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The catalogue of student work from the 2010 Visual Arts Degree Show.
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Visual Arts is a distinctive contem-porary fine art programme where individual creativity and ideas are fostered within a supportive envi-ronment.
The programme promotes an awareness of contemporary cultural issues, offers the freedom to move between media areas, and supports critical reflection informed by theory.
In the last 12 months our students have enjoyed successful study trips to Barcelona, Spain, and Erasmus exchanges in Clermont Ferrand, France, Macerata, Italy and Porto, Portugal. They have taken part in projects and exhibitions with the BBC’s 21CC project and Media City, The Chinese Arts Centre, Cow Lane Studios, Hot Bed Press, The Hub, Salford Museum & Art Gallery and have won honours in the Lloyds Bank Art of Nurture competition supported by the Saatchi Gallery, London.
Our recent graduates continue to make waves locally and nation-ally, founding a new contempo-rary gallery space in Manchester, exhibiting at the Bluecoat Gal-lery, Liverpool, the Green Room, Manchester, PAD Gallery, Preston, The Royal Standard, Liverpool, The
Summerfield Gallery, Cheltenham, and Turn-Berlin, Berlin as well as publishing a new cultural review/periodical.
The degree show is the culmina-tion of three years of study on the Visual Arts programme. It marks the first major professional public exhibition. The exhibition demon-strates a vibrant and eclectic range of fine art practices including painting, sculpture, photography, print, installation, performance, film/video, fibre/textile and sound art and many other hybrid forms.
The degree show is a celebration of the talent and creativity of our students. They are an exceptional cohort marked out by their com-mitment, enthusiasm and ambi-tion. We trust you will celebrate their talent too.
Finally, I would like to thank all the students involved in working towards this exhibition, the aca-demic and support staff, instruc-tors and demonstrators.
Sue SherringtonProgramme Leader, Visual Arts
WELCOMETO
VISUALARTS
In April 2000 a Swedish TV pro-gramme, ‘Expedition Robinson’, aired for the first time. The pro-gramme as its name suggests drew upon Daniel Defoe’s Rob-inson Crusoe and Johann David Wyss’ Swiss Family Robinson. The programme was a mix of estab-lished genres; documentary, social experiment and game show in which contestants were ‘ship-wrecked’ on a deserted island and forced to adapt to their surround-ings in scripted encounters and with only the fictional detritus on the island to sustain them. The fris-son lay in the ‘castaways’ attempt to create a mutually supportive and cohesive social unit, yet all the while competing against one another as they faced the threat of eviction each week. The show was sold and franchised to countries around the world and became better known in the English speak-ing world as ‘Survivor’. It was, argu-ably, the first Reality TV show.
Over the last ten years Reality TV as a genre has grown exponentially. It has mutated and spawned a number of hybrids as TV producers have sought to reproduce its suc-cess. This postmodern celebration of aspiration without endeavour has co-opted a number of other TV formats included the talent
THEREAL
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show (X-Factor) home renovation (Changing Rooms), self improve-ment (What Not to Wear), dating show (Farmer Wants a Wife), job search (The Apprentice) and in arguably its most famous guise, drawing upon George Orwell’s dystopian novel ‘1984’, the social experiment (Big Brother). If the genre has become risible in the way it repetitively regurgitates a formula then the comedian Peter Kay’s parody, - Peter Kay’s Britain’s Got the Pop Factor…and Possibly a New Celebrity Jesus Christ Soap-star Superstar Strictly on Ice, - only served to highlight the diminishing returns
In November 2009 a new show hit our screens, The School of Saatchi. The programme brought together all the key hallmarks of the genre, documentary, game show and talent show. The School of Saatchi centred on the search to discover artistic genius. The logic must have seemed irresistible, a genre run-ning short of creativity resuscitated by the search for new creatives. Thousands of would-be artists were whittled down to just six art-ists/participants/contestants by an expert ‘celebrity’ panel consisting of artist Tracey Emin, critic Mat-thew Collings, curator Kate Bush and collector Frank Cohen. The
artists were asked to respond to set of project briefs, a site specific sculpture for Hastings sea front, an intervention in Sudeley Castle, and an exhibition at the Saatchi gallery. The format included a nod to the art school pedagogical toolbox of tutorial, seminar and ‘crit’ and the genre staple of confessional interviews reflecting upon their success/failure before the expert panel convened and crowned their new champion.
