Materially Connected ref 7067
2007
Materially Connected ref 7067 is part of a series of works which investigate our engagement with space and the way that textile mediates between the body and the built environment. Providing both a very real tangible point of contact and a metaphorical boundary between ourselves and the world that we occupy, textiles silently soak up the clamour of activity in their dense absorbent surfaces and bear witness to the repetitive rituals and routines of our daily lives.
Maxine is programme leader MA Fine Art.
http://www.chester.ac.uk/departments/art-and-design/staff/bristow
Good News?
2010
Used envelopes
Patterns are found everywhere in the world around us, often in unexpected and overlooked spaces. The mundane can be quite special if we are prepared to look close enough.
Lesley is a visiting lecturer in Fine Art.
http://www.chester.ac.uk/art-design/visiting-lecturers/halliwell
Portrait of the artist as a shadow (with Goshawk)
2010
(Painting)
Ghost in a sheet
2010
(Painting)
Above all else
2010
(Corrugated card and light)
My practice always seems to come back to the same concerns: incidental material, ambiguity of intention, denail of meaning; and in all these, a tension between absense and presense. The paintings are intended to involve the viewer in an interactive experience. The nature of the monochrome paints forces the viewer into a conscious effort in order to see the image - this involvement literally interprets the act of of 'looking' in art, as well as more broadly symbolising humanity's constant endeavour of 'out-staring the emptiness'. The sculpture is concerned with the hierarchy of meaning, of language and of materials.
Phil graduated with a first class honours degree in Fine Art and French in 2009 at The University of Chester and is now studying for a Fine Art MA at Wimbledon College of Art in London.
http://philipelbourne.blogspot.com/
Broadcast 4
(Sound piece)
Broadcast 4 is a sound collage inspired by and constructed from work from the Sir Eduardo Paolozzi archive. Exploiting contemporary digital technology the text has been further edited and processed from text to speech. The chance nature of collage has been respected in that errors and glitches in the translation have been retained adding another layer of chance processing to the work. The selection of voice and the reconstruction of sound into a broadcast genre encourage the audience to construct meaning from the recognisable audio snippets speculating about the overall message but also simply accepting the sound in the background as part of the usual cacophony of contemporary everyday life.
Neil is head of department in Art and Design.
http://www.chester.ac.uk/departments/art-and-design/staff/grant
Containment
Led and recycled altar
Chris is sculpture technician at The University of Chester.
http://www.chester.ac.uk/node/8292
Untitled Series
2010
Postcards and black marker pen on notice board
6 postcards of Estelle's degree show piece, Helix Aspera, have been suitably defaced here by the actions of Steve and his marker pen.
Superfices Incrementum
2010
Textiles (wool and beading)
Superfices Incrementum is a site specific installation in various locations within the church. The infestation of intricately crocheted wool can be found creeping over surfaces, and seeping into nooks and crannies throughout.
Caroline graduated with a first class honours degree in Fine Art and Psychology in 2010 and now works on the Arts and Events team for the council. Alongside this she conducts textiles workshops in the local community.
http://artupclose.org/2011/11/02/caroline-backhouse/
http://www.flockarts.co.uk/
Leaflets with photocopied brass rubbings
2010
Guy is a visiting lecturer in Fine Art and practising contemporary artist.
http://www.pataville.blogspot.com/
The Dividing Line
2010
Installation (gold thread)
Stakes
2010
(earwigs, cotton bud tubes, wax, wood)
Creation
2010
Painting/installation (oil paint on board, on pulpit)
Exploring the oscillation between microcosm and macrocosm, my work questions how very small things can imply much larger thoughts or concerns. This is through a poetic manipulation of materials in relation to their site.
The Dividing Line, a gold thread almost invisible to the eye and in direct reference to the font, aims to question the divides that we face when entering into faiths, religious communities, or perhaps religious buildings. Within the exhibition setting, this separation can be further applied to the often intimidating and exclusive world of contemporary art. The visual and interactive qualities of the placement of thread equally suggest a breakdown of such suggested barriers.
