD  Video  

 

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Connor  Maguire    Connor   Maguire   is   a   Printmaker   and   recent   graduate   from   the   University   of    Edinburgh.  He  is  currently  concerned  with  the  potential  of  silkscreen  printing  by  bringing   a   unique   and   personal   style   to   inject   painterly   expression   to   an    otherwise  photographic  medium.      

 Clothing   has   a   rich   history   within   the   art   world,   as   printmaking   indeed   has   a  strong  position  within  the  world  of  clothing.  The  conflation  of  these  two  creates  an   implicit   commentary   on   how   each,   art   and   society,   have   an   impact   and    influence   on   one   another   to   form   a   commentary   on   how   the   two   exist,   not   in  contrast,  but  in  union  with  each  other.  

 Prominent   artists   of   mention   and   influence   include   Andy   Warhol’s   work   in    the   1960s   and   his   satirical   approach   to   the   world   of   consumerism   and    commercialism.   The   pioneer   of   this   anti-­‐art   aesthetic,   Dadaism,   also   forms   a  strong  line  of  thought  for  its  equally  satirical  and  ironic  stance  towards  the  world  of  commodity  fetishism  and  the  commercial  art  world.  

Profile  of  a  Man,  (2015)  Screen  print  

 

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Michele  Marcoux      What  can  we  know  and  how  do  we  know  it?  How  does  the  trace,  memory,  relic  of  one  thing  morph  into  another  and  form  a  path  we  follow?    

My   practice   explores   the   fragmentary   nature   of   identity,   memory,   and    perception.   Through   a   range   of   formal   approaches   –   drawing,   painting,   found    objects,   text,   moving   image,   I   assemble,   erode   and   combine   to   create   a    non-­‐linear  record  of  my  explorations.  Work   is  grouped  together  but  can  also  be  considered  in  isolation.  

I   am   interested   in   the  provenance  of   objects,   texts  and   found  materials  which,  allude   to   my   own   past   but   also   to   a   common   past.   I   am   also   interested   in    exploring  the   inherent  qualities  of  materials,  discovering  the  work  that  emerges  by   chance.   Initial   inquiries   become   mind   maps,   journals,   wall-­‐sized    collage  and  further  refinements  occur   in  paintings,  drawings,  moving  image  and  the  juxtaposition  of  these  within  a  space.            www.michelemarcoux.com  

Who  Are  the  Disappeared  from  Your  House?  (2014)  Collage  &  acrylic  on  board,  60  x  60  cm  

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Karen  Maxted      I  am  interested  in  conducting  primary  research  to  create  my  art,  thus  ensuring  its  originality  and  my  intimacy  with  the  subject  matter.  The  paintings  submitted  are  an  extract  of  a  body  of  work  based  on  urban  movement.  More  specifically,  these  pieces   are   an   analysis   and   representation   of   relationships   between   the    movement   of   a   series   of   individual   train   passengers   around   a   city   –   their    destination.  The  data  subjects  are  anonymous,  and  the  data  collection   is  clinical  and  precise.  The  subjects  control  the  final  outcome  of  the  paintings  in  the  routes  they   take   around   the  city;   they  build  a   narrative   and   the  collection   of   journeys  starts  to  build  a  language  to  draw  with.      The  works  are  pseudo-­‐science,  every  bit  of  data  on  the  canvas  requires  a  reason  and   the   paintings   are   drained   of   colour   to   foreground   content.     The   external    appearance  of  the  work  arises  not  from  achieving  a  visual  aesthetic  but  from  the  data  that  has  been  collected.  Execution  is  subordinate  to  conceptualisation  of  the  piece.      Despite  the  integrity  of  the  visual  output  I  am  cryptic  with  my  viewer  in  order  to  provoke   curiosity   and   ensure   that   the   work   is   not   entirely   accessible,   leaving    interpretation  of  the  work  to  the  viewer’s  imagination.     [email protected]  

 

Constructed  Painting  1a,  (2015)  Paint  &  ink  on  board  &  balsawood  

 