The programme had few preten-sions to be anything but light en-tertainment and it was necessarily reductive. There was little that was ‘real’ in this depiction of reality. It says much of the participating art-ists that they managed to maintain their dignity and creative energy in such a prescriptive format. But the problem of attempting to represent the creative process was glaring. The production of art was reduced, inevitably perhaps, to a freelance site specific ‘makeover’ or a conversation piece curio. The programme did not reflect the cre-ative process, the slow gestation of an idea, the visual and contextual research, the assimilation of learn-ing, the synthesis into a practice, the slow burn, maturing evolution that is the result of years of dedica-tion and endeavour, in short the
work of an artist.
Our graduates are only too well aware of the reality of attempt-ing to pursue a career in fine art. It will not come easy. It will be hard won. The prospect of fame is not what drives them. They will measure success by a different index. Their success will be mea-sured in the quality of the work they produce, the way in which an idea is shaped and the means by which it communicates. In the ‘real world’ beyond the flat screen, high definition, digital image they will forge their own careers and our graduates are well equipped to do so. They will survive ‘life after art school’ for they have the creativity, talent and ingenuity necessary to shape their futures. They have learnt much in their time with us. They have grown and matured and their ambitions have been raised. They will make a lasting impression on the cultural landscape just as our previous graduates have done before them. Look beyond the screen, and the formulaic homogenised output of the Reality TV show, and watch out for them.
Brendan Fletcher Lecturer in Visual ArtsLevel 6 Co-ordinator
Mama, mama you know I love youOh you know I love youMama, mama you’re the queen of my heartYour love is likeTears from the starsMama, I just want you to knowLovin’ you is like food to my soul
SUZANNE ASHWORTH [email protected]
‘A Song For Mama’- Boys II Men
PHIL [email protected]
I hope my work has a universal ap-peal. There are echoes of the vibrant symbolism of Keith Haring’s imagery and the direct yet decorative style of Aboriginal art. I want the work to be visually striking and wide open to in-terpretation.
MESCHACH R. [email protected]
I am a performance artist. My work concerns self-truth and representa-tion. It aims to interpret thoughts and opinions and how everything seems to have evolved around me. My work exposes my burdens and dissatisfac-tions and also my attempts to break free from those feelings. My work
necessarily remains in a state of irreso-lution.
My work explores the manipulation of the shape and form of old books. The physicality of old books is an impor-tant inspiration and the stained pages hold many unknown possibilities. The rough textures and musty smells are integral to the progress of my prac-tice. In altering the original form, us-
ing various cuts and folds, the book is transformed from a carrier of a text to an art object.
KATE BUFTON
‘The shadows of the persons who had lived there were still pretty warm’
- Gordon Matta-Clark
LAUREN [email protected]
I am Zambian. I am African. I love Afri-ca. Living here in the UK I rarely come across images that represent a posi-tive image of Africa, its beauty and its creativity, its rich and diverse cultural identities.
I am fascinated by the traditional cloth-
ing of Africa. It speaks of identity and culture. I make work that celebrates this rich history.
CHISHA CHIKOTI
‘If I had a world of my own, everything would be nonsense. Nothing would be what it is, because everything would be what it isn’t. And contrary wise, what is, it wouldn’t be. And what it wouldn’t be, it would. You see?’Alice, in Alice’s Adventures in Wonder-land, Lewis Carroll
EMILY CONNOR [email protected]
I use my work to help me make sense of the issues that concern me. The work is intended to provoke further discussion.
I work with the media of photography. I appropriate my father’s family photo-graphs/snapshots. They are images of my brother and I growing up/on fam-ily holidays. I want to explore a deeper psychoanalytic understanding of the family and its relationships through these images.
LAURA DODD [email protected]
HELEN [email protected]
I am currently exploring photography and painting. I am interested in the nature of change and transformation. I like to bring my ideas and concepts together to form something new, rather than start from a well defined subject.
The work incorporates visions of a modern ‘fairytale romance’. This il-lustrative love story is a combination of traditional ideas merged with con-temporary media in order to create a distorted version of the fairytale. The story is derived from the lyrics of a modern pop song which illustrates
the superficial aspects of a relation-ship, with American street slang which add to the ridiculous or humorous nature of the drawings. Whereas the fairytale princess is destined for a life of happiness after she is rescued by her Prince Charming, the modern day ‘princess’ can rarely find a romance to
last her ‘happily ever after’. For all she is independent and opinionated, she still craves true love.
