Académique Documents
Professionnel Documents
Culture Documents
15
3 years,
72 artists,
1095 days.
12-15 documents the works of seventy two emerging
artists from the 2015 Northumbria Fine Art Degree
Show. Edited by the students, this stand-alone
publication is a testament to the achievements and
ambitions of the year group a comprehensive
collaborative conversation of progressing
contemporary art practice.
With the inclusion of short articles, artist interviews
and exhibition reviews, 12-15 provides a platform for
voices and perspectives, communicating a context of
contemporary art and visual culture not only to a
professional and academic audience, but to all
interested readers.
Capturing the refined expression of three years of
undergraduate study, 12-15 celebrates the innovation
and dedication of a new generation of artists,
curators, film-makers, painters, performers,
photographers, printmakers, sculptors and writers.
Contents
Articles
Artists
Oliver Amphlett
Kate Errington
62
Lucy Moss
120
22
38
54
Louise Angus
10
Samantha Furze
64
Kerrie Nacey
122
Sylwia Bak
12
Kimberley Gallon
66
Nurain Omar
124
14
Emily Gordon
68
126
Hannah Baldwin
16
Dean Hall
72
128
18
Sarah Horsman
74
Charlotte Pattinson
130
70
Charlotte Belsten
20
Samuel Hurt
76
Josephine Peel
132
86
24
Jenny Irvine
78
Samantha Potts
134
26
Sophie Jarvis
80
Alexandra Pywell
138
98
28
82
Lotti Reid
140
Francesca Brown
30
Laura Joyce
84
Rachael Scorer
142
Laura Brown
32
Tommy Keenan
88
Nancy Seary
144
Jessica Carmichael
34
Sophie Keith
90
146
Alicia Carroll
36
Kinnetico
92
Joanna Street
148
Francesca Casimir
40
Michiyo Kurosawa
94
David Thirlwell
150
Hannah Charlton
42
Rosa Langran
96
Murray Thompson
154
Emma Cole
44
Dominic Lockyer
100
George Unthank
156
Warren Connor
46
Frankie Long
102
158
Angharad Croft
48
Euan Lynn
106
Rebecca Watson
160
Sharlie Cullen
50
Melissa MacPherson
108
Chris Welton
162
Daniel Davies
52
Emily Matthews
110
Hope Whittington
164
Lauren Douglas
56
Liz McDade
112
Yuanpu Xia
166
Conor Dutson
58
Daniel McGee
114
Georgia Young
168
Maria Eardley
60
Kitty McMurray
116
Thomas Zielinski
170
An Introduction to Feminism
by Melissa Macpherson
104
118
136
152
172
Contents
Oliver Amphlett
ohamphlett@hotmail.co.uk | 07951 721233 | www.oliveramphlettphotography.co.uk
Oliver Amphlett
Louise Angus
louiseangus1@hotmail.co.uk | 07423 296535
5 Loner house,
Door Two, Squires Annexe
NE1 8ST
What is a house?
What is a studio?
How can one be combined with the other?
Louise Angus
10
11
Sylwia Bak
sylwiabakart@gmail.com | 07951 539172
12
Untitled, 2015
Sylwia Bak
Untitled, 2015
In the last few months I have developed practical skills as well as tried
to understand how other contemporary artists express their feelings
towards their personal experiences and the events from the world
around them. Emma Talbot, whose works are imbued with narrative
content have become a big inspiration for me. And in technical terms,
especially the composition and use of colour, Eleanor Moreton had a
huge impact on my practice.
13
14
Through an exploration of material, colour and scale I wish to bring to the forefront of consciousness an
awareness of these ciphers and facsimiles, and the power they hold. And by inventing and adjusting the
space in which they are displayed, I wish to alter their meaning and function.
We are bombarded with images and signs every day of our lives. They confront us visually and invade our
space frequently. We may or may not remember them, recall their messages, or acknowledge their presence,
but we do briefly take them in. And for that moment they stimulate our imagination, senses and thoughts.
15
Hannah Baldwin
hannah@baldwin.eu.com | 077857 30577
16
Hannah Baldwin
17
The passing of time and the transient nature of life raises a number of questions about how we view
our existence.
A life can be lengthy or fleeting, but it is the transitory character of various living specimens such as flowers
that I draw inspiration from for my work. My practice explores the flower as a representation of passing
beauty. I have sought to explore a formal aesthetic of the flower and at the same time account for the change
and transformation it goes through within its life cycle.
18
Untitled, 2015
Untitled, 2015
Untitled, 2015
I aim to expose the altered states of the flower once the vivaciousness of its life has started to diminish. This
fast paced change reflects a wider impermanence of life. I aim to capture the transformation but also to freeze
it through its various stages, and to fix it through X-ray so it cant change any further.
