final year book spreads
55
Leeds College of Art is proud of being one of the few remaining independent specialist art and design institutions in the UK. The College has a culture of engaging with ‘live’ external events promoting a professional and outward looking ethos amongst its students. The BA (Hons) Fine Art programme recognises that the students should be prepared intellectually, practically and professionally and this year’s graduate exhibition celebrates the conflation of these qualities. Students on the programme explore drawing, painting, sculpture, lens-based media, installation, performance, social and public art through a series of critically positioned modules. They also actively engage with exhibiting and public facing practices as key knowledge instruments in Fine Art practice. This publication, ‘PROOF’, draws together the profiles of the individual students within the programme. The final exhibition in Leeds celebrates the achievement of the students’ degrees. It then tours to London to be seen as part of ‘Free Range’, the annual art show at Truman Brewery in Brick Lane, London to celebrate the first year of their professional career. Sheila Gaffney Head of Fine Art BA (Hons) Fine Art WEL COME 001 BA (HONS) FINE ART PROOF
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final year book spreads
Transcript of final year book spreads
Leeds College of Art is proud of being one of the few remaining
independent specialist art and design institutions in the UK. The College
has a culture of engaging with ‘live’ external events promoting a professional
and outward looking ethos amongst its students. The BA (Hons) Fine Art
programme recognises that the students should be prepared intellectually,
practically and professionally and this year’s graduate exhibition celebrates
the conflation of these qualities.
Students on the programme explore drawing, painting, sculpture, lens-based
media, installation, performance, social and public art through a series
of critically positioned modules. They also actively engage with exhibiting
and public facing practices as key knowledge instruments in Fine Art
practice. This publication, ‘PROOF’, draws together the profiles
of the individual students within the programme.
The final exhibition in Leeds celebrates the achievement of the students’
degrees. It then tours to London to be seen as part of ‘Free Range’,
the annual art show at Truman Brewery in Brick Lane, London to celebrate
the first year of their professional career.
S h e i l a G a f f n e y
H e a d o f F i n e A r t
B A ( H o n s ) F i n e A r t
W E L C O M E
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A (H
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C O N T E N T SThe Burden of Proof 006 - 007
Special Projects:
Precious 026 - 027
Dilate 052 - 053
Scottish Sculpture Workshop 080 - 081
Thanks 106 - 107
Tour Information 108
C O N TA C TBA (Hons) Fine Art
Leeds College of Art
Blenheim Walk
Leeds
LS2 9AQ
0113 202 8000
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E X H I B I T O R S
R O B E R T A B B E Y
S A M U E L A S H C R O F T
R O X A N N E B A L L
F R A N C E S C A LV E R T
S U S A N N A C O O T E S
S O P H I E C U R T I S
K AT E D E L O R D
A L E X A N D E R D O D G S O N
L E S T E R D R A K E
J AY N E D R E S S E R
A L E X D U N N
S T E P H E N G O U L D I N
L I A M G U E S T
S A M U E L H A R R I M A N
I S A B E L H E A D
C H R I S T O P H E R H O L D S W O R T H
C L A I R E H O LY O A K E
J O E H O W L E T T
C AT H E R I N E I R E L A N D
R E B E C C A L A R K H A M
L I A M M c C A B E
A L E X M I L L H O U S E - S M I T H
A B I M O F FAT
S O P H I E N E W
R U F U S N E W E L L
J A M E S N I C H O L L
E M M A N O R T O N
J O S E P H PAT T I N S O N
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M AT T P I N D E R
C H A R L O T T E P I R S O N
A I L S A R E A D
A L E X A N D R A R O M A I N
L I L L I R O N K A I N E N
J A D E S T E P H E N S O N
C AT H E R I N E S T R O U D
R O B E R T TAT T O N
A N N A T U R N E R
R O S I E V O H R A
A M Y WA D E
E M I LY WA R D
PA U L WA R D
M AT T H E W W H E E L D O N
M I C H A E L W I N N A R D
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024 - 025
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T H E B U R D E N O F P R O O F
There is a painting by Caravaggio of St Thomas sticking the index finger
of his right hand into an open wound in Christ’s side. Doubting Thomas
can’t believe that this is really the risen Christ; he won’t accept the reality
of the resurrection unless he has touched the warm, wet, stickiness of reality.
