“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
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’.
Looking at how publication can act as a means of spatial development and explore common spaces of learning. It acts as a space of alternative learning, though structuring, institutional behaviors, and visual communication.
The publication ‘Book as Toolkit’ explores different Educational components and how this can be developed into an alternative space. It displays this act of zooming into institutional components and its layers of processed visualization as well as acting as a resource for the development of the alternate. The application and expansion of structures, models, behaviors, and sequences is visualized through the speculative models of education, this intersection or cross over of modes is visualized and developed through CMYK colour experimentation.
Rebecca Smith is an artist – educator – producer – creator and …
I explore the multi – faceted ways in which roles within arts organisations can have many purposes. In tern this interest in multi – use roles and spaces has developed into looking at the institute itself alongside space manuals and examine how these too can be adaptive to change. Un Model, Re Structure, Dis Institute, Alt Environment is a body of research and making that analyses the Uncanny spaces and the inter – between through experimental publication.
My work is based on news and newspapers in daily life. Through reading and painting experiments, the carrier of social content has become an abstract form, forming a picture form that cannot be predicted before creation.
In my work, I have been thinking about how to express space in paper newspapers. I want to try different interspersed relationships between different fonts and pictures to form a different spatial relationship. In the untitled series of works, I tried to extract the elements from the works and present different visual spatial effects through video.
August 27, 2020
MA Fine Art
——Untitled Ball Series1
This work is composed of three groups of red, blue, and black spherical newspapers, and each group is composed of 16 spheres. What this work wants to express is how to better display the space in the plane picture. This work breaks the visual display of my previous works. The previous work was a work done on a flat display. This work has been transformed from the previous flat to three-dimensional. This transformation is based on a book with a very unique cover and typeset that I bought at the psychologist Freud’s museum. So I wanted to present my thoughts on plane space in three-dimensional, and finally presented Untitled Ball Series1.
Untitled Ball seri,2020 50x50cm
——Untitled Ball Series2
Untitled Ball Series2 is an installation work. The inspiration for this work comes from the ideas that appeared in the process of learning 3D modeling. The exhibition of this work is difficult to achieve in the gallery according to my existing conditions. The 3D presentation of this work allows me and the audience to experience my work more deeply. In fact, when the work is finished, I still have a small idea. The idea is that when the audience approaches the exhibition hall, they choose the newspaper they like according to their interests. Send me another piece of my method and philosophy to make the work, and the audience will have a deeper experience. Such audiences should not be full of doubts about the work. I hope this work will be realized in a gallery or art gallery.
Untitled Ball Series#2, 2020 , Installations works, 500x300x300cm space ， Blue ballpoint pen,red ballpoint pen,spherical news paper
Exhibition space link : https://vr.justeasy.cn/view/dh159vk76v4471j6.html
——Untitled Series #3
Untitled Series #3， The inspiration for this work was mainly influenced by the conceptual artist Joseph Kosuth. In his work “One Chair and Three Chairs”, he copied a chair, an enlarged photo of the chair, and the explanatory text of the term “chair” in the dictionary, and displayed the three in a juxtaposed manner. This work made me think about the different exhibition formats and methods of a work. The newspaper work in my Untitled Series #3 is my favorite work . This is a breakthrough work in my exploration of lines and abstract geometric shapes in newspaper layout. I am not satisfied with every piece of work I have created, but sometimes I just like a part of the work. So when I wanted to cut out the satisfactory parts for collage, when my roommate was making a video work, my collage idea was further realized. Cut the material in the newspaper and reassemble it into a video for display. This work breaks through the static exhibition form of the plane. After this work, I am full of quadrants for my future works, and I will not live in the plane presentation.
Video link: Video link https://youtu.be/MyDafWUCjMo
The work “Untitled #2 \ 3” is the last work in my exhibition. This work is my breakthrough in exploring the space of newspaper pages last semester. Before starting this work, I didn’t think too much about the layout of the newspaper, I just chose to smear randomly. These two newspapers are almost all typeset newspapers, and the spatial visual effects of the final works are completely different. The visual sense of the picture is deeper. Words, lines, geometric figures, and colors will play an indelible role in this limited newspaper layout.
Exhibition space link : https://vr.justeasy.cn/view/dh159vk76v4471j6.html
My project advocates for Art educators in Botswana and explores how printmaking can be used in primary schools. In my project, I was able to engage children to gauge them using Lowenfield Theory. Working with children was a challenge but fun, especially during COVID19 lockdown period. When doing their prints, the children wanted to share their message of thanks to the NHS.
I also decided to extend my knowledge of printmaking and make prints of my own. To investigate how long it takes to learn Printmaking, if it is easy to learn and teach others.
As an art educator my focus is mainly to improve the Art education system in my country (Botswana). I am interested in the early development stages of learning. At the moment, I teach trainee Art teachers and I want to develop the necessary skills needed for primary school teaching. I have been studying in Birmingham City University for one year where I did my practice in Printmaking. I hope to continue with my practice throughout my professional career and transfer the skills I have learnt to others.