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Andrew  Payne  

Andrew  Payne   is  an  artist  who  has  been  fascinated  by  the  effects  of   light  on  his  local   landscape   for   many   years,   firstly   as   a   photographer   and   now   as   a    filmmaker.  Since  2006,  he  has  been  making  short  films  that  explore  the  changing  movement  and  light  in  the  landscape  near  his  home.      There   is   a   comment   by   the   British   artist   Paul   Nash   that   relates   to   this   work.    Writing  in  1938,  Nash  spoke  of  the  ‘unseen  landscapes’  of  England.      

“The   landscapes   I   have   in   mind,”   he   wrote,   “are   not   part   of   the   unseen  world   in   the   psychic   sense,   nor   are   they   part   of   the   Unconscious.   They    belong   to   the   world   that   lies,   visibly,   about   us.   They   are   unseen   merely    because  they  are  not  perceived;  only   in  that  way  can  they  be  regarded  as  invisible.”    

 The  films  are  non-­‐narrative  in  form,  sometimes  retaining  the  abstract  qualities  of  his  earlier  photographic  work.  They  can  consist  of  single  shots  that  are  sometimes  altered   in   the   editing   process,   or   a   combination   of  moving   images   on   a   single  screen   using   split-­‐screen   techniques.   The   films   have   been   screened   in   film    festivals  and  exhibitions  in  the  UK,  Europe  and  the  USA.   www.axisweb.org/p/andrewpayne/  

Light  and  Shadows  6,  (2014)  Still  image  from  film,  1  minute

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Katherine  Peeke    

By   seeking   alternative   ways   to   portray   the   human   face,   I   strive   to   awaken   a    renewed  interest  within  this  genre  and  by  treading  an  iconoclastic  path,  override  social   preconceptions   to   test   whether   an   image   is   anything   other   than   a    manipulated  illusion  or  a  paradox  of  concealment  and  revelation.    My   experience   of   art   and   design   has   been   a   varied   juxtaposition   of   many    disciplines,   with   positions   held   in   photography,   photomicrography,    draughtsmanship,  graphic-­‐  design,  illustration  and  airbrush  painting.    I  am  an  honours  graduate  in  Graphic  Design  and  Advertising  from  Parsons  School  of  Design   in  New  York  and  besides   the  U.S.A,  have   resided   in  France,  Germany  and  Singapore,  all  which  have  had  an  influence  upon  my  practice.    I   work   within   a   realism   vein   in   painting,   linear   style   in   life-­‐studies   and   urban  themes  in  photography.   www.kpeeke.com  www.Linkedin.com  katherine  peeke  

 

Betrayal,  (2015)  Graphite,  53  x  73  cm

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Lisa  Pettersson    

I  am  Swedish-­‐born,  went  to  Art  College  in  London  and  Wales  and  have  lived  and  worked  as  an  artist  and  graphic  designer  in  Edinburgh  since  2000.  

 Much   of  my   painting  has   since   long  considered   the  environment   I   live   in,   from  domestic  spaces  to  the  community  surrounding  me,  observing  quirky  differences  in  taste  or  culture  or  considering  my  own  place  in  it,  identity  and  belonging.      www.lisapettersson.com    

Hold  On  (Leith  Linksview  Steps),  (2014)  Acrylic  and  oil  on  canvas,  70  x  70  cm    

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Klaus  Pinter    Through   interactive   engagement   leading   to   the   transformation   of   a   drawing    into   sculpture,   the   piece   shifts   into   a   substantively   different   level  of  interpretation.      www.klaus-­‐pinter.net/  

