Jaz Morrison

'ALPHABET PEOPLE' (2020). Digital Collage. A Black woman looking up from a murky abyss. England flags are where her eyes should be.
‘ALPHABET PEOPLE/N*GGAS WITH MBE’s’ (2020). Digital Collage.

“Though various things inspire my work, I always find myself going back to history and space. History because nothing happens in a vacuum, and so everything is informed by something else. And space because everything exists within it, as well as the precarious way physical space has been treated throughout history. It would be nice to say that I used identity as the prism through which these two themes intersect. And from it I wish to tell stories and add to existing discourse.”

when a person attempts to cross the sea, ‘it’s because you’re already dead.’

– Jaz Morrison (2020), Why ‘Atlantics’ is a beautiful reflection of Blackness, Black Ballad

Bio

Jaz Morrison is a writer and visual artist based in Birmingham, UK. She explores history and social space through photography and collage. By embracing subversive aesthetics, Jaz provides a basis for memory- and sense-making, which she describes as ‘storytelling’.

Contact

www.jazmor.com @jazmor_

Degree

MA Fine Art

Zoe Aitken

Nightmares + Terrors.

Nightmare - 2020 - Glitter, Glue, Tin Foil, Wool, Acrylic paint, Spray Paint on 300gms Paper - 1M X 1.5M

Nightmare

Nightmare explores engrained societal behaviours of misogynistic

oppression over women, through the guise of witchcraft; using visual

communication as a format performing the physical implements required

to create, distribute and manifest spell work.

Terrors

Terrors – 300gsm Paper- 2M X 1.5M - Mixed Media painting: Graphite, Gel Pen, Acrylic, Gouache, Acrylic Liquid, Glitter, Glue.

Terrors, as a piece explores engrained societal behaviours of misogynistic

oppression over women; through the guise of the witch. Using tarot cards to

inform visual communication within a format that interchanges language,

using visual distribution and manifestation as a variation of spell work.

I became intrigued by the disempowerment that women received through

association of the word “witch”; a word induced to shame, hurt and control

women. It caused to consider the power that language held, as well as the

concept of language distribution and its effect; such as, the Malleus

Maleficarum – “The Witch Hunter’s Guide” published in 1486. Which

directly lead to the massacring of thousands of people whom were accused

of witchcraft throughout Europe and America.

The format of the Witch is adapted and enhanced to become the focal point

of empowerment for women through embodying the notion of reclamation.

The female forms act as a sigils reversing the negative attachment once

associated. Their constructed forms mirror tower like objects as if

rebuilding a modern landscape, mimicking patriarchal styled phallic

rendering of buildings and landmarks.

Sigils are accompanied by incantations formed using subservient language,

taken from female targeted magazines. Through their placement they

highlight and mock societal constraints that women have endured both

historically and within modern day, raising poignant questions over our

engrained societal behaviours.

Bethany Potts

Expanding Painting: Beyond 2D

A series of paintings made using oil paint and silicone, 2020

In Excess #1, 20x20cm, 2020

During my time on my MA course I began incorporating silicone into my work. I was drawn to this material for its thickness, malleability and transparency. The work produced this year is a continuation of exploring the physical matter of paint and silicone; aiming to both challenge and embrace painting. The shift from 2D to 3D allowed me to explore the sculptural potential of the materials.

Zoomed in photo of a large painting, showing a variety of gestures and shapes, using blue and green acrylic, oil paint and white silicone.
Close up detail of a larger painting, showcasing the variety of gestures, colour, sizes and shapes
2 heavily textured paintings on canvas, built up with highly pigmented layers of silicone and oil paint, the image focuses on the interesting edges I was able to create
Close up image of two of my squeegee paintings in the series; In Excess.
Painting created using oil paint and ceramic sealant for the bottom layer and translucent silicone for the top layer, creating a juxtaposition of opaque, matte, pastel colours, with a glossy, translucent vibrant layer.
Ceramic sealant and pigmented translucent silicone on canvas, 20x20cm, 2020
Image shows a close up of a wooden sculptural object I made and heavily layered with multi-coloured gestures of white and translucent silicone
Close up detail of a sculpture, 22x22x22cm, 2020

Statement

I am a visual artist predominantly working with paint, looking into paint as a three-dimensional material. As an abstract painter, my work has been focused on process and gesture, using materials to create heavily textured surfaces, using a variety of unconventional tools, such as piping bags and syringes.

You can see my body of work in relation to theoretical debates and my own consideration of the materiality of paint, which has led me to consider my works as an expansion of painting. The influence of art movements such as Abstract Expressionism and Excessivism has aided me to think about materiality, mark-making, shape and texture.

I work in a collaging process; I love this technique because the viewer can almost re-create the order and process in which the strokes were applied. When a skin forms, I can manipulate these movements before the material is dry which allows me to animate the gesture. With my interest in the close up of a painting, the emphasis on the individual brush mark is consistent, as well as my interests in the seduction of paint. This work reflects both what I love in paintings aesthetically and my perceptions of contemporary painting.

Contact

bethanypotts97@gmail.com

Instagram: https://www.instagram.com/bethanypottsart/

Degree

MA Fine Art

Part of exhibition plan