19
Charlotte Belsten
chaf_92@hotmail.com | 07857 655450
1
Horror films have content that is made to frighten, yet, watching horror films can be a
calming positive experience through shared social situations. This contradiction I find
interesting. I am fascinated by fear and the turning point where the familiar and
comfortable turns into something uncomfortable. Although horror films are often filled
with horrific content, it is the imagination of the viewer that creates the biggest sense of
horror. The best horror lets you do the work.
2
I have made a series of small scale paintings using screen shots from horror films as a
starting point, in particular Stanley Kubricks The Shining. By utilizing ideas of horror,
dreams and fantasy, contradictions occur. I aim to explore these contradictions. The horror
screen shots are picked apart and played around with creating new contexts. By
transforming the images into dreamy scenarios the uncanny is provoked. Working on
paper with watercolour and acrylic, allows me to respond to the changes that occur to the
paint. The process with inventing scenarios and then further exploring them through
responding intuitively, results in the images taking on new meanings where unplanned
things start to occur.
3
20
Charlotte Belsten
Dreams can be strange and mysterious in an unsettling way. Things are often strangely
familiar but never fully correct. When the boundary between reality and fantasy is blurred
an uncanny effect arises. In dreams sensations and images occur with no set beginning or
end. The mystified happenings can feel real but with shifting details and situations
transforming. Things are not what they seem and can change rapidly. A sense of comfort
and safety can be present but never relied upon. This shifting quality of dreams where the
familiar is present in an unfamiliar way creates a strangeness that can be present long after
waking up.
21
At the Beginning
by Alicia Carroll
At the Beginning
22
23
24
25
Captivity, fragility and ritual. These are key things that I am reflecting on at this current time through my work.
26
Working with lens based media and sound installation my practice investigates the unseen and yet intimate
bonds that exist between birds and their breeders. It serves as a topology of family, generation, breeders, birds
and the exhibiting of Australian Parakeets. I am interested in the decline of specialist bird breeding, in
negotiating it as an unnoticed pastime, and in unpicking the repetitive and ritualistic process of care it entails.
We overlook many aspects of day to day life, or merely have little awareness of activities occurring within it. If
it were possible to isolate these particular activities would we see them as completely unfamiliar, or would our
attention be captivated by them?
27
We are consumed by hyper reality. We are engrossed by the over exaggerated lifestyles people claim.
I use lens based media to negotiate reality TV. I look through its archives and rework its images. I isolate
individuals intensifying and displacing narratives from their original situations (shows) and environments.
Without their original context the emotional content of their expressions takes on new forms. I am interested
in voyeurism and in how this operates in relation to reality TV, and Im interested in what exists between verbal
language and social behaviour.
28
29
Francesca Brown
f.l.brown@hotmail.co.uk or franbrown93@gmail.com | 07581 407935
The key interest within my practice is about expressing my identity in the form of a selfie. This means
exploring the idea of how you pose for an image shown to the world. A focus of the work is the idea that
individuals establish fake identities for use across social media.
30
Untitled, 2015
Untitled, 2015
Francesca Brown
Untitled, 2015
I create the images using my mobile phone. Altering and increasing their scale distances the truth of it being
a selfie, and from being just another throwaway image. With the series I try to expose different sides of my
identity and character to give a sense of who I am in this context. Background objects within the images are
very much about where I am at the time the image is taken, allowing images to be individual as much as part
of a wider collective whole.
31
Laura Brown
What we dont see, may exist. We know more about our moon than we do about what lies beneath the
oceans. Hidden underwater worlds wait to be discovered, yet how can we come to witness them. Earths vast
oceans bear witness to some extreme phenomena, of natural beauty as well as constructed and accidental
additions to the ocean floor. A cenote in Mexico gives the illusion of a surreal underwater river, drawing in
even the most experienced divers to play in the hydrogen sulphate mist that flows between rainwater
and saltwater.
32
Laura Brown
When on a coastal summer holiday it is natural to visit the beach. Stepping into the ocean a place I explore
we often dont take note of what lies beneath us. But for those who are equipped with a snorkel or diving
gear, exploration becomes possible. But what stays in our mind from what we see? Instinctively we create
memories (images) and draw comparisons to things we have seen before, perhaps a similar fish in
another place.
And for those who own fish, underwater worlds are created by the way the tank is decorated. The fish bring
these still seascapes to life. Using my own holiday photographs I attempt to capture through painted
landscapes a wider set of perspectives, changing how we view environments and the connections we make
between the land and the underwater.
