Shaun Project Space

Materialism

09Feb10

Neil Armstrong Derrick Forth Andrew Mitchel

Neil Armstrong

“My work attempts to create a psychological interaction with the viewer. Through the use of the enclosed space I have attempted to create a contrasting feeling of claustrophobia and confined comfort. Dealing with themes such as depression and anxiety, the work exists as an object of both retreat and abhoration.”

Derrick Forth: AMALGAMATE

This installation is assembled from a collection of tree branches and man-made objects, combining the artificial and organic.

As this sculpture progressed the impression given was that of a conflicting relationship between materials. However, over time the work began to take on a different meaning.

It became obvious, on completion of the sculpture, that a union of disparate components had taken place.

This amalgamation now gave the finished work the appearance of some curious mutant abstraction resolved in its own right, and not ongoing conflict.

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Loren Perry

08Feb10

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Sidecar

04Feb10

New work by Barbara Willey, Andrew Gulliver, Maegen McDivitt and Ashleigh Battla.

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Neida Pearson

03Feb10

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Sometimes you see things they can’t

02Feb10

Lisa Fountain, Rob Hayden, Gabby Nelson and , Kylie Walt

Lisa Fountain

I began this project concentrating on jellyfish, I am very interested in deep sea life and jellyfish were one of the creatures I found the most fascinating. For this project I wanted to get back into drawing and painting and experimenting with what works best for me. I found simple monochrome illustrations to work well as the creatures are already so beautiful I found it more effective to simplify the forms. From here I developed into larger more flowing images experimenting with colour, it was no longer important that the image was a jellyfish, more of a simplified form or shape.

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Bizarre

27Jan10

New works by Beth Laverick Anthony Johnson Margaret Chilly

Beth Laverick

I started by painting everything that interested me from my everyday life; objects, people in magazines and in the street. I began increasingly to paint peoples faces as I am fascinated by the way we look and how we express emotion.

I enjoy the process of painting; the act of applying paint, combining colours and the energy involved in capturing an image. I wanted to include this process in my work and thus have displayed the palette along with many of my paintings. Including the palette also adds a slight abstract edge to my work which I find contrasts well with the figurative painting.

Anthony Johnson

My work is based around the concept of heroes and myths, relating more specifically towards those of Greek Mythology. Todays culture contains such people but for dramatically different reasons, my work is a comment on the polar opposite relation between the two, and the replacement of myths for gossip.

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Theresa Poulton

26Jan10

Look at my paintings……. what do you see?

Intuitive, narrative…… how do you see?

Look at my paintings….. who do you see?

Look at my paintings…..

A series of large format ‘Abstract Expressionistic’ paintings, by Theresa Poulton

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Penisnose

20Jan10

New work by Kayley Alderson, Megan Keane, Jake Spence and Nicola Vasey

Kayley Alderson
“Kayley’s paintings primarily focus on the female figure this year as she experiments with colour and shape.
Her previous works focused on the female portrait and portrayed these with use of simplistic and shapely forms,
almost mirroring the curvaceous body of the sitter herself. Her nude work shows similar qualities as what
better way to use these forms again, than to use the female figure in itself is shapely.
Much of the work still features a strong use of black paint to maintain a strong contrast between colours.”

Megan Keane
safe space equals
width of space divided by 80 equals X
29 multiplied by X equals the distance from the east wall to the safe space

length of space divided by 122 equals Y
37 multiplied by Y equals the distance from the north wall to the safe space

The safe space, and safe materials, exist within the gap between feeling safe and being safe.

Nicola Vasey
I have been focusing my studies on painting processes. The idea originated from a piece that I created in my 2nd year, titled “Loneliness”, which consisted of an individual white canvas with an individual white drip running down it. Therefore, to progress my work further, and to incorporate my love of colour, I wanted to see what the piece would look like on the same scale but in various colours. The work shown in the Shaun Project Space were 3 individual pieces which were all painted a ‘vibrant’ yellow. The individuality between each piece was the colour of each drip. One was yellow on yellow, the 2nd was red on yellow and the final piece was blue on yellow. Each piece had followed the same process. The same number of coats of primer were used, the same number of coats of yellow were used and the same number of ‘squeezes’ were used to create the drips. Although I followed the exact same process for all three, they were all uniquely different.

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Poetic Landscapes

14Jan10

New works by Laura Duport, Irene Carrick Forshaw, Faye Hammond & Jennifer Winifred Parrish

Laura Duport
When we look at something it is our responses which are largely reflected by our circumstances, our internal emotion. The landscapes I produce are used as a metaphor for the mind, the innermost, bordering on sub-conscious thoughts, the raw emotion we try to suppress or keep hidden, considered to destructive to lose control of. In nature we see beauty but we also see devastation which the human eye is not always privy, there is distress and anguish where people look for peace and tranquillity. In my written word, my poetry is a reflective state of mind, this and the landscapes are often interlinked with personal memories and when brought together create a chaotic and imaginative world.

Irene Carrick Forshaw
Google mapping allows observation of the planet previously unavailable to humankind. It is a God’s eye view. Hypothetically, would this be a benign indulgent watch on our human endeavours or a dispassionate examination of specimens in a lab or museum?

Influences in this work are Guillerma Kuitca, Louise Hopkins, Jasper Johns, Cy Twombly, Gordon Cheung, Mona Hatoum and Bram Bogard and more

Faye Hammond
I began by looking at the body, in particular the female. I explored all areas of the body in order to find what it was that interested me i.e. shape, folds, eroticism etc. After lots of experimentation i found the are i was most interested was the skin. I then began to look at the aging process and the physical effect it has on the skin. By photographing the skin from different age groups (ranging from 13-87) i was able to see the changes that occur and look at the different lines and also textures that are created depending on your age.

I created mixed media pieces using a range of materials like oil, acrylic, tissue etc on canvas. The idea was to zoom in on areas of the skin (in this case the hand) and create abstract paintings that are not immediately obvious to the eye. So much that it becomes more about the actual painting rather than the concept behind it. I have been inspired by the work of Marc Quinn’s ‘Incarnate’ series. How something we all see everyday can change so dramatically and be almost un-identifiable by just zooming in.

Jennifer Parrish
With my work I wanted to explore the landscape but without distraction, that is why I have chosen to produce my work without any colour. I also wanted to keep it very structured in the shapes that I use to represent the landscape.

I was particularly interested in origami work because this reflected well my idea of structure and simplicity because it is something which can be a uncomplicated and yet it can become something which is strong and powerful. So I began experimenting with the idea of using a single piece of material and producing something which resembled a landscape. I have been inspired by the origami work of Paul Jackson because he produces work which has a very considered approach to producing his work.