Saturday 8 December 2012

Opening Evening - 06/12/12

The opening evening was a great success with music from Clockwork Radio!





Sally Price

Kitchen Specimens

Over 10,000,000 bacteria fester in the average kitchen sponge. Alarming as this sounds, in reality we live with their presence every day without mass panic or fear. Is this because we can't see them?

I am experimenting with the clash between desire and disgust, curiosity and revulsion, to create uncomfortably alluring tactile pieces. Bacterial formations are beautiful but it feels wrong to admire something that can be such a threat to our bodies. I have translated this invisible build up of germs into an encrusted, lavish embellishment, using colours found in both cleaning products and dyed microbe specimens. The meeting of clean and unclean becomes uncomfortable but strangely appealing.

The use of everyday objects in my work plays on recognition, and leads to the ordinary becoming extraordinary. I am re-examining the things around us- what they suggest and how we react to them.



Joy Morris

Decoding the Unnoticed
(On-going project)

To me, the Northern Quarter is a place of hidden gems: vintage shops to stumble across, charming record shops, and tucked away cafes. In my work I look at the truly hidden aspects of our city within the unnoticed and unwanted marks we often pass.

I work from found and uncontrolled visuals such as peeled paint, torn posters and cracked paving. To illustrate my interest in these unintended marks I apply time consuming and systematic processes to further the uncontrollable nature of these surroundings.

In my work I convert my photographs into code and translate randomised symbols into visually complex pieces. I am attempting to create eye capturing pieces using usually overlooked marks.

Using a system of chance to decide their placement, I have separated and scattered a series of six tiles around the Northern Quarter. These pieces can either be stumbled across or looked for using a map I have provided.

I have no control over the temporary nature of putting my work outside however all photographs can be found on my blog.
 




Becky Smyllie

In an exploration of our closest surroundings, clothing became a main focus.
A recognisable form such as the ladder in a pair of tights is translated on to parts of the body where it wouldn’t normally be found.
Using the hand as a sculptural form I played with the idea of these forms being part of the skin. Contorting in a fierce and unnatural manner.
Body painting is a process that emphasises revealed skin working in harmony with the image of laddered tights.
However unwanted they are I found myself ripping new holes to investigate the forms and patterns further.






Sophie Brown

‘Reconstruction from Deconstruction’

An exploration in to the rips and tares of worn Denim.

This unique fabric has its own beautiful way of aging, the weave wears and brakes in such a manner that creates fantastic patterns and inspirational compositions. I have studied this natural deconstruction, taking inspiration from the designs and reconstructing them. Using the warp and weft of the base denim to hand stitch with, the imagery pick up on the rough holes and the linier weave when its’ opposite is removed.





Isabella Leonard

Unwanted souls

I am exploring the connotations of old, worn shoes as a medium.  By freshly embroidering dirty soles and broken uppers, their form and function is reinvented as they hide and display strange characters from differing cultures.  Traditional, cheeky garden gnomes and the Mexican dancing creatures evoke playful spirits.  Both have illustrative charm, form and vibrant colour but sometimes sinister connotations.  Garden gnomes can be left to rot outside.  Mexican ceremonies celebrating spirits inspire thoughts of pagan or voodoo ritual.  The shoe itself has travelled and the unknown wearer’s presence is evident. 
The slow process of hand stitch with worn shoes references time passing and waste from popular culture.  A rotting relic is created.  Taking motifs from very different cultures and combining them with a repelling material, the longevity of handcraft is reconsidered as designs are re sewn again today.





Lydia Williams

“threads of green”

This piece of work concludes an in-depth study of the native lichens of North Wales, specifically those that grow in the forest around Abergwyngregyn.
I have explored traditional hand and machine techniques in order to produce work that is sensitive to the organic fluid forms of the lichens and their colour.
From the beginning I have used weave as a way for me to channel my desire to construct a surface and mix colour. I find the process of transforming string into cloth fascinating. In order to create a shifting of colour within my woven samples I have hand painted the warp before weaving. This unpredictable colour mixing between the warp and weft threads is what reflects the variable colour of the lichens.
The Cornelli machine allows me to be fluid and gestural with my stitch. Working from drawings and photographs I was able to be spontaneous with the lichen forms. Combining this exploration of the drawn shape of the lichens with the hand stitched surface detail has created beautiful forms that exaggerate the size, surface and colours of the lichens.