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ESA Community ::
Patrick Studio members
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Patrick Studios, St Mary's Lane, Leeds
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Image: Rukshana Afia
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Rukshana Afia
Rukshana has an Eurasian Muslim background. Born in 1953. Works in ceramics and textiles.
Interested in juxtaposing different elements (colours, forms, words and symbols) within the same piece. The artist is seeking order but not forced harmony.
rukshanaafia.ral@googlemail.com
rukshanaafia.wordpress.com
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Imran Afzal
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Imran Afzal
Imi Afzal’s continuous work entitled Paradigm Episteme is the exploration of social concerns. The project consists of six themes, Society, Religion/Belief, Globalisation, Conflict (Palestine /Israel), Dasein and Time/Space/Evolution.
Imi Afzal is a conceptual artist who recently graduated from Bradford School of Arts in Fine Art. He is engaged and intrigued in art, design, science, and philosophy.
www.saatchi-gallery.co.uk
imyafzal@hotmail.com
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'Haliday's Famous Boot Factory'
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Frances Ann
I work using drawing and sculpture with clay, usually small scale sculptures for the domestic setting. I am interested in local history especially industrial history, and have used local factories and industrial buildings as the starting point for my sculptures over the past year. When I make a sculpture of a specific building I like to incorporate a memto mori of the history of that building, what it was used for, who owned it, who worked there, and add elements of this into my work. The research stage and the gathering together of appropriate materials, documents and measured drawings is a part of the process I enjoy as much as the actual making.www.littlemoorpottery.com
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David Baker 'Untitled'
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David Baker
A defined conceptual framework with underlying themes of temporality and minimal elements forms the basis of the majority of my work. My working process is guided by given spatial and material conditions; therefore it is necessary for each piece to be made anew each occasion they are exhibited. I construct assemblages using a wide range of unassuming, ephemeral materials which are functional and familiar in everyday life including paper, light bulbs and paint. Each piece functions as a sculpture in its own right and in its relationship to the space and the viewers' position.
Given the delicate nature of the materials I use, I tend to work to a small scale allowing the work to sit patiently and quietly until the viewer initiates a connection, this encourages further investigation and I am interested in the dialogue which emerges between viewer and object. The perceived stillness of each work is countered by a dynamic quality and inherent sense of movement in the composition of materials.
davejbaker@hotmail.com
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Lorna Barroclough 'Black and White April no. 8'
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Lorna Barrowclough
Lorna Barrowclough’s work always seems to contain a hint of the magical; an instinctive ability to see and interpret everyday objects for their ‘otherly’ qualities. Working predominantly with painting, drawing and sculpture Barrowclough’s work is inclusive and experimental. Whilst there is a respect for the traditions of the techniques she employs, there is a refreshingly open to approach to the materials and methods that might be utilised. The result is that these works are also ‘fantastical’ in their basic form. Unusual compositions and extraordinary combinations of colour combine to give the viewer a playful tug on the imagination.
There is a also compulsive element to the work, a tendency for obsessive repetition, whether in the quantity of the works (Barrowclough often creates masses of work during each project) or the approach taken within each work (repetitive mark making and obsessive attention to detail) which somehow gives the impression that if left to her own devices, Barrowclough might fill the city with each new project.
www.lornabarrowclough.blogspot.com
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Emma Bolland 'Rose & Heather'
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Emma Bolland
Much of Emma Bolland’s recent work has explored narratives of crime and social otherness in the popular imagination. She uses a range of media from drawings, stencils and cut-outs to video and lo-fi projection to create objects and environments that refer to factual or imagined events such as true crime murders, social histories and fictional characters. She produces work for both gallery and the public realm, and as multiples and ephemera. www.axisweb.org/artist/emmabolland
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Rebecca Catterall 'Cleave (Blue)'
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Rebecca Catterall
Rebecca Catterall constructs melodic, quietly resonating, objects using hundreds and thousands of geometric shapes and projected forms. Slab-built, extruded and adjusted her work accepts and interrupts simple, ordered systems to create steadfast sculptures with labyrinthine qualities. Mathematical and reductive she investigates perceptions of space, colour and movement to articulate sensual experiences of containment, restraint and captivation.
Rebecca studied at New York State College of Ceramics at Alfred University gaining her MFA in 2002. She has an international exhibition profile and has also received several grants and awards. www.rebeccacatterall.com
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Kelly Cumberland 'Prolaritus Cealum'
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Kelly Cumberland
My work symbolises change and removal, growth and deterioration of the life and nature of a virus. Installations and objects demonstrate how something seemingly flimsy and insubstantial can overwhelm its environment. Dissected drawings, cloth and paper works delicately represent the fragility and strength of microbiology and electronic structures.