Such is the burden of proof. What is fascinating about this image is that
Christ grasps St. Thomas’s wrist as if to make sure the finger goes right in,
he pulls back his robe so that there is no mistaking the wound for what it
is. The burden of belief will now become St. Thomas’s; the idea made flesh.
It might appear that to mention one of the greatest paintings in the historical
canon in conjunction with a catalogue that showcases the work of students
about to graduate is almost sacrilegious. However it is sometimes useful
to remind ourselves that the tradition of making meaning by organising
materials into new formations is a very old one. 40,000 years ago people
were making images on cave walls in what we now call Spain. Those images,
made of earth and spit and blood, were shaped in response to experience
and in their shaping they found their final forms.
Three years of making, thinking, re-making, re-thinking, realizing at
some point that making is thinking and that ideas can materialise out
of that symbiotic relationship artists gradually build with their materials
is in some ways still a similar apprenticeship to that followed by all artists
throughout history. An old form of education that it could be argued
is still fit for purpose, when it comes to equipping young artists to go
out into the world.
The tools might have changed, the materials as much software as hardware,
but the interaction between organic thinking beings with malleable materials
in order to create meaningful images, is still a necessary part of the human
condition. The difficulty is how to prove the lasting importance of this
long challenged activity, how the gravity and seriousness of these physical
manifestations can be tested against a world of multi-meanings and instant
networking in spaces that have no tangible reality and yet which can feel all
so real to us. Who has not worried about missing incoming text messages,
lost e-mails and Facebook fatigue. We are becoming wired for pleasure
and pain in ways that no one can predict. The proof of our existence now
being whether or not we Twitter or message the world on a regular basis.
As technology moves on, art however remains the same. We are still born
and grow and love and fight and eat and sleep and try to make sense of it all.
By having such a long tradition to look back on, artists it could be argued,
have a deeper, more textured awareness of the possibilities of dealing with
our struggle to come to terms with the world around us. Technology can be
so alien, materials appear so intractable and inhuman, and yet they can be
shaped, they can be made to hold different stories and narratives of wonder.
This then is where the burden of truth falls now. It falls on the shoulders
of young artists setting out to prove that what they are doing is worthwhile
and whether or not they are capable of transforming the materials of their
world into new and meaningful narratives
It’s unlikely that you will be persuaded by their efforts at first glance, but like
St Thomas, perhaps it’s worth another few minutes of your time. Take time
to prod about, imagine what it is like to shape materials by touch as much
as sight. Remember that this is the science of imaginary solutions, something
difficult to teach, something difficult to learn, but when it realises itself it
is something to remember, something to cherish in this world of moneyed
values. In a time of economic recession it is easy to forget that we also need
to nourish our souls with the possibility that there must be more to life. The
fact that fine art courses still exist as spaces for meditation and invention is
a sign that our society still values these things, but like all things, they will
eventually stand or fall under the burden of having to prove their own validity
and this catalogue and the accompanying exhibition are part of that proof.
G a r r y B a r k e r
L e c t u r e r, B A ( H o n s ) F i n e A r t
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R O B E R T A B B E Y
With a mixture of my imagination and fragments
of real life, using oil paint, ink and pencil I desire
to create unsettling scenes and characters that
show emotion through twisted bodily forms.
EX
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M I X E D - M E D I A
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My art practice works with the relationship
between art and religious practice. I use trashy
materials, mostly found within the art school,
to build effigies. These attempt to express some-
thing of the religious in a secular world.
S A M U E L A S H C R O F T
C O N TA C T
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A keen interest in European political art
collectives, feminism and touches of religious
iconography influence and guide my practice.
