‘Systems Interference’ artist. Appropriation and attempting to unearth the poetic in everyday, often dysfunctional, technologies, systems and bureaucracies. Strategies include misuse, misunderstanding, lampooning and tinkering.
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“Their physicality is the first and most immediately apparent of their qualities, the paint rich and dense and closely worked, the surfaces subtle and allusive in the variety of their effects, as though weathered and marked by time, bearing a secret history like old stone or wood. ”
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In recent years my practice has involved me in a continuous examination of modes of representation related to cultural history and cultural identity.
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Ian Parker was born in Wolverhampton and lived in England, Guyana and Nigeria as a child.
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A strong reoccurring emotion is my starting point for collecting thousands of internet images.
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My painting is semi abstract colourfield work and I draw my inspiration from the environment; I am influenced in particular by the minutiae of my surroundings.
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Sumi Perera is an interdisciplinary artist, academic & curator who draws upon her background as a doctor, scientist & artist (MA Camberwell College, University of Arts London 2004) working in the east (born in Sri Lanka) & west (lives in the UK).
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We don’t often get to see the subtle politics at play behind closed doors, but such domestic politics have arguably the most profound impact upon us all.
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I take the challenge to the contemporary visual arts (and music…) to lie in the void where language staggers to a halt and disintegrates.
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My work is concerned primarily with the appearance of memories and the objects associated with them.
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My recent paintings use the city as a starting point to explore formal issues of geometry and colour and to express the excitement and dynamism of the city.
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‘Edge of Town 2’ is from an ongoing series of paintings that are concerned with urban landscape and notions of travel.
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Maya Ramsay works with historically and politically important sites, employing a variety of processes to capture visual histories that would otherwise be lost or unseen.
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My work is concerned with creating spaces for people to inhabit, either actually or in the imagination.
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I have always regarded drawing as my way of coming to grips with an idea on the assumption that if I can generate a satisfactory graphic solution, I shall have reached a more complete understanding of its subject.
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Historically there has always been conflict between belief and rational thought, focused on the classifications of religion and science.
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“It was an exhibition at the beginning of the Eighties that made her conspicuous. It was comic and disturbing; a frightening sequence of paintings of delinquent monkeys, horribly human in its implications.”
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There are several constants to Tommy Seaward’s process: his work is three-dimensional, always wall mounted and each piece is divided into three precisely spaced, vertically aligned segments.
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In everyday language, the weather, stars and planets appear in pictorially vivid idioms, often charged with fatalistic humour. This correlation between individual lives and natural forces is the focus of my constructions and drawings.
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