The repetitive action of removal to ‘construct’ these works echoes the clinical and mechanical tradition of (re)production and reduction. Continuous addition and removal in order to improve or ‘cure’ results in a coherent body of structural variations. Working in sequence, using simple patterns and techniques, the components initially appear identical. Although the construction process ensures each is unique, they still retain the possibility for expansion and modification. www.kellycumberland.com
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Ashley Dean 'Untitled set'
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Ashley Dean
Exploring many fields of graphic arts, Ashley works as an animator, film maker, photographer, painter, projectionist and graphic designer. After a year spent producing a feature length stop-motion animated film, Ashley is now diversifying his workload to achieve a greater satisfaction varied portfolio. He aims to refine his skills in all areas of the visual arts, letting mediums such as animation, oil painting, photography and creative writing inform each other to produce deep and exciting works.
ashleydean@brokenpixel.co.uk
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Katy Devine 'series 3, 5a'
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Katy Devine
Space [given many forms] provides me with the field for my practice. I manipulate formal elements of drawing [through an ongoing process] in order to engage with the poetics and dynamics which are intrinsic to the subject.www.katydevine.co.uk
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EXP24 logo
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EXP24
EXP24 is a not-for-profit film collective. As well as making and screening experimental film, they are dedicated to creating a space where people can show their films, share ideas, be inspired and learn how to do it themselves.
Their aims are to:
-Engage experienced filmmakers and new-comers alike - from Yorkshire, the UK and beyond - to screen both celluloid and digital film/ animation.
-Provide a platform for live performance and installation that breaks away from the frame and traditional cinematic formats.
-Actively encourage and participate in a relaxed environment where conversation can, through knowledge, experience and enthusiasm, breed new ideas and collaborations.
we_are_exp24@yahoo.co.uk
www.exp24.org
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Josephine Flynn 'Bush Spot'
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Josephine Flynn
My practice critiques the language of consumer culture. The process of how constructs, hierarchies and classifications work together to legitimatize and produce meaning. I’m interested in how society uses the notion of freedom and how popular culture positions the self and how the self wants to be positioned.
Within in my work I use and manipulate consumer symbols from celebrities such as President Bush to Hitler to banal everyday objects such as pens, nurofen tablets and tin foil shaped like shit. I want to use the process of transgression to deconstruct these symbols and play with the construct of freedom that is offered in our culture as an act of control. www.axisweb.org/artist/josephineflynn
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Lydia Haines 'Pulse I'
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Lydia Haines
Fascinated by the effects of changing light and seasons on the hues and tones of the world around her, Haines transposes the colours and energy found in the Yorkshire landscape into the rhythm and patters within her work. Using glass as an artistic medium allows Haines to work with light, manipulating its reflection, refraction and transmission through texture and form. Her work also explores the interplay between material and space, light and shadow, transmission and reflection. www.vitrumglassdesigns.com
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Kerry Harker 'Bank'
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Kerry Harker
Artificial boundaries between the different aspects of being an artist and/or curator don’t seem important. My practice currently takes in making (in a studio setting but also through the utilisation of professional and manufacturing services), curating (of objects that I make as well as other people’s), research (developing future projects), writing and publishing. All of these activities form what I do. I’m also not interested in the limitations of the terminology usually applied to activities such as craft, fine art, studio practice, curating and so on. I’m happy to be considered as one of a pool of people currently exploring crossovers between all kinds of creative activities, and my interest extends to mass-production and the commercial marketplace as much as it does to the reified atmosphere of the artist’s studio and the precious one-off object. Fine Art, craft, fashion, design, curating, making, selling, thinking, consuming; all are interesting activities and are possibilities for my artistic practice right now.www.axisweb.org/artist/kerryharker
www.vitrine.org.uk
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Jon Lawrence
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Jon Lawrence
As we progress through life the memories of our youth are disturbed by our realisation of the troubled world we live in. I believe my work should challenge traditional ideas, habits and assumptions. The sculptures I produce express my interest in street culture. They are objects with both integrity and frustration in our devolving society. I cast found objects that have history and character, manipulating and fusing them together, adding transfers, lustres and grafiti like scrawls within multiple rings. I combine traditional slip casting and silver smithing techniques to create objects which challenge political and social issues. My concerns with the loss of humanity and childhood memories within society are preserved as three dimensional objects; robust, tactile and purposefully imperfect.
www.jon-lawrence.co.uk
jon@jon-lawrence.co.uk
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Jo Lee 'Family II'
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Jo Lee
I am fascinated by the human form and am intrigued by the idea of capturing moments in time, externalising internal emotions, maintaining histories and memories – a person; a place; a look; a touch.