R O X A N N E B A L L
C O N TA C T
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F R A N C E S C A LV E R T
My work revolves around the curiosity of
material experimentation. I invent processes
that are personal to the specific material,
visioning the outcome using my previous
knowledge and experience. Delicacy, along
with a reoccurring colour pallet, are traits
that can be recognized throughout.
C O N TA C T
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C O N TA C T
My work derives its artistic value
from its form.
S U S I E C O O T E S
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My practice is often visually complex, chaotically
colourful and tastefully tacky, focusing on
combining transgressive and humorous subject
matter, which is intuitively and ultimately inspired
by my extreme obsessions.
S O P H I E C U R T I S
C O N TA C T
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My creative practice revolves around the
contemplative state of making by hand. I aim
to discover the potential of my materials through
touch and manipulation, gaining fascination from
the impermeable tensions between natural and
man-made, hard and soft, fragile and resilient,
visceral and cerebral or seductive and repellent.
K AT E D E L O R D
C O N TA C T
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These performative works attempt to paint
my personal anxieties of gesture and experience.
The visceral quality of paint alludes to the innate
vulnerability of my passive, yet defiant actions and
reduces the complexity of life down to a series
of vividly lived moments.
A L E X A N D E R D O D G S O N
C O N TA C T
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L E S T E R D R A K E
The chaotic natural state of the world poses
a challenge to human understanding of our place
within it. My work explores how through poetic
creation, we seek to maintain meaning in our
lives, by imposing structure upon this disorder.
C O N TA C T
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Woolgather have supported our events and
publicised them, while also educating us through
their own practice, how to make art more
accessible to people.
Sam Ashcroft, Kate de Lord, Alex Gilmour,
Chris Holdsworth, Rhiannon Hunnisett,
Alex Millhouse-Smith, Rufus Newell,
James Nicholl, Francesca Pecqueur,
Lilli Ronkainen and Rosie Vohra.
P R E C I O U S A R E
W H E R E D O Y O U S E E P R E C I O U S G O I N G ?
H O W H AV E O T H E R A R T C O L L E C T I V E G R O U P S I N L E E D S S U P P O R T E D Y O U ?
H O W H AV E Y O U F O U N D S TA R T I N G A N
A R T C O L L E C T I V E W H I L S T B E I N G PA R T
O F A N E D U C AT I O N A L I N S T I T U T I O N ?
P R E C I O U S
Precious is a collective of Leeds based artists
and was born out of a frustration with ‘the white
cube’. The majority of the group’s members are
Fine Art students from Leeds College of Art,
but there are also members from other courses
and institutions. Starting with a basement show
in Hyde Park in 2012, Precious turned a ‘non-
space’ into a raw environment for a range of art
practices. Following on from this initial success
“2Precious” opened in April 2013 with guest
artists Emily Calland and Freya Kruczenyk.
Precious set out to highlight the fun side of art
and make exhibitions more accessible to people
who would not necessarily class themselves
as part of the ‘art crowd’. Interactivity is an
important strategy for Precious as they provide
art as a source of entertainment without the
elitism or institutional boundaries that ‘the
white cube’ entails.
Our tutors are practising artists and because
of this we were made aware of events at galleries,
and were able to network, meeting people
from organisations such as Slice, Mexico and
Woolgather. Through this we became aware of
how people were operating outside institutions,
and as Leeds has a strong grassroots art scene,
we saw that we could do it ourselves.
We’ve been offered a studio and events space
in Leeds and have also been commissioned by
Woolgather to produce work for their on-going
Art Vend project, which will be displayed not
just in Leeds but nationally as well. Although
people are going to be moving away from Leeds
there’s still scope for us to come back and exhibit
together. We want to continue Precious. People
might leave and people might join, sort of like
the art collective Atomic Kitten. That could
actually be the name for our next show.
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I am interested in filming water, movement
and light. My goal is to try to capture and project
these elements and hope that the audience sees
something that they can relate to when interacting
with the imagery.