ELISSA GARRETT [email protected]
JAMES [email protected]
My work aims to reveal machismo as an archaic ideal that holds no place within modern society.
My work concerns the Caribbean. I want to reveal the hidden harsh reali-ties lurking beneath the glossy veneer of the tourist guide. Although the beauty of these islands is stunning, they are not entirely the paradise that we have been led to believe. In my work, I tackle my own conflicts of en-
joying the seductive Caribbean beau-ty while longing to do something to help the region.
HEIDI GIRGIS [email protected]
Gallery or TV? Does the ‘white cube’ of the gallery equal the televised?
MICHELLE GRAHAM
ELEANOR [email protected]
‘Family faces are magic mirrors. Look-ing at people who belong to us, we see the past, present and future’ Gail Lumet Buckley
KATIE HAMPSHIRE [email protected]
The emotional, sexual, and psycho-logical stereotyping of females beginswhen the doctor says, “It’s a Girl”.
SHELLEY [email protected]
‘Love is as powerful as deathPassion is as strong as death itselfIt bursts into flameAnd burns like a raging fire’
Song of Songs 8:7
TRACY HURST www.cyhurst.co.uk
Painting for me is an explosion of real emotion. It is an honest action. It is provoked by a genuine reaction to the world and it is a profoundly purpose-ful activity. I find painting to be the most important means of communi-cating my own determination to do something more than exist.
My work involves alchemy. I transform sheet metal into works of art. The steel is encouraged to oxidise which forms rust on the paper or canvas. The resulting prints consist of squares and rectangles in a grid system. They act as a metaphor for the order, chaos and symmetry in the natural world.
PAUL A. JORDAN [email protected]
The basis of my work is to experiment with materials and combine interest-ing results with ongoing work and ideas. These have mainly involved wax and plaster and have generally been abstract in form and using com-monplace objects to cast and manipu-late.
REBECCA [email protected]
I am a product of capitalism. My work will be bought and sold. I will become business like (Just like Damien Hirst).
Where has art gone? Where did art fail?Where has the economy gone?Where did the economy fail?
‘If someone asked me, ‘What’s your problem?’ I’d have to say, “skin.” - Andy Warhol
JONATHAN MAJ [email protected]
I am a painter. I was born in Cyprus. I grew up surrounded by Greek culture which has had a profound influence on my practice as an artist. My work is concerned with abstract/figurative paintings that reflect the joy of life. When I paint, I merge the colours of the figure in the foreground with the
colours in the background in order to destabilise the overall image. The form of the human figure becomes lost in the fusion of colour. My paint-ings depict my close friends enjoying their lives.
MARINA [email protected]
“I tend to like the thought that I’m in the world. I don’t want just to look through keyholes” - David Hockney
IAIN [email protected]
Research claims that with the cutting of the umbilical cord, physical attach-ment to our mother ends and emo-tional and psychological attachment begins. While the first attachment provides everything we need to thrive inside the womb, many psychologists believe the second attachment pro-
SARAH [email protected]
vides the psychological foundation and maybe even the social and physi-cal buffer we need to thrive in the world.
The mother/child relationship is prob-ably the strongest relationship in a child’s early life and it becomes a
template on which later relationships are based. Within my work I hope to examine this bond and relationship of mother to child through an explora-tion of the relationship between me and my son.
I find it captivating that emotions can be evoked by colour alone. Colour can speak a language without words. Tone, colour, hue, saturation, depth, intensity can create wonders.
ALEX [email protected]
I am a textile artist. I feel the only way I can truly express myself within my work is by the use of a sewing ma-chine.
NATASHA ROBINSON [email protected]
The work expresses a personal journey. Thoughts through sewn words.
SARAH JANE ROSCOE [email protected]
ANDREW [email protected]
My work concentrates on the Ameri-can serial killer and how this figure has impacted upon society and the me-dia. There seems to be a lasting fasci-nation and psychologically it interests us to try and understand who they are and what they mean to our lives. Why do we endeavour to popularise and
give a celebrity status to someone who has chosen to take the lives of others? It is a glimpse into the darker side of American society.
