My practice focuses on the identity and otherness of people. It raises questions such as, apart from
the genetic perspective, are there any other factors that cause our physiognomic differences to
other people? My theme is that, from a psychological point of view, our inner thoughts play a
significant role in terms of influencing our outward appearance.
Inspired by the human body, I create animations and GIFs featuring cells that either help the body or
infect it. I look at the cell structure and think about the ways it could move or reproduce. The limited
!colour palette reflects colours found within the human body. My work is not scientifically accurate
I am fascinated by the marriage between self, mind and body, primarily focusing on how the duet of
body and mind operates in action and inaction. I look at connection to the external world – through
touch and its intertwining with the visual, and through the operation of the body in space. I reflect
on these things, under the headings of the desire of touch and the loss of forgetting.
A queer mime is anxiously awaiting to meet your gaze. Their name is Queerot and they are in
?constant search of company. Will you be the one who makes them feel accepted
My work, primarily rooted in the media of print and installation art, examines the relationship
between the millennial and contemporary society through the lenses of mental health, social
inequality, cultural appropriation, food and mass production.
.We can find many records of the past in cameras, mobile phones, data recorders and computers
Although we are the creators of these memories, the brain cannot hold them. There is only a large
.blur of misty fog that remains
Having in mind Nietzsche’s idea of “the eternal return”, my artistic interest revolves around the
understanding of impermanence and the desire to perpetuate existence. Assuming the continuous
flow of change, my work speculates on the role of forgetting, for which I deconstruct the complexity
of reality, seeking to experience a more naive contact with the world. I believe that from this
naiveté, and through art, we are able to ‘fold’ pre-established concepts, bringing new perspectives
from a sensory experience; I am keen to research the idea of re-modulation of space and how we
relate to it.
Professional Website: www.carlossebastia.com
I use the human body as a mould, from which I make plaster casts. This idea was generated when
posing the question “what is the shape of space between me?”, I could not give an answer. My work
refers to the relationship between ‘internal’ and ‘external’ space. This relationship is created either
by the gaps within the human body, or by the metaphorical space that the body is enclosed in. The
sculptural artefacts are created by the position of one or two units, intentionally arranged to allow
.the minimum flow of air
Webfolio: catpasc.wixsite.com/ catpaschal
Professional Website: www.catpaschal.wordpress.com
Through appropriation from historical archives, anthropology (particularly of East and South Asian
religions), and family portraits, I distort the identity of people to take on new forms. This is done through
paint, assemblage and sound. The assembling of objects, both pre-fabricated and made, allows me to piece
together a fictional reality whilst connectingdisparate elements.
My work investigates 21 st -century urban environments, which are increasingly dominated by the
familiar (but also alienating) architectural ’non-space’. I aim to redress the dystopian and banal
tendencies of these places by the use of photographic practices, with the intention of reclaiming a
.sense of the sublime
Professional Website: www.janepickersgill.com
I am interested in systems of belief and the cultural phenomena and material culture they
produce. In portraying these I seek to set up a disjunction which creates ambivalence about what an
object is, or is made of. I use casting methods to create a sense of magic and alchemy, and place the
objects in displays that project a sense of play, in ways that are personal to me, but which also allow
the objects to set up their own formal relationships.
,I use photography, video, sound and installation to explore the convergence of digital technologies
,popular culture and human behaviour. I am currently interested in the nature of public personas
.our culture of self-curation, the fuzzy line between public and private spaces, and propaganda
Professional Portfolio: https://www.joshuae.com
My current practice explores how sex and violence relate together within the cult independent film,
The Violent Kind. My latest piece, The Void, is a collection of vinyl records, on which I have recorded
a book that I wrote as a prequel to the film, exploring these themes.
My work explores the manner that our way of living results in social and ecological vulnerabilities
I am attracted by the power that everyday objects and materials have and for that reason I use scrap metals and other insignificant objects in my practice. I experiment with the scale and size of these objects to give them different meanings and highlight their role
In Wild West London, where murder rates are at their highest, people congregate at Outlaws
Chicken Shop. In a world of villains and corruption, drugs and gangs, those in power shoot to kill.
Refugees from a lawless land, we come to Outlaws, to buy our nuggets of gold, under the brand of
Drug Dealer Chic. A glimmer of magic in a London wasteland.
In my work Against Collusion I have utilised steel tubes and nylon straps, transforming a safety system
that I experienced while moving from one place to another, into a two-part, assembling and dis-
assembling structure. Standing on board a bus or other moving vehicle can be dangerous; safety
.structures are designed to secure occupants against falling or bumping into one another during transit
I want to provoke a sensorial trip with elements placed together and interlocked in space in order to
achieve an experience. Resemblances to design elements familiar from everyday objects invite you
to be mindful in the act of observation.
,What do you see when you look at your computer screen? Looking at the materiality of this object
.my practice seeks to deconstruct it using its own vocabulary of updatable and adjustable units
A den made of tape - the maker's space - shrouds a set of interrelated sculptures, which function as
portals connecting the internal space of thinking with the external space of doing. These forms,
together with colour and natural light, function as a kind of meta-painting.
How we communicate has been the core focus of my practice over the last two years. I have been
experimenting with participation, technology, and social frameworks to explore the how's and why's
.of constructed environments, play, information distribution and, most recently, social media
Steeped in research into sociology, international relations and Buddhist concepts, my practice is
concerned with 'East meets West'; and an exploration of identity. In my most recent work I have used
printmaking as the primary medium. The components encompass fabric patterns, urban landscapes,
architecture and languages.
My practice is rooted in urban landscape and its metaphorical meanings. The camera’s
lens is central to my process, whether it is moving image, or paintings based on
photographs and film stills. The Royal Iris project focuses on a decaying boat berthed on a
mud bank in Woolwich, a former Mersey ferry that hosted the Beatles and the Queen, in
.her glory days in Liverpool
The skin is the softest part of our bodies, but the world the skin comes into contact with can be very
hard. I want to highlight this contrast through images projected onto a face.
Narratives have been gradually deconstructed and eliminated by our contemporary aesthetic. I
reveal myself by making art about chaos theory, physics and Dadaism. These things are a way in to
serious chaos. I do not know why I am doing this but I know what I want to do. It is as if there is
.something guiding me; maybe it is science or superstition
My work imitates heightened moments of elation or despair. From a cluster of bobbing marathon
heads, an inflatable bingo woman, a grunting tennis ball or a weightlifter struggling to lift the same
weight over and over again, I am using video, motors and objects to explore the moments in life that
remind us of our existence.
.Under constant surveillance, I was trapped by security - with nowhere to hide
Uncanny creatures from a dream; the connection between time and dreaming.
I am interested in the subject of everyday life, as I see it as a common language. For example, I made
a table and a hanger for one of my installations. They are both hand-made and took time sanding
.down to achieve a good finish. I like craftsmanship, but I use ready-made objects as well