J AY N E D R E S S E R
C O N TA C T
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A L E X D U N N
As an artist I value the long tradition of using
visual symbols to make sense of the world.
Through the medium of paint I want to
communicate my ideas, to resurrect the
spiritual in art and reconnect a shared
human consciousness.
C O N TA C T
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Coal keeps the house warm,
tea keeps the heart warm.
Coal fuels the engines,
tea fuels the workers.
Basic commodities that have shaped a life are
fundamental to my work; an evocation of habitual,
everyday existence, time passage and work.
S T E P H E N G O U L D I N
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L I A M G U E S T
Working primarily in sculpture and photography,
my work revolves around aesthetics, composition,
colour and texture. I aim to create pieces that
encourage inspection in an attempt to make
artworks that are accessible to all on some level.
Feel free to touch!
C O N TA C T
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C O N TA C T
S A M U E L H A R R I M A N
My work manifests the historical application
of colour theory and optics in a contemporary
manner. Using influences such as Newton, Aristotle,
Goethe and Turrell, I approach the subject of colour
and light as spirituality in a non-religious context.
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C O N TA C T
I S A B E L H E A D
My work centres around texture and manipulation
of surface which means that the physicality of the
medium is very important. The process of creation
brings meaning to the work; it is about noticing
things that you normally wouldn’t.
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My work conveys the theme of the ‘ruin’ that
surfaces through art and history. Inspired by myth,
religion and alchemy, these pin pricked, bone
strapped, rotting corpses of aging objects are
fundamentally an invasion into the obscure,
abject and uncanny.
C H R I S T O P H E R H O L D S W O R T H
C O N TA C T
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My core interests are human habits, emotions,
states of conscious and unconscious. Using
interaction with others I explore singing
as catharsis. I then continue to try and capture
the intangible in the form of sculpture.
C L A I R E H O LY O A K E
C O N TA C T
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My practice explores process and materiality,
developed through sensitivity to mark, surface,
medium and colour. Automatic drawing and
gestural movement are key to the authenticity
of the marks produced.
J O E H O W L E T T
C O N TA C T
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As an artist I’m interested in my surroundings,
especially things that we tend not to notice -
shadows, the underside of landscape or place,
and the hidden aspects of our minds. Their deeper
meaning fascinates me; I desire to capture it.
C AT H E R I N E I R E L A N D
C O N TA C T
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A, Bossy, Conscious, Dab-handed, Existentialist,
Framing, Grubby, Household, Ickyness, Jovial,
Kaintophobe, Labouring, Mark-maker, Nearing,
Obsessive, Phenomenological, Questions,
Reciting, Silver-tongued, Truth, Ugly, Versus,
Wondrous, X-rated, Youthful, Zaniness.
R E B E C C A L A R K H A M
C O N TA C T
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Dilate is a collective of artists, designers and
makers originated by students at Leeds College of Art,
four of whom are on the Fine Art programme.
We came together in 2011 to make an Arts and
Culture magazine of the same name which has been
distributed around Leeds. The impetus was to make
art accessible to non-traditional art audiences whilst
providing an engaging and more personal platform
for young artists and designers to promote themselves
in the local area, and to bring people together across
creative disciplines.
D I L AT E
www.dilateinc.co.uk
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C O N TA C T
Although my rules are carved in stone, I never
truly know where my obsession will take me.
Logical thinking doesn’t always lead to a logical
destination when a passion to create is the catalyst.
L I A M M c C A B E
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C O N TA C T
Through my work I aim to remove participants
from their known reality and place them into
a new reality that I have created. There, they find
themselves on the outside of the sphere looking
inward, enabling them to witness their existence.
A L E X M I L L H O U S E - S M I T H
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My abstract paintings intend to evoke a sense
of atmosphere through engagement with
colour and the combination of traditional and
contemporary techniques. The expressive nature
of the paintings portrays an inner tension,
becoming therapeutic processes of layering and
creating depth upon a surface.