I work with a mixture of media including ceramics, photography, & 2D materials. This combination allows me to explore and represent the human experience, express emotional states and convey human strength and fragility. www.jolee.uk.com
info@jolee.uk.com
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Andrew Lister 'Simon'
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Andrew Lister
I am using Iconic Images that encapsulate my ongoing concerns and allow me to deal with them. The work is all wall based but includes painted, carved and inlaid surfaces. The choice of materials and method is determined by my relationship to the subject matter. I will talk about the large portrait of the Falklands War soldier Simon Weston to explain this. I have an enormous respect for Weston’s courage, the courage that put him in the position to be wounded in the first place and the courage to act as he has done subsequently. However, I was opposed to the Falklands War and struggle to understand his acceptance of the way the Establishment treated him after the war. In my portrait of him I have attempted to express this dichotomy, this unending admiration and confusion. His image is painted over hundreds of pieces of tin which are themselves nailed onto a Union Jack. The identity and form of the flag and the identity and forms of the tin are made to interact with the painted image. A struggle, a strenuous debate both formal and conceptual is set in motion where all are vying for dominance. It is a debate without conclusion that keeps the picture surface alive; it defaces him but allows a still handsome and secure personality to continue shining.
andrewlister1@hotmail.co.uk
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Joe Mawson, Heck (no.5), 2008
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Joe Mawson
Drawing references to places and events both real and imagined, my work uses various processes that re stage a space of trauma, apathy and fiction. My work operates as a dialogue where I explore my own narratives, imagination and art practice as it exists alongside other artists, histories and the rest of the world.www.joemawson.co.uk
www.axisweb.org/joemawson
jm@joemawson.co.uk
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Harry Meadley, 'With an A, but not in that way'
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Harry Meadley
It is all mystery without offering any compensation.' - Unreferenced quote about the work of Harry Meadley from the next volume of a leading sculpture journal yet to be published.
s207554463.co.uk
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Image: Louise Marchal
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Louise Marchal
Artist's Statement:
Every time I try to define what I am, the actuality overlaps the definition. In the same tradition as Gerhard Richter I feel I am exploring the nature of painting within a context that has partially rejected it.
Key themes include: The contemporary sublime and what this might be /// The semiotic quality of images within the larger systems of visual language /// Philosophical enquiry /// Painting /// The social and political agendas that come with painting. (Patronage, capitalism, connoisseurship, autonomy, elitism, genius, etc) /// Traditional dichotomies and their explosion: order and chaos, freewill and determinism, tragedy and comedy, analytic and playful thought.
There is some element of an Alexander Pope-like mock heroic in my practice. It has been argued that were he alive today, Pope would be a Deconstructionist. At either extreme of the profound or the ridiculous, so is the other mindfully present. In the cases of extreme intellectuality we cannot but help be ridiculous and my work often plays with this concept and its inverse.
www.louisiem.com
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'Storybook' 2008
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Eva Mileusnic
As a multi-disciplinary conceptual artist I use a diverse range of materials and media dependent on the current project/idea/concept. This form of practice allows me to keep my work varied; moving between 2D, 3D, installation and performance. My work is often placed within a social, political or cultural context and is process and material led.
My current paintings reference social and political issues related to European diaspora in which I examine the notion of cultural and national identity, alluding to ideas on acculturation; duality; and hybridity based on personal history.
emileusnic@fastmail.fm
www.axisweb.org
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Paul Miller 'root 25'
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Paul Miller
I work across different media, investigating humanist issues and our often seemingly abstracted but symbiotic relationship with all external existence; our attempts to understand, quantify, and ultimately control this conjunction - our reality.
The ambiguity of perception that arises from this relationship with reality and the schisms between our array of belief systems provide the source of much exploration and the continuing need to find out where we fit in.
www.peelyourskinoff.com
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Carla Moss 'Ships in the desert'
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Carla Moss
Carla is a landscape painter with a unique style. She uses mixed media to manipulate surfaces, drawing the viewer into a tranquil world of serenity and calmness. The work however has a twist; on close inspection what seems like a sumptuous and inviting scape is actually a social comment on how the world is constantly changing due to technological advances. Carla looks at how human intervention is slowly eroding and destroying the natural world.www.carlamoss.com
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Derek O'Brien, 'Affair Retail'
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Derek O'Brien
I create vibrant, colourful works with passion, rhythm & a cheeky sense of humour. I love abstracts, but find myself currently moving towards impressionist forms. I paint on canvas, paper or wood. I am also beginning the journey into digital photography, which is benefitting my eye on design.
www.derekobrien.co.uk/
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Benedict Phillips as ‘The DIV’, 2005
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Benedict Phillips
Benedict Phillips has worked extensively as an Artist, Writer and Curator in public locations since 1993. His practice revolves around developing new ideas in fresh locations to engage people in his art and its processes. Benedict presents his ideas and working methods to a wide audience through lectures, discussion, events, exhibition and performance.