Untitled  (2014)  Paper,  10  x  29.7  cm    

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Lucie  Rachel    Driven   by   an   interest   in   the   representation   of   family   and   the   domestic   in    contemporary   culture,   my   practice   manipulates   a   combination   of   video   and    photography   to   explore   family   relationships   and   gender   issues   that   are   etched  deep   in  the   foundations  of  my  practice.  My  curiosity  to  understand  my  Mother  and   trans*   Father’s   relationship   has   led  me   to   the   art   of   archiving  my  parents’  diaries,  photographs  and  online  activities,  creating  responses  to  the  spoken  and  unspoken   narratives   within   them.   Overwhelmingly   aware   of   the  voyeuristic    nature  of  these  actions,  I  strive  to  hold  a  thoughtful  balance  between  expression  and  exposure  to  protect  those  involved  with  a  poignant  yet  informed  response.  

 www.lucierachel.com  

 

Mother  Father,    (2015)  Video  (HD),  11  minutes  47  seconds  

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Callum  Russell    

Through  composition,  shadow,  and  pattern  I   like  to  create  papercut  images  that  have   a   rich   narrative   basis   and   explore   man’s   interaction   with   the   urban    landscape.  Taking  influence  from  traditional  Japanese  paper  craft  and  aspects  of  20th   century   modernism,   photography   and   cinema   I   like   to   create   a   sense   of    mystery  in  my  work  often  utilising  silhouettes  and  the  play  between  darkness  and  light.    

 I  enjoy  the  craft  aspect  of  working  with  the  paper,  the  risks  involved  with  using  a  surgical  blade  to  create  detailed  delicate  images,  and  the  process  of  starting  from  a   sheet   of   blank   paper   and   cutting   parts   away   to   reveal   the   final   image.   Each    image  is  reproduced  by  hand  10  times.  So  while  the  set  of  10  editions  are  all  of  the  same  image  they  differ  very  slightly  from  each  other,  making  them  all  unique.   www.callum-­‐russell.co.uk  

Tokyo  1,  (2015)    Hand  cut  papercut,  29.7  x  42  cm  

 Tokyo  2,  (2015)    

Hand  cut  papercut,  29.7  x  42  cm        

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Ane  Smith    Ane  Smith  is  investigating  the  fear  of  mental  illness  portrayed  within  folklore,  and  if   this   fear   is   still   culturally   felt  within  modern   society   today.  We   live   in  an   age  where   western   society   becomes   more   understanding   and   accepting   of   mental  illness,  it  raises  the  question  of  where  this  fear  came  from  in  the  first  place.  Ane  has  been  exploring  this  fear  in  her  creative  practice  through  her  own  experiences  of   being   described   as   a   ‘Changeling’   in   European   folklore.   She   has   investigated  the   influence   of   folklore,   its   connection   to   mental   illness,   its   relevance   to   our  modern  society  and  the  effects  that  she  believes  it  has  had  on  us.     http://ane-­‐smith.blogspot.co.uk  

Changeling,  (2015)  Mixed  media  installation  

 

Snipp,  Snapp,  Snute,  (2015)  Mixed  media,  (lead  and  hidden  materials)  

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Leo  Starrs-­‐Cunningham    Leo   is  a  Scottish  based  artist,   and  graduate  of  Edinburgh  College  of  Art.  He  has  taken  part   in  shows  throughout  the  UK,  including  the  Institute  of  Contemporary  Art  (ICA)  in  London,  as  well  as  abroad,  in  Canada  and  the  US.  Leo  works  primarily  as  a  printmaker  and  painter,  exploring  philosophical  themes  around  the  nature  of  seeing  and  reality.    

 He   is   presently  working   on   an   epic   series   of   prints   inspired   by  Yoshitoshi's  100    Aspects   of   the   Moon   series,   and   the   underlying   construction   of   propaganda    posters  from  WWI  and  WWII.  His  etching  Warchild  IV  is  part  of  a  series  exploring  images  of  and  reactions  to  those  displaced  by  conflict.  

 Leo   has   work   held   in   both   private   and   public   collections   and   is   a   founding    member   of   the   Black   Cube   Collective.   More   of   his   work   can   be   found   at    Edinburgh  Printmakers  and  Gallery  on  the  Corner  in  Edinburgh.    