A B I M O F [email protected]
C O N TA C T
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C O N TA C T
Monoliths. I collect, I hoard, I accumulate and
it never stops. In my practice, I borrow the
mystery of this paraphernalia, assembling and
entwining memories, relic objects, film footage
and photographs. Anything can happen.
S O P H I E N E W
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The discipline of drawing defines and grounds
my practice, which is fueled by a pervasive desire
for expression and reinvention. Carbon is an
element which embodies life and death. It is the
critical pivot from which my work derives.
R U F U S N E W E L L
C O N TA C T
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Making. Materials. Health. Home. Loss. Repair.
‘It is a mistake for a sculptor or a painter to speak
or write very often about his job. It releases
tension needed for his work.’ - Henry Moore
J A M E S N I C H O L L
C O N TA C T
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My work is an exploration of various human
behaviours and environments; it incorporates
themes of obsession, voyeurism, and discovery.
It relies equally upon the ideas that form it,
the visual products of these and the viewer
as a participant.
E M M A N O R T O N
C O N TA C T
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C O N TA C T
These paintings explore the haptic nature
of our surroundings, what it is to be in our
own narrative and in continual dissonance
as we meet each other. These abstracts may
be questioning homogeneous tradition and
contemporary pluralism, through image and
material, placing the body between desire and
wanting to make sense.
J O S E P H PAT T I N S O N
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Alienating machine terror. We all voted to get on
the train that does not stop. You’d jump, even at
this late stage, but the crowd is pressed too thick
and close around you. Those that could get off did
so long ago and now sit, bruised and battered, in
the gently wafting grass, watching as the endless
industrial leviathan pours, a fountain of eternal
catastrophe, off the edge and into the abyss...
M AT T P I N D E R
C O N TA C T
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C O N TA C T
My practice interrogates the act of doodling
by engaging with materiality and developing
forms through an obsessive process. Instinctive
marks create drawings of an unreadable language,
pregnant with subconscious emotions. Doodling
is escapism, and I attempt to create immersive
environments which manufacture a feeling
of escapism for the viewer.
C H A R L O T T E P I R S O N
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A I L S A R E A D
In my art practice I investigate a creative
narrative that communicates both the desires
and vulnerabilities of the female form.
C O N TA C T
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My practice is driven by a desire to create work
that invokes a childlike sense of wonderment and
excitement. I draw inspiration from sources such
as Alice in Wonderland and from the mediums
I experiment with to attempt to capture a sense
of the everyday made extraordinary.
A L E X A N D R A R O M A I N
C O N TA C T
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Students from the Fine Art programme undertook a
residency at the Scottish Sculpture Workshop. Since
its inception in 1979, Scottish Sculpture Workshop has
forged links with international artists, and has hosted
thousands of residencies for visual arts practitioners
from all over the world.
S C O T T I S H S C U L P T U R E W O R K S H O P ( S S W )
As a sculptor, the SSW residency was an invaluable
opportunity. I both learnt about and experienced
the tradition of bronze casting. I took part in the
week-long residency twice, producing from start to
finish a selection of bronze and aluminium sculptures.
The workload throughout the week is intensive but
the atmosphere during is very laid back and relaxed.
All the facilities are of a superb standard, set in an
amazing rural environment. Even if your interests
do not lie in sculpture, I’d recommend the residency,
as you’re unlikely to find a better all round experience
than this. Also, the Senior Technician Eden Jolly is an
absolute hero.
J a m e s N i c h o l l
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My practice centres on my passion for other
cultures. Using wool as my primary material,
I explore the notion of tradition in an aim to
highlight the importance of the hand made,
within a fine art context.
L I L L I R O N K A I N E N
C O N TA C T
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Questioning and understanding aesthetic
beauty within all things eventually becomes
an insufferable task. Yet it seems to be a natural
curiosity for me, an innate desire, something
I find important to answer for my own sake.
J A D E S T E P H E N S O N
C O N TA C T
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C O N TA C T
C AT H E R I N E S T R O U D
Obsession drives my work. How we appear
and how we express our understanding of being
human is often at the heart of my practice.