‘There is nothing like walking to get the feel of a country. A fine landscape is like a piece of music; it must be taken at the right tempo. Even a bicycle is too fast’ - Paul Scott Mowrer
CLAIRE SIDEBOTHAM [email protected]
CHRISTINE [email protected]
My work has become print based: co-lour experimentations using photo-copies of my face and hands.
I am an oil painter. I paint the figure. I use the clown as a metaphor for les-bian club culture. The clown captures the vulnerability, fragility and melan-choly nature of my subject. The work draws upon the history of painting. Most recently I’ve become influenced by Caravaggio and his use of chiar-
oscuro - strong light and dark tones – to create an atmosphere.
CANDICE STEWART [email protected]
ADELLE [email protected]
I don’t knowHe always saysAs he goesThrough this stage
- Colin Tyborczyk, 2009
I paint my city. I capture moments in time. They are a conversation with the past as well as an encounter with the present and a kind of positioning in the future.
EMMA WHITE [email protected]
PETER [email protected]
I have studied in depth theories of the sublime and I have concluded that my work is a significantly insignificant rep-resentation of insignificance.
My work looks at socially constructed ideals of beauty and how they nega-tively affect women’s perceptions and feelings toward their own bodies.
SUZIE WYATT [email protected]
VISUALARTS2010
ACKNOWLEDGEMENTS
Head of School
John Novak
Visual Arts Programme Leader
Sue Sherrington
Visual Arts Lecturers
Louise BrookesStevie CohenBrendan FletcherHelmut LemkeColin LloydJill RandallDr Jacques Rangasamy
Visiting Lecturers 09/10
Gordon CheungSu BlackwellSimon FordRachel GarfieldSimon Harris
MA Contemporary Fine Art Pro-gramme Leader
Paul Haywood
Instructor/Demonstrators
Sue DebneyFred LeeRod MartinKlaus-dieter Michel
Steve OliverAlastair SwensonCraig Tattersall
School Secretary
Julie Howarth
Building Supervisor
Chas Reilly
Leftfield Publishing
Alistair SwensonAndy Taylor
Widening Participation & Out-reach Unit
Brian Percival
Continuous Professional Devel-opment
Sam Ingleson
AA2A Artists
Sean CahertyJosephine ClintonKate FreeboroughTeresa Wilson
Photography
Steve Oliver
Graphic Design
Adam [email protected]
Student Treasurer
Rebecca Kesler
Degree Show Committee
Kate BuftonLauren BurrowsJohanna GoetzeRebecca Kesler Marinna MatsideElena McLarenAlex PiotrowiczAndrew ShawChristine SimpsonIain NorthCandice Stewart
Special Thanks
John NovakTash WillcocksClaire WhittakerNigel HoweCraig TattersallGiles Marshall
Creation Publicitywww.creationpublicity.com
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BA (Hons) Visual Arts is a contem-porary fine art degree programme that aims to provide students with the opportunity to explore and develop their creativity. The programme supports students to work in painting, sculpture, printmaking, photography, film & video, performance, installation, fibre & textiles and sound art. The modular programme successfully integrates theory and practice and supports students in an interdis-ciplinary approach to art-making that enables innovation and cross fertilization to flourish. The pro-gramme also supports a number of ‘live’ briefs in which students explore professional practice in the creative industries.
In addition to the Visual Arts pro-gramme the School of Art boasts a vibrant and relevant portfolio of undergraduate programmes.
Foundation Art & Design
Advertising DesignAnimationComputer & Video GamesDesign for Digital MediaDesign FuturesFashion DesignFashion Styling & Image MakingGraphic DesignInterior Design
Journalism and Design StudiesPhotographyProduct Design
Upon graduation students have the opportunity to study at post-graduate level within the school.
Contemporary Fine Art MA/PgDip aims to support art graduates and/or experienced practitioners who wish to pursue a deep and rigor-ous enquiry into their practice and to prepare them for a professional career. The programme provides all students with a studio base and a programme of talks and visits from practitioners and curators provides an invaluable dialogue to support their developing practice.
The School of Art also hosts a number of postgraduate pro-grammes
Arts & Museum ManagementCreative EducationCreative GamesCreative TechnologyDesign ManagementCommunication DesignHeritage Studies Interpretation, Presentation & DesignIndustrial DesignInternational Business & Manage-ment for Design
Museum & Heritage Exhibition Design
For further information on all taught programmes within the School of Art please contact:
Richard Hayes: 0161 295 6140E mail: [email protected]: www.artdes.salford.ac.uk
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