Warchild  IV,  (2015)  Etching  &  emboss  on  Somerset  Velvet  Black  250gsm  

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Elizabeth  Stewart  

Using  my  own  family  photos  as  source  material,  I  transmute  them  into  something  more:   acknowledging   the   ineffable   and  mysterious   glue   that   holds   us   together  through  time  and  space.      I   employ  mass  market   digital  weaving   technology   to  produce   the   base  material  (often   a   combination   of   photography,   painting   and   collage),   which   I   then   cut,    reassemble  and  hand  stitch  to  go  beyond  the  given.  

www.elizabethstewartart.co.uk  

Man  in  the  Moon,    (2015)  Digital  weaving,  appliqué  &  badges,  170  x  127  cm  

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Lana  Svirejeva  

Upon  seeing  a  painting  of  St.   Sebastian   in   the  Uffizi  Gallery   in  Florence,   Italy  at  the  age  of  four,  I  vowed  to  become  a  painter.  True  to  my  word,  by  the  time  I  was  17  my  work  was   shown   in  a   solo  exhibition,  after  which   I   studied  19th  century  draftsmanship   and   painting   at   The   Florence   Academy   of   Art   and   graduated   in  2014.  Now   I  am  enrolled  at  the  Edinburgh  College  of  Art,  exploring  the  parts  of  the  art  world  influenced  by  modernism  and  beyond.  

My  work  is  an  expression  of  reverent  delight  in  the  world.  I  typically  use  mediums  such  as  charcoal  or  paints  to  draw  from  a  live  model.  The  ultimate  goal  is  that  the  work   lives,   showing  what   it  meant   to  be   human  at   that  moment,   in   that  place,  creating   a   contemporary   iconography.   Nowadays   we   consume   everything   and  science   progresses   endlessly,   which   is   great,   but   paintings   offer   the   opposite,  since  art  is  by  nature  removed  and  unconsumable  because  it  can  only  be  looked  at   -­‐  not  eaten,  not  worn.  A  painting  will  always  be  apart   from  us,  encapsulating  beauty,  untouchable,  receiving  yearning  gazes.  Even  if  one  owns  it,  it  has  it’s  own  life  that  the  no  one  can  control.    http://lanasvi.wix.com/portfolio  http://ljuslana.blogspot.se  

Encroaching,    (2015)  Oil  on  linen,  45  x  30  cm  

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Eleanor  Symms  

My  work  derives   from  a   fascination  with  materials.  My  current  work   in   jewelry  responds  to  ‘found’,  reclaimed  and  non-­‐precious  materials,  combining  these  with  precious   stones   and   metals;   challenging   notions   of   preciousness   and    disposability.  

I  graduated  from  Edinburgh  College  of  Art  in  2012  and  work  in  Edinburgh.  I  have  exhibited  in  solo  and  group  exhibitions  in  the  UK  and  internationally,  winning  the  Textiles   and   Fashion   Award   in   the   Inspired   by…exhibition   at   the   Victoria   and    Albert  Museum,  London,  in  2010.      An   exhibitor   in   the   Association   of   Contemporary   Jewellers’   exhibition,   Icons,  2014,   the   Craftsmanship   and   Design   Awards   Exhibition   at   Goldsmiths’   Hall,    London,  2014  and  the  Cheongju  International  Craft  Biennale  Competition  2013,  in  South  Korea,  my  work  is  in  a  number  of  national  and  international  collections.    www.eleanorsymms.co.uk    

Magic  Circles,    (2015)  Brooch,  reclaimed,  patinated  brass,  brass,  mirror,  aquamarines,  aluminium,  stainless  steel  pin  

Photography  by  Martin  Smith  

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Struan  Teague    

Tension  and  balance  between  bold  gestures  and  delicate  traces.      An   abstract   painter   and   printmaker   interested   in   visual   expression   that    performs   in  a  separate  area  to  written  or  spoken  language.  A  visual  language  of  forms  is  created  through  a  balance  of  compositional  structure  and  intuitive  touch.  New  works  often  reference  existing  prints  and  paintings  by  using  screen-­‐print  to  distinguish,  repeat  and  distort  certain  elements,  resulting  in  a  constantly  evolving  visual  dialogue.   The   screen-­‐printing   process  allows   for  a  playful   investigation  of  scale,  rhythm  and  repetition.    Within   many   different   scales,   the   smallest   can   have   equal   importance   to   the    largest.   Likewise,   the   margins   of   the   picture   can   be   just   as   significant   as   the    centre.  