33
Jessica Carmichael
34
Jessica Carmichael
jess.092@hotmail.ac.uk
35
Alicia Carroll
alicia.carroll@ntlworld.com | 07772 532985 | www.alicia-carroll-art.weebly.com
Obelisk
Raw steel columns, which keeled on rain-softened soil,
now stand attentive on the gallery floor. Their faces,
stained by a fine film of rust, are carried by joints
succumbing to the contortions of their nature. Their
bodies, worn by their journey, reveal the marks of
fabrication.
Beginning in the workshop, hard steel is measured,
cut and welded into an assembly of familiar form.
These feckless structures, gathered in rooms
designed for production and making, are, in this
context, devoid of intention or purpose.
Transported into the pastoral environment of the
North East, these formal structures tether a rural
landscape into the frame of viewing. Through a
series of private events within various sites the
structures evolve from inanimate forms into tools.
Their occupation of these places results in an
accumulation of sediment and physical scarring on
their surfaces.
36
Alicia Carroll
37
Continuous Creation
by Lucy Moss
38
Continuous Creation
39
Francesca Casimir
frankiecasimir@hotmail.com | http://francescacasimir.weebly.com
CRAINT
Noun: craint, crainte; plural noun: craints
[French definition: to fear]
40
push, 2015
peel, 2015
Francesca Casimir
Painting allows a familiarisation to colour. Placing material with colour there is an acknowledgment of existing
unity. Craint permits this unison, introducing colour and paint as equal forms. Colour is possessed by paint,
creating different sensations, which are spread over a surface and left to dry. Craint acts in various ways. A
drying time allows for the production of a thin protective coating, pushing and pulling the layers beneath the
wet paint. The boundary of craint becomes apparent, physical, acting almost like a shield, holding in the fluid,
and protecting the tension of the skin. The skin in turn creates multiple dissimilar areas of surface, all produced
with only one material, craint.
41
Hannah Charlton
hannah.charlton@yahoo.co.uk | 07971 813707
42
Studio, 2015
Hannah Charlton
Floored, 2015
Jean Baudrillard
43
Emma Cole
emmacole@outlook.com
Branded Colour
Colour is consciously placed into peoples everyday lives, and is a key
visual attraction built into advertisements. Within the high street we
enter into a paradise of enticement through luminous commodities
and blocks of colour that direct and consume our gaze. The elusive and
compelling way in which colour absorbs an object, person, and place,
creates within us illusory satisfaction a momentary feeling of
euphoria. In one sense colour is here, now, around and in front of me, a
part of objects and atmospheres, as real and commonplace a presence as
anything. David Batchelor
44
Emma Cole
45
Warren Connor
w.connor22@yahoo.co.uk | 07735 836683
46
Boundaries, 2015
Warren Connor
Untitled, 2015
47
Angharad Croft
48
Angharad Croft
I find it captivating how groups of people are so inherently different. Im intrigued by diverse ethnic
subcultures within urban environments, and Ive been documenting this through photography in Newcastle. I
often look for similarities between groups, but Im constantly drawn in by their differences. Through this Ive
found groups in different areas of the city expressing their cultural identities directly within the streets and its
buildings they occupy. Ive started to revisit these locations as they are constantly changing. The more Ive
returned the more Ive found distinct markings and new forms of visual aesthetics. The photographs dont
document the people and groups but instead have become focussed on the places, colours, patterns and
details of the streets where they live and work.
49
Sharlie Cullen
50
Sharlie Cullen
51
Daniel Davies
danieldavies_@outlook.com | 07891 049826 | www.daniel-davies.com
Untitled, 2015
something.
Nothing.
52
Untitled, 2015
Daniel Davies
Untitled, 2015
53
54
Untitled, 2015
55
Lauren Douglas
56
Lauren Douglas
Flux, 2015
Untitled, 2015
Untitled, 2015
57
Conor Dutson
conordutson@hotmail.co.uk | 07926 486444
Conor Dutson
58
59
Maria Eardley
If You Respect Me Ill Respect You, 2015
mariaeardley1994@gmail.co.uk
60
Maria Eardley
We all live our lives and walk the streets and so we all
experience it. Its temporary existence leaves it
vulnerable. Its anonymity and unknown reasoning
causes curiosity but allows it to speak for itself. In
truth we all leave marks. Some add to them, some
ignore them. Take from it what you wish. I create
environments as positive micro-topias, points of
interaction and exchange. Enjoy the moment.
Pass it on.
61
Kate Errington
kate.errington@hotmail.com | 07753 115819
62
Guts, 2015
Kate Errington
Flesh, 2015
63
Samantha Furze
samfurze@hotmail.co.uk | 07875 245040
Forward,
Two steps back,
Left,
Movement is more than a mere action of one foot in front of another, it
speaks of the physical language inherent in architecture. Light, colour,
and shape are primary architectural agents, while space, time, and
moving form introduce actual relations between objects and people.
