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My work has always been abstract. I like the ambiguity of interpretation this allows, and the emphasis on structure.
Collage suits me because it is the ultimate ‘finding’ process during which the most drastic and outrageous ideas can be courted, and I can give much more consideration to decisions without destroying what I already have.
My process is not systematic, there is no formula. Though certain ingredients always need to be present it is impossible to define why I decide a work is completed.
He studied at Liverpool College of Fine Art and UCL London. |
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Somewhere on the border between art and tourism, and between an inconspicuous event, its photographic representation and the eventual installation is where the field of interest of Tomas Hruza begins. Like other artists of the younger generation he is concerned with a re-reading of the influences underpinning conceptual and action art, and their usefulness in resuscitating the deflated credit of his principal medium – photography.
He lives and works in Prague, London and Sumava Mountains.
Solo exhibitions include: 2007 Tourists, Fiducia Gallery, Ostrava, CZ; 2007 Behind the River There Is Argentina (with J. Freiberg), FABS Gallery, Warsaw, PL; 2006 Nature Motifs, Skolska 28, Prague, CZ |
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By using paint as a means with which to document performance and installation art Tomas Georgeson manipulates its traditions, exposes its weaknesses and is still able to make beautiful paintings.
As memories of the live events fade their significance begins to change until all that is left is a painting, perfect in its antiquity, like the centuries of paintings before it.
Already the winner of several major awards and prizes for his unique approach to the traditions of painting Georgeson has most recently been nominated for the 2008 Jerwood painting prize. |
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For a number of years now, I have been exploring the notion of identity in an artistic, social, cultural and political context. Using myself, both as model and subject matter I am also combining the idea of self image and ego and its subsequent relationship between artist, environment, time and place.Tom lives and works in Birmingham.
2006: East International, Norwich; Bill Brandt in Bourneville, IPS Gallery, Birmingham; Re- Considered, Contemporary Art Projects, London.
2004 “Heritage Sites” - Window Space Project, Bham City Centre.
2004 “I am Tom Ranahan” Kidderminster Library Gallery |
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A toaster is a beautiful object! |
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We work collaboratively. The tenets of our work are coherence, intensity and personal accountability.
For us photography is a juxtaposition between photographer and presumptions of approximate and habitual seeing. We try to go beyond superficial photographic accuracy, surface naturalism to where the spirit of the picture becomes retrospective, contemplative, and not so much a document as a talisman or relic.
Selected exhibitions:
2002 National Eisteddfod of Wales, St. David's Mostyn Open 12 Oriel Mostyn, Llandudno Art, Age & Gender. Foundation for Women's Art, Orleans House, London
2001 The John Kobal Photographic Portrait Award, National Portrait Gallery |
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My painting explores the relationship between the geometry of particular architectural spaces and the subjective experience of these structures. In particular I am interested in a form of perceptual reading and a kind of visual syntax through which to construct narratives of place. During a residency in Rome (2002) I undertook research into the buildings of the Modernist architect Mario Ridolfi which addressed certain paradoxes in his uses of rational form.
Tim Renshaw studied Painting at Leeds Polytechnic (1983-1986) and MA Painting (1989-1990) and MA History and Theory of Modern Art (1993-1996) both at Chelsea College of Art & Design. He has exhibited in the UK, Europe and the USA. |
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Education: Freie Kunstschule, Stuttgart. Universidad de Barcelona, Fine Art.
Selected exhibitions: 2006 Tuebingen, Paris. 2005 Aix-en-Provence (France), Tuebingen, Perugia (Italy). 2003/04 Tuebingen, Aix-en-Provence. 2003 Breitenholz, Ammerbuch. 2001 Tuebingen. 1998 Nuertingen. 1996 Wangen im Allgau. 1990 Barcelona. |
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In Kaccoufa’s work Genetic Manipulation, hubristic recklessness, and toys of the future are structured within a ‘post-utopian’ moment. The Cyber Flora sculptures comprising three-dimensional steel wire flowers resemble fantastical molecular models. The Bear sculptures with Griffith wings and octopus legs are genetically modified creatures of polyester resin and aluminum foil rather than cuddly teddies. Bringing together undifferentiated- technical practice, poetic intuition and the grotesque, his works critically engage with the speculative idealism of twentieth century utopianism.
He lives and works in London and studied at the Royal Academy Schools, and Central St Martins. |
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Two Faced robots. Who are they? Should we fear them? Are they oppressors or liberators? We’ll find out in May. |