Spray-­‐painted   lines   force   quicker   and   more   irrevocable   decisions   to   be   made,    resulting  in  intuition  taking  a  crucial  role  in  the  image  making  process.  Also  with  printed   works,   the   final   image   is   rarely   fully   planned   out   before   being   made,    instead   each   new   layer   is   informed  by   the   previous.   This   approach   involves   an  element   of   risk   and   uncertainty   but   the   unplanned   is   also   frequently   the  most    exciting.  These  intuitive  and  inexplicable  decisions  within  the  process  of  creating  work  are  again  the  most  interesting.    www.struanteague.com/    

Untitled,  (2014)    Acrylic,  screen-­‐print,  oil,  enamel  &  paper  on  canvas,  210  x  150  cm  

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Olivia  Turner    

I   am   interested   in   spatial   awareness,   how   the   viewer   interacts   with   space,  whether   this   is   visual  or   physical.   The   principle   foundations   for  my   research   lie  within   intriguing  architectural   buildings   and   their   spaces,   both   internally   and    externally.    

                                                                       A   city   centre   is   an   area   where   we   are   continually   directed   through   spaces   by    intuitive   instructions,   whether   they   are   physical   or   subconscious.   This   is    something  I  am  hoping  to  change  within  my  practice.  The  unconventional  spaces  I  create,   give   the   viewer   the   freedom   to   navigate   their   own   way   through   and  around  them,  but  maintain  a  small  insight  into  my  original  experience,  within  my  chosen  locations.     www.olivia-­‐turner.com      

EH1  CT1,    (2015)  Emulsion  on  board  101  x  133  cm

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Ira  Upin    

The  two  constants   in  my  work  have  been   the  narrative  and  the   intensity  of   the  visual.   I   want   the   viewer   to   be   intoxicated   and   perplexed   by   how   I   make   my    paintings  and   intrigued  by  the  stories   I’m  trying  to  tell.   I’m   interested   in  human  dynamics  whether  they  be  social,  political  or  emotional.  

 www.iraupin.com/  

Fat  Cat,    (2015)  Oil  on  panel,  91.4  x  91.4  cm

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Sean  Wheelan    

Establishing  a  visual  language  for  mass  communication  on  the  brink  of  absurdity  has  been   a   theme,  which  drives  my  practice   forward  as  an   artist.   Exploring   the  actions   of   the   individual   and   the   goals   they   seek   allow   me   to   form   a   social    commentary   on   our  behaviours  brought   on   by   ambition,   manipulation   and    desperation.  

 Using   my   assumed   voice   as   an   artist,   I   take   the   opportunity   to   establish   a    dialogue  between  the  realities  of  day-­‐to-­‐day  life   into  a  range  of  media   including  sculpture,  moving   image   and   performance  whether  with  my   own   voice   or   the    assumed   voice   of   the   semi-­‐fictional   Johnny   Echline.   Incorporating   humour   into  these   pieces   is   fundamental,   as   a   means   of   distorting   our   interpretation   of    everyday   life   and   as   a   gateway   for   the   audience   to   explore   the   works   further    gaining  a  revised  understanding.  

