|
|
sva's John Street Studios artists | for the full sva members register click above | |
|
|
|
|
|
|
|
artNucleus (Reinhild Beuther & Simon Ryder) 01452 226166 |
||
 |
|
Ann-Margreth Bohl Stonecarving, canvas-cutting, layered mobiles,
exploration of light and dark in slow and faster motion see Ann-Margreth report on the Laubach art-symposium |
|
| |
|||
Esther Caplin esther.caplin@hotmail.co.uk |
|||
Jo Casling simpsong@btinternet.com |
|||
Francesca Chalk francescachalk@tiscali.co.uk |
|||
 |
|
Alison Cockcroft Finely tuned and balanced works of the imagination in metal and paper |
|
| |
|||
Matt Curtis mattycurtis@gmail.com |
|||
|
|
|
Louisa Fairclough louisa@artserve.net
|
|
| |
|||
|
|
|
Corinne Hockley Paper corsets, caged wings, dancing shoes, mixed-media
textiles on themes of freedom and constraint |
|
Nadine James nadinefjames@hotmail.com
|
|||
Sarah Jenner sarahejenner@btinternet.com
|
|||
Helen Kincaid helen.kincaid@virgin.net
|
|||
|
|
Aimee
Lax also see confines
& mutations |
|
| |
|||
|
|
|
Liz Lippiatt Designer and silk-screen printer of cloth for costume and couture |
|
|
|
|
Ralph Macartney - ralphmacartney@hotmail.co.uk
|
|
Mat Moran matmoran74@yahoo.com
|
|||
life assured 1, oil on board |
|
Austen O'Hanlon The use of photography and painting
has become a constant dialogue in my work. The need to assess how
to apprehend an image through photographic means is problematic
and intriguing. I feel this is where my concern lies: that is, the
relation between how an image is processed and the personal 'apprehension'
of that image. A recent intention within my work has been learning
how to make decisions about what to extract from the photograph
and how to progress from a pre-existing image. The process of painting
allows me to converse with myself about how to exact an image. My
painting starts off being a representation of a person's character,
and it ends up becoming involved within the processes of painting
through analysis of photography and using the medium of painting.
I begin by drawing out the image from the photograph, then I eradicate
it immediately. This process is repeated a number of times until
the form has been placed. It is an attempt to resolve/resist the
photograph and to turn the image into a new form: altering the form
of the figure and distorting the original image creates a new, fractious
image with a history of decision-making. |
|
|
|
|
Penny Prince The landscape is the source; observed, remembered, referenced from maps and aerial photography, then painted in rich colour and drawn marks 01453 872736872736 |
|
Yola Quinn yolaquinn@gmail.com
|
|||
Lorraine Robbins lozzerrobbins@yahoo.co.uk
|
|||
 |
|
Maggie Shaw Abstract paintings exploring the unexpected beauty of unusual subject matter 01452 813747 |
|
|
|
|
Emily Smith Emily is a sculptor, ceramicist and installation artist. Her practice examines themes of loss, absence and trace and stands as an investigation of memory; the subjectivity, transience and loss inherent in the act of remembering. The work is rooted in philosophy and in theory such as Derrida's theory of grammatical trace and Freud's theory of memory, and applies it to the materials and methods used. The work questions objective and singular memory, and investigates how the past is recalled through both visual memory and physical trace. 07963781384 |
|
|
|
|||
Dan Sparkes betty@kuildoosh.com
|
|||
|
|
 |
|
Anna Usborne The work reflects an interest in how objects relate to architecture and interact with people 07952 535814
|
| |
|||