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C O N TA C T
R O B E R T TAT T O N
‘Introduce an observer into any field of forces,
influences or communications and that field
becomes distorted.’ - Reyner Banham
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C O N TA C T
Latex, wood, plaster, bone, feathers, lead and
concrete playing with contrast, connections,
repetitions and discord. I am attempting
to bring human qualities we can all recognise
to the materials I use.
A N N A T U R N E R
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C O N TA C T
I create a space in which text, experience and line
give birth to an emotively charged and physical
relationship through the extension of drawing.
R O S I E V O H R A
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I use photography as my primary medium
to explore the connection between sculpture
and image. I work quickly with materials such
as sugar and the resulting images demonstrate
a struggle between light and dark. I question the
presentation of photographs as artwork.
A M Y WA D E
C O N TA C T
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C O N TA C T
Everything is embodied. The bodies we are in
govern the form of objects and how we use them.
I ask what is drawing and what is sculpture as
I experiment with paper, the simplest of drawing
materials, to make 3D forms.
E M I LY WA R D
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C O N TA C T
Interaction is the vehicle which connects viewer
and piece. I am using curiosity to prompt onlookers
into engaging with pieces, ideally ending in people
peering, crouching and even climbing to access the
full view of one of my pieces.
PA U L WA R D
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C O N TA C T
My practice seeks to question the role
that technology plays in our everyday lives,
examining both the advantages and disadvantages
this symbiotic relationship has. Focusing on the
distorting effect visual technologies have on
our perception of reality.
M AT T H E W W H E E L D O N
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C O N TA C T
The images and objects I make are personal
reflections on topics. Culture, cults, coffee,
myth, masks, fiction. Nature, nurture, nightlife.
Religion, ritual, Voodoo, Hollywood, Haiti,
history. Syncretism, spray paint, scripture,
cycles, cameras, charcoal. Ancestors,
archetypes, alchemy. Tarot, temples, ruins.
M I C H A E L W I N N A R D
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We, the students, thank all the staff at Leeds College of Art
for their care, guidance, support, enthusiasm and belief
in us during our programme of study.
T H A N K S
B A ( H O N S ) F I N E A R T 2 0 1 3 P R O G R A M M E T E A M
Sheila Gaffney
Kelly Cumberland
Sarah Taylor
Richard Baker
Tom Palin
Garry Barker
Andrew Lister
C O - O R D I N AT E D B Y D E S I G N E D B Y
Sophie Curtis
Samuel Harriman
Liam McCabe
Sophie New
Robert Tatton
Sam Edwards [email protected]
Jamie Flear [email protected]
Ben Harwood [email protected]
Chris Lawson [email protected]
Chloe Wilkinson [email protected]
Y E A R B O O K
P R I N T E D B Y
Heaton Press Ltd.
P H O T O G R A P H Y
Alessandro de Besi [email protected]
Alexander Dodgson [email protected]
Tish Greenaway [email protected]
Jessie Leong [email protected]
Joseph Mayers [email protected]
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P R O O F
Thursday 27th June 2013
18:00 - 22:00
Friday 28th to Sunday 30th June
10:00 - 19:00
Monday 1st July 2013
10:00 - 16:00
Admission Free
The Old Truman Brewery
91 Brick Lane
London E1 6QL
www.free-range.org.uk
Friday 14th June 2013
18:00 - 20:30
Saturday 15th June
10:00 - 16:00
Monday 17th - Wednesday 19th June
09:00 - 20:00
Thursday 20th June
09:00 - 17:00
Admission Free
Blenheim Walk
Leeds LS2 9AQ
www.leeds-art.ac.uk
L E E D S C O L L E G E O F A R T
P R I VAT E V I E W
E X H I B I T I O N O P E N E X H I B I T I O N O P E N
F R E E R A N G E G R A D U AT E S H O W
P R I VAT E V I E W
10
8