 The   works   produced   are   brought   on   from   hours   of   experimentation   with    materials  and   techniques   to  make   the  work  distinctly  my  own.  To  aid   the  visual  language  of  my  work,  I  bring  my  own  personal  reflection  of  past  experiences  and  concerns  to  build  the  work  into  a  piece  more  human  to  counteract  the  tragedy  of  reality.  

 www.seanwheelanart.com/  

Johnny  Echline's  Toasty  Oven  Baked  Bean  (Dutch  Style),    (2015)  Sculpture,  380  x  1100  x  3380  cm  

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Sharon  Whyte    

My  work   focuses   on   taking   the   live   elements   of   a   performance   and   rendering  them  as  documentation  in  way  that  allows  them  to  be  read  in  a  different  way  and  questions  what   performance   is.   I   take   the   relationship   between   the   performer  and   the  viewer  and  use  this  as  a  mechanism  through  which  to  examine  various  impulses  ranging  from  desire  to  punishment.      I   am   interested   in   the   performer/audience   dynamic   as   an   unspoken   contract    entered   into,  within  which  there   is  permission  to  scrutinise  the  other  and  make  judgements   that   we   then   use   outside   of   the   performance   space.   Since    performance   is   viewed   through   the   lens   of   the   socio-­‐political   paradigm   within  which  it   is  staged,  such  paradigms  cast  their  own  agenda  through  the  repetition  of   certain   tropes   and   the   constant   replaying   and   reproduction   of   dominant    normative  or  proto-­‐normative  images.      Using   photography,   printmaking,   video,   writing,   performance   and   installation,   I  make  work   that  explores   the   spectacle/viewer  dynamic  and   the   still   image  as  a  lingering  performative   ‘body’.   I  am  also   interested   in  performance   in  relation  to  documentation   and   the   archive.   Print,   video   and   sound   are   both   material   and  documentation  forms  for  me,  as  I  reference  the  archive  and  the  tradition  of  print  being  bound  closely  with  performance  in  the  form  of  posters  and  publicity.    

Her  Kind,    (2015)  Installation,  screen-­‐prints  &  video

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Patricia  Willder    

My   recent   work   has   focused   on   my   local   environment   and   the   constant    changes   within   it,   and   its   shifting   boundaries   and   edges   and   the   metaphorical  connection  to  our  human  vulnerabilities.  

Within   the   mediums   of   both   paint   and   print  I   explore   the   layering   process,    changing   surface   tensions,   and   try   to   retain   an   aspect   of   representation   of   the  original  idea.    I   have   recently   completed   the   Certificate   of   Higher   Education   at   Edinburgh    College  of  Art  and  exhibited  in  several  shows.  

[email protected]  

Limitless,    (2015)  Oil  &  varnish  on  board,  30  cm  x  38  cm

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Chi  Hang  Wong      

‘Umbrella   Movement’   and   ‘Black   is   White   and   White   is   Black’   is   a   series   of    paintings  that  are  dedicated  to  the  people  who  fought  for  their   freedom,  future  and  democracy  during  the  umbrella  revolution  in  Hong  Kong.  

However   it  ends,   the  process  of  the  Umbrella  Revolution  will  write  down  a  new  chapter  in  the  history  of  Hong  Kong,  which  we  all  witnessed  though  our  own  eyes  in  the  different  places  of  this  world.   http://chi-­‐fineart.blogspot.co.uk/    

Black  is  White  and  White  is  Black  1,    (2015)    Acrylic  paint  on  canvas  and  cotton  threads,  35  x  25  cm    

Black  is  White  and  White  is  Black  3,    (2015)    