Stakes relate to the already present narrative of the crucifixion. The miniature sculptures make reference to overhearing, suffering and remembrance.
Estelle graduated with a first class honours degree in Fine Art in July 2010 and is now pursuing many creative activities including curating, conducting art and music workshops in the local community, and leading art discussion evenings.
http://www.axisweb.org/seCVPG.aspx?ARTISTID=15223
My work explores a fascination with museum collection, in particular Victorian dolls and making connections with childhood memories and place. Using liquid light, I have printed these images onto wallpaper. In much the same way as videotape can record images, I imagined wallpaper as absorbing history and images, as new layers cover the old.
Alexe is lecturer in Fine Art and Printmaking.
http://www.chester.ac.uk/departments/art-and-design/staff/dilworth
Environment Project
2010
The ideas for this work began creeping in around 2008 while I was backpacking around Europe. My work mirrors the freedom and playfulness that I felt when travelling. It concerns re-making memories I have of certain places. Through my experiments I have played with size perspectives and have obtained a childlike freeness with material and creating. 'Where's it written that art has to be deep and meaningful? Can't art just be simple, or nice and cheerful?' Lily van der Stokker
Charlie is a Fine Art and Photography student, graduating in July 2011.
Untitled
2010
The strip paintings are taken from an ongoing collection of components, challenging the perception of a painting as a piece of 'wall art'. Here the work takes a figurative nature. The abstract become figurative.
Nigel is a Fine Art student, graduating in 2012.
Green Green Grass of Home
2009
(Sterling board, pine, foam, string and synthetic turf)
Memorial
2009
These works make reference to, and are influenced by many of the formal qualities associated with cemetery architecture, in particular tombs and memorials. Universal notions of sense of place, particularly a final and individual place are important in this work.
Jeremy is programme leader in BA Fine Art.
http://www.chester.ac.uk/departments/art-and-design/staff/turner
Circadian Rhythm
2010
Light is a thing of beauty and is a subject many artists have explored. This painting shows the continuous transition from light to dark through the day/ night cycle. As the sun moves across the night sky its light shines down, illuminating the world below; Showing the array of colours formed changes dramatically through the hours of the day. This tondo painting symbolises the eternal cycle of life and death.
Karen graduated with a degree in Fine Art in 2010, and owns a large collection of plastic ducks.
Above It All
2010
Sculpture (wire, miniature wooden chair, candles)
My work concerns the elongation of form. Initially I looked at seeing how far I could extend items before they were no longer useable. I narrowed my focus to chairs; They reminded me of spiders and I drew inspiration from the sculptor Louise Bourgeois.
Nathan is a Fine Art student and graduates in July 2011.
Paintings on board
Current practice has begun to explore a dialogue between painting and photography. Investigations focus explicitly on aspects of artistic production, referencing the creative process generated between practitioner, materials and idea. Particular emphasis is given not only to perceptions arising during the act of making paintings but also to those formed retrospectively. The paintings seek to provide an increased opportunity for visual improvisation in response to personal and increasingly varied visual experiences (both actual and remembered). This process, modified largely by intuition, also acknowledges the significant role played by the handling and manipulation of the medium in the generation of visual possibilities.
John Renshaw is the former Head of the Department of Art and Design at the University of Chester and is now senior lecturer in Fine Art.
http://www.chester.ac.uk/departments/art-and-design/staff/renshaw
http://johnrenshaw.co.uk/?page_id=166
Untitled
(Digital prints)
These images provide a slippage between photography and painting - they reference the history and language of painting but no actual paint is involved in their production. They are constructed from the detritus of photographic visual imagery that abounds within contemporary culture - the images remain rooted in the banal, but perhaps theatrical, photographic constructions of promotional advertising, retail and mail order. Large areas of black, shadow and chiaroscuro propose a historical density that is undermined by the humble origins of the source material and there is something nostalgic, yet sinister and funeral about these morbid, uncanny doubles of painting.
Steve is senior lecturer in Fine Art.
http://www.chester.ac.uk/departments/art-and-design/staff/carrick