Benedict's work is multi-levelled and multi-media by nature. It is often about investigating, researching and reacting to the places in which he finds himself, then placing artworks back into the public spaces which influenced and informed their production. Depending on the geography of the projects, artistic responses in their many guises have been floated, buried, placed, flown and exhibited. His practice uses a diversity of approaches such as public art, installation, performance, photography, media art and creative writing.
Benedict has lectured and exhibited in Europe and America, and his more ephemeral work can be found in collections such as Tate and V&A in London.
Current projects include major public art commissions in Hull (LIFT- NHS city centre development 2008-11) and Sheffield (Burngreave New Deal for Communities 2007-09) Sorby House development. He also now works regularly with a group of associates (an architect, archaeologist, sculptor and a programmer-filmmaker) as part of his diverse range of public projects.
www.thebenedict.net
www.disabilityartsonline.org
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Andi Robinson 'Untitled'
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Andi Robinson
Colour is the most important element to all my work. Both my paintings and drawings rely on ordered space, or it is this space which acts together with the colour as a plastic agent in any resultant composition. Accordingly, the contexts in which these plastic agents are placed will affect the perceived composition and visual movement experienced by the viewer. The different spatial positions taken up by adjacent colours provide for the variations and rhythms that appear to emerge and recede from each pictorial ground.robinson1791@googlemail.com
www.andirobinson.co.uk
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Matthew Shelton 'Fond of Work'
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Matthew Shelton
Art (and, by extension, its making) remains one of the few arenas of social life where the obviously useless object can be valid, where value is not immediately and decisively measured by an object or an idea’s monetary worth. It’s true benefits lie elsewhere from standard, received modes of assessment. Art cannot exist strictly in accordance with tradition nor be born from thin air. It offers a profound escape from the bland, nagging insistencies and complexity of modern life. I need it like food, like music, like human companionship. It makes me tick.
matthewshelton@hotmail.com
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Rhiannon Silver 'Untitled'
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Rhiannon Silver
My work is concerned with the notion of longing and my aim is to explore this interest with a knowing humour but without irony, whilst creating a space for thinking and feeling for the viewer that isn’t always explainable with words. I work by creating associations between things that interest me; appropriating, intervening and contextualising. Ultimately, I am striving to juxtapose a keenly felt sense of pathos with an air of nonchalant pointlessness.
www.rhiannonsilver.com
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Sarah Spanton 'Princess: Clock Ticking'
Sarah Spanton 'Princess: Clock Ticking'
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Sarah Spanton
Sarah Spanton is a cross-disciplinary artist, based in Leeds. She works across disciplines embracing performance, video, photography, dance, sculpture and text. Her solo and collaborative works are seen in a range of settings; from movement-led works made within a live art context, to site-specific dance installations, photography and video pieces.
Spanton makes evocative, intimate and often humorous work, which explores emotions and states of mind - frequently driven by autobiographical starting points. Stimuli include sexuality, gender and the body. An important focus is the fusion of visual and performance strands, pulling together apparently incongruous elements to make multi-layered works. Much of the work flirts with audiences, preferring seduction to confrontation, subtly drawing them in. The works aim to create a sense of constantly shifting and of not being fixed, crossing back and forth over apparent boundaries such as masculine and feminine or audience and performer. www.axisweb.org/artist/sarahspanton
www.newworknetwork.org.uk/spanton
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Emmy Twigge, Still from 'So I Did' (Digital video), 2008
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Clare Webster
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Clare Webster
The main principle of my work is the utilisation of simple stitch techniques to create sculptural fabric forms. The repetitious nature of the pleats and tucks creates structure and gives movement to lifeless garment components that can be fastened together to reveal a multiplicity of possibilities. The softness often associated with textiles is altered into pieces that hold their shape by using simple engineering principles and knowledge of fabric construction. Concealment, movement and identity have become some of the underlying issues questioned although not overtly apparent within my work.
The techniques synonymous with my work have been adopted to produce a range of commercial fashion and interior accessories. Each piece has been individually created using stitch techniques developed through the making of textile sculptures. The finest dupion silk is machine stitched to enhance shadow and texture within the fabric. These luxurious accessories are reminiscent of antique bodices, crinolines and corsetry. At the same time as being nostalgic the designs are exciting and contemporary. Every piece is created to be functional and beautiful. www.clarewebsterdesigns.com
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