Acrylic  paint  on  canvas  and  cotton  threads,  35  x  25  cm

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Katariina  Yli-­‐Malmi    

The  images  I  have  submitted  seek  to  explore  the  phenomena  of  immigration  and  challenge  common  societal  perceptions  of  it.  The  landscape  photographs  portray  the  native  vegetation  and   scenery   found   in  my  Finnish  hometown  of   Lahti.   The  chance   discovery   of   a   floral   dictionary   dated   1944   led   me   to   research   the    botanical  study  of  non-­‐native  plant  species.  The  book  details  both  the  effects  of  invasive  species,  which  radically  change  the  environment  they  are  introduced  to,  and   the   effect   supportive   species,   that   complement   existing   ecologies   by    supporting   their   sustainable  growth.   I   recognized   in   this  botanical  phenomenon  an   opportunity   to   discuss   attitudes   towards   immigration.   In   hoping   to   draw    parallels  between  the  scientific  study  of  plant  movement  and  the  current  cultural  climate   surrounding   immigration,   I   substituted   the   subject   of   the   floral    descriptions   as   to   generate   a   new   text   describing   national   and   physical    characteristics  of  a  hypothetical  person.  These  reconfigured  texts,  which  serve  to  present  notions  of  class,   race  and  age,  are   juxtaposed  with  evocative   images  of  barren   winter   scenery.   These   silent   landscapes   conjure   a   feeling   of   separation  and   displacement,   leading   the   viewer   to   contemplate   on   notions   of   social    integration  and  what  exactly  it  might  mean  to  truly  ‘belong’.  

 http://katariinaylimalmiphoto.blogspot.fi/    

Untitled,    (2015)  Photography,  53  cm  x  53  cm,  

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Family  Portrait,    (2000)  Oil  on  canvas,  61  cm  x  81  cm  

Robert  Zurer    

There   is   a   delectable   "unknown"   hidden   everywhere,   behind   everything.   If   I    listen,  it  calls,  and  if  I  call,  it  listens.  I  want  to  stick  my  mind  and  heart  and  fingers  into   it   and   play   hard.   I   start   my   work   using   random   lines.   I   then   pay   close    attention  and  wait.  It  turns  out  that  whenever  I  shut  up,  listen,  and  pay  attention  to  anything  at  all,  something  happens.  It  feels  like  an  idea  or  an  impulse  is  coming  into  me  from  outside,  as  if  I  am  receiving  a  Message  from  the  Mystery.  I  must  act  on   it.   I   cannot   think   or  hesitate  because   then   it   is   lost.   It   is   a   volley,   a   call   and    response,  a  dialog.  I  make  a  move,  wait,  then  another,  and  so  forth.  At  each  step  everything  changes.  The  problem   is  how   to  make   it   "work".   I   don't   know  quite  what  it  is  that  makes  something  work  or  not  work.  But  I  do  know  that  things  that  work   are   whole,   powerful   and   true.   They   have   an   immediate   and   lasting    effect.  That  is  what  I  am  trying  to  learn  to  do  by  doing.  

   www.robertzurer.com/

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Exhibition  Statement    

The  ‘Open  Show’  is  something  of  a  curate’s  (or  perhaps  that  should  be  curator’s)  egg.   It   remains   a   mainstay   for   many   institutional   shows   such   as   those   in   the    big   Academies   and   they   remain   perennially   popular   with   the   public   audience.  Amongst  the  culture  of  today’s  contemporary  art  however  they  are  less  popular,  replaced   by   the   thematic,   strictly   curated   exhibition,   perhaps   now   regarded   as    conservative  and  anachronistic.    When  we   started   Black   Cube   Collective,  we  were   acutely   aware   that   emerging  and   early   stage   career   artists,   including   arts   graduates   desperately   needed   and  wanted  more  open,  democratic  opportunities  so  we  determined  that  one  of  our  regular   exhibitions  would   be   just   that   –  open   to  all.   Unlike  many   opportunities  there   is  no  age   restriction   for  applications   (imagine   such  exclusion  on   the  basis  gender,   race   or   sexuality),   as   we   firmly   believe   that   new   and   stimulating    contemporary   art   is   not   solely   the   province   of   one   exclusive   group.   The   range,  depth  and  breadth  of  artists  and  work  on  show  demonstrates  that  contemporary  art  can  be  an  inclusive  practice  not  exclusive,  so  thanks  to  all  the  artists  who  have  sent  their  work  from  all  over  the  globe  to  be  shown  here  in  Edinburgh.  

   Ronald  Binnie  Black  Cube  Collective  

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   All  images  and  text  ©  2015  the  Artists  and  should  not  be  used  without  permission