Proposal2s
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Transcript of Proposal2s
carry onRe
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Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike Bruce
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike BruceYao WangJon Higgins
Larissa BrennenLaura Johnson
Yao Wang
Jon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Yao Wang
Yao Wang
Mike Bruce
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike Bruce
Laura Johnson
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Jon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike Bruce Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Yao WangDave Fowling
Jon Higgins
Duncan RowlandLarissa Brennen
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Yao Wang
Mike Bruce
Yao Wang
Larissa BrennenLaura Johnson
Mike BruceYao Wang
Jon HigginsLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Dave FowlingJon Higgins
Duncan Rowland
Larissa BrennenLaura Johnson
Dave FowlingJon Higgins
Duncan RowlandLarissa Brennen
Mike BruceLarissa Brennen
Laura Johnson
Mike BruceYao Wang
Duncan Rowland
Laura Johnson
Dave Fowling
Previously graduating from the
Fine Art BA here at the University
of Lincoln, Fowling has progressed
onto the Master’s and with this
his practical work and theoretical
work has evolved. This final piece is
evidence of 2 years work during the
Master’s program.
The participation in Fowling’s work
will offer the audience no true
tangible evidence of a piece, only the
hastening doom of an experience
swiftly diluting into a memory, its
ineluctable disappearance. The
inevitability of ruin or destruction is
what drives Fowling’s practise but
not all ruin and destruction is neither
tangible nor evidential.
4
Duncan Rowland (Untitled)?
With a background in computing arts
projects, Duncan Rowland believes
the purpose of technology should be
as a mechanism to bring individuals
closer together. His artistic practice
reflects this desire as he adopts a
holistic view of the Universe inspired
by digital physics and the algorists.
Rowland works in the medium of
‘information’, controlling ‘bits’ of
various size with brush and algorithm
alike.
Ever conscious that the effects of
manipulating information ripple
through the entirety of space and
time, nevertheless his focus is on
the human experience of the here
and now, with the aim of promoting
mindful encounters driving his work.
6
James PhailyThe nature of James Phaily’s
practice is occult-led and deals
aesthetically with the channelling
of primal atavistic energies. It is
through the invocation,manifestation
and channelling of these essentially
spiritual energies in paint, sigil, found
object, cut-up and spell that he
has in mind the artistic intention of
creating a ruthless, archane esoteric
poesis that through the above stated
magickal children offers to both
viewer/reader and creator the sense
of an ongoing social/cultural and
historical mythology and narrative.
These atavisms apply themselves
intuitively and vitally to both the
conscious and perhaps more
importantly the unconscious mind.
James Phaily’s exhibit manifest itself
as a (cosmic) artefact structurally
rendered before you with artistic
intention set in place of an intertextual
mythopoeic (subjective) universe. It’s
arachnean receptors and connectors
weave a chaospheric narrative based
on magickal foundations8
Jon HigginsAeterno GratiaTimeless in Grace
Sat aplomb and untrammelled
against the milieu of azure skies,
these alluring archaic aeroplanes
are the superlative creation of an era
when the romantic dream of flight
exemplified the spirit of their time.
E. Jeppesen wrote “A pilot is a
technician, An aviator is an artist in
love with flight”. Jon Higgins is an
aviator in every sense of the word,
for him flight and art are intrinsically
linked. Drawing inspiration from
the romantic era of maritime
painters and contemporary aviation
photographers, Higgins’ practice
10
captures the atmosphere and
sentiment that these antediluvian
aeroplanes generate within their
naturalistic environment.
Larissa Brennen
Larissa Brennen’s work explores
nostalgia, humour and the macabre.
Naturally preserved animal carcasses
are snapped and ripped apart. Their
heads and limbs are removed and
reattached to children’s’ toys. These
carcass puppets born from violence,
shudder into a semblance of life
through narrative
and animation.
The hybridization
of carcass and toy
come together
within a constructed
theatre of abject
repulsion and
insanity. An
uncanny theatre
that destabilizes the boundary
between reality and fantasy through
the destruction of childhood
objects. Brennen’s carcass
puppets have a morbid humour; as
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the characters take on subtle
anthropomorphised traits. The
old dead rabbit starts his life as
a scientist and then becomes
a baby; the two mice become
naughty children. The pigeons
and rats remain as they were in
life but have slight cannibalistic
traits. All of the carcass puppets
spend their time obsessing with
experimenting and killing each
other.
Laura JohnsonOusia
“In order for there to be an event,
there must be an “intervention” which
changes the rules of a situation in order
to allow that particular event to be”
Formlessness is a process within an
event, an energy that is released for a
change to take place. Like the ‘event’,
formless can never exist alone, it must
share an objects spacial location;
both cannot be without one-another.
Laura Johnson begins with her studio
being the intervention within a space,
Johnson activates the event through
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the manipulation and transfer of energy
to the material, this happens by mixing
the plaster and is released through the
act of pouring. When the plaster is
released, a period of ‘formless’ begins;
the plaster is in flux until it hits a surface.
The plaster then settles itself and sets
into its ‘true form’. The event is over.
Johnson’s interest in events began
with formlessness and how materials
take control of the artworks outcome.
It is this process of the artist setting
off a chain of events and the material
completing the chain.
Mike Bruce
‘in antiquity, irish scholars were known
for their practice of ‘navigatio’, a journey
undertaken by boat - a circular itinerary
of exodus and return. The aim was to
undergo an =-apprenticeship to signs
of strangeness with a view to becoming
more attentive to the meanings of one’s
own time and place - geographical,
spiritual, intellectual’ Richard Kearney
(2006)
These ‘signs of strangeness’ in the
landscape - the familiar becoming
unfamiliar underpins what Mike is
trying to convey through his art. It is a
16
theme engaged with by several artist
across many art disciplines. Particularly
interesting to Mike are the works of
Graham Sutherland (especially his small
drawings which explore the ‘exultant
strangeness’ encountered on his
frequent walks in the landscape) and
Robert McFarlane through his book
‘The Old Ways - a Journey on Foot’ in
which he describes experiencing the
landscape in fresh ways.
Yao Wang
The Curatorial Practice project
“Accidents Need Not Happen” has
responded the ‘Media Archive for
Central England’ (MACE) that is the
screen archive for the Midlands in the
UK, in while curated by Wang Yao on the
MA Contemporary Curatorial Practice
course.