Vegan suede cord, Pleather, Wooden dowels, 3D Printed fittings, Velcro, Rug canvas. 160 x 160 x 160cm, 2020
Cowlick appropriates the phrase from the Hairy Ball Theorem ‘if a sphere were covered in hair you wouldn’t be able to brush it without getting a cowlick’. Towle brings this saying into realisation and injects it with humour. She produced a cow-size geodesic-sphere covered in vegan suede cord to resemble a Highland cow. The sculpture is offered as a challenge for spectators to attempt. Cowlick’s football structure is made up of 90 wooden dowels, 60 3D Printed fittings and 20 hexagon and 12 pentagon pleather panels that have been rugged with vegan suede cord using a latch hook tool.
Within her practice Laura Towle uses Topological models, drawings and concepts as a foundation for her practice. Towle is also concerned with environmental issues. Her most recent work Cowlick utilises the connection to the cow to highlight the impact agriculture has on our planet.
Towle extends these environmental concerns to maintaining a sustainable practice. Each sculpture is designed to be flatpack, to reduce the amount of transportation needed. While also considering how materials are sourced and produced.
Her production of traditional geometric forms is achieved through various processes such as laser cutting and 3D printing. This extraction of mind-dependent topological concepts into large recognisable forms is first realised through a meditative drawing process. This systematic approach is also present within her making. Cowlick was produced by a traditional latch hooking method, taking lengths of cord and knotting them to a rug canvas.
Let’s make is a creative community, and the whole website will focus on plastic and reuse. Here we will share the plastic artworks of outstanding designers, which may include installation art, graphic design, architectural design and so on. It can provide you with more inspiration and plastic solutions. Secondly, there will be tutorials made and uploaded by users in the community, so that everyone can learn from each other and make small artworks and decorations according to their favorite tutorials. At the same time, the recycling sites in this city will be stored to make it easier for everyone to find them. Let’s contribute to environmental protection together!
A series of paintings made using oil paint and silicone, 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.
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.
The unprecedented has enabled a rise in personal and cryptic text, expressing the frustrations of re-shifting work practices and feelings. Consequently, the film and audio derive from the struggles Akhtar experienced during the SARS-CoV-2 lockdown.
The palimpsestic notions of application, erasure and regeneration integrate her making and its reconsideration, in relation to mark resist (50 x 70 cm), 80gsm copier paper with sumi ink, (21 x 29.7 cm) and etching (39 x 55 cm). The layering of words, physical actions, mediums and ideas accompanied by spontaneous encounters outlines the importance of memories and their inability to dissipate.
Before the national lockdown, the print room and its processes became a place of contentment. This recollection of the past simultaneously coincides, joyful and melancholic expressions between her inner soul and the activities undertaken.
Akhtar’s printing logs fused with the physicality of G.06 leads to an obscuring of time, journey and movement, heard via the nuances in erased characters and words in transit, reiterating the role of impermanence, caught between feelings and actions.
Taiba Akhtar’s practice explores the organic nature of handmade marks inspired through religious and cultural entities, communicating a sense of language and mark making, adjoined to materials and processes. Notions of home, belief, permanence and impermanence integrate the visual and verbal, unfolding different motifs and hidden meanings.
Akhtar’s use of language becomes blurred and obscured with an emphasis on displacement and fluxity, juxtaposed within her interplay of symbols and scripts. Layering intensifies Akhtar’s journey of self, derived from the constant recitation of Quranic verses, of allusion to meditation and intuition. Similarly, forms of visibility and unintelligibility correlate to time and the passing of time, entangling thoughts, feelings and actions.
Akhtar’s narratives vary across the seen and heard reassembling what was there, what is there and what might be, centralising a palimpsest. Consequently, her manipulative gestures reinforce an array of emotions and expressions; rhizomatic with her experiences thus, an enhanced ritual understanding. Her abstraction of language becomes performative, through the guise of writing, reciting and rewriting.
Hsing Hui Chung is an artist who creates works about geometric portrait on abstract background. Such as writing a diary, the artist makes her daily story on her painting. To express the environment influence people and the situation.
The artist also uses different materials to achieve different scenario on the graph. Making abstract lines on the colour blocks could create a new world on paper that makes the cubist portrait have a new character.
My work examines our relationship with place and space. Using walking as a methodology, my practice considers concepts of Edgelands, location and belonging. My ideas are embodied through a range of media including print works, shared walking, video and artists books.
I explore how walking can be used as a creative medium, most recently I organised a participatory socially distanced walk, bringing together a group of artists to walk simultaneously in separate, diverse locations, with the intention of sharing experiences of the renegotiation of boundaries brought about by the current pandemic situation.
Reflecting the importance of the phenomenological aspect of walking and acknowledging that the audience will exist beyond the gallery, my work is accessible via a QR code. Posted along routes I frequently walk, other walkers are able to scan the code to view past projects and invites for future participatory events. In order for this to have as little environmental impact as possible the codes are printed with edible ink on potato starch paper, which will, by design, dissolve in the next rain, allowing for repeat postings coinciding with new projects.
Walking as a part of creative process is well documented. I take inspiration from a well established tradition of artist walkers, writers and creatives. I compiled a selection of my own thoughts and reflections, alongside writing and ideas from an abundance of these into a series of artist books intended as to be read whilst on a walk.