Back,
Circle,
Look,
Down,
Within the work the room becomes a template that defines the
installation of objects, and in so doing becomes a new physical
(architectural) frame. I choreograph materials and mechanics to set a
dialogue of movement, individual and particular to the environment.
Through the casual basis in which objects are staged the equipment
becomes a productive obstacle. Interruptions occur as the objects that
make the work are negotiated and navigated, altering and disrupting
the illusionary effects seen by the eye. The aim is not to trick but instead
to make visible.
64
Samantha Furze
Keep moving.
65
Kimberley Gallon
kimberley.gallon@northumbria.ac.uk | 07756 519499
My work features my grandparents, both on my mothers and fathers side, documenting their lives and their
interactions with the world around them. I didnt intentionally seek to show the differences between them
but in the end this is what developed. In terms of age there isnt much of a difference, however through
circumstances their lives have become very different.
66
Untitled, 2015
Untitled, 2015
Kimberley Gallon
Untitled, 2015
In this series I have used analogue film photography to document and record their lives. There is an aesthetic
with film that draws me to it, and I like that the images are unseen until processed in the darkroom. This is a
clear distinction from the dominant digital age where images are immediately visible and discarded at the
point of photographing. 35mm is the format associated with historic family photographs, so the medium
supports my own reflection of photographing my older relatives.
67
Emily Gordon
68
Emily Gordon
emily.gordon24@gmail.com
69
Yellow Exhibition
70
Yellow Exhibition
by Frankie Casimir
71
Dean Hall
72
Untitled, 2015
Untitled, 2015
Dean Hall
Untitled, 2015
Untitled, 2015
Untitled, 2015
Untitled, 2015
73
Sarah Horsman
angel_photography@msn.com | 07868 385143
74
Sarah Horsman
75
samhurt@live.com | www.basecampuk.com
Samuel Hurt
76
Samuel Hurt
77
Jenny Irvine
jrzirvine@gmail.com | 07801 478905
I am primarily concerned with colour, tone and gesture within the oil paintings I produce and what these
pictorially imply when set next to a title. In my works there is always a direct connection between a painting
and its title with any narrative association being generated through the sound of the word. The titles are
chosen through personal preferences for the sound of individual words, often with an interest in the
semantics of the word in mind.
78
Jenny Irvine
Untitled, 2015
I have been exploring ways of applying and handling oil paint to create different surfaces and textures, finding
that some approaches create surfaces that do not look or even feel like oil paint. The words I am drawn to, and
how I think to interpret them, has influenced the range and variation of painting techniques I have generated.
To me sigh is a soft word, like an exhaled puff of air in the cold. This was thought about as a number of thin
layers of pale grey and white paint.
79
Sophie Jarvis
sophie_0501@outlook.com | 07580 057479
80
Untitled, 2015
Untitled, 2015
Sophie Jarvis
Untitled, 2015
81
Navigational, 2015
82
Navigational, 2015
The installations provide a physical platform for these ideas, placing the
viewer in immersed navigational and spatial relationships with the
space. Lights respond to the movement of the viewer, flickering,
creating sensory experiences that further disorientate and disrupt a
navigation of the space. The paintings provide an alternate
representation of phased layers, formed with marks and bands of colour
that cross and contaminate from one to another. The paintings optically
shift depending on how the viewer encounters them, as iridescent
pigments alter and interfere with underlying colours.
83
Laura Joyce
ljoyce94@hotmail.co.uk | 07514 518143
84
Untitled, 2015
Laura Joyce
Untitled, 2015
Untitled, 2015
Every day we carry out many mundane activities and interact with the same or similar objects, not giving
these a second glance or much thought. My work is an attempt to disrupt this normality and bring humour
into the mundane through the use of large scale sculptures. In my work I increase the scale of familiar
everyday objects and expose boundaries between the real and the manipulated. I create these larger than life
sculptural replicas using unusual industrial materials such as compressed polystyrene. I then incorporate these
sculptures into performed activities, activating them in real-world contexts, and using video to record these
encounters. These pieces are intended to provoke curiosity and allow people to witness the unexpected.
85
86
87
Tommy Keenan
thomas.keenan1991@gmail.com
Tommy Keenan
88
The Family (left to right - Oliver the Orifice, DENNIS, Rodger the Cabin Boy and Eric), 2014-15
89
Sophie Keith
sophiekeith@hotmail.co.uk | 07786 852481 | www.sophiekeith.co.uk
Untitled, 2015
Uncertainty, interruption, and disturbance are things that drive my artwork. I produce
crocheted blankets comfort blankets, and these are extended into sculptural objects. In
making these I use personal photographs to convey narrative and paint to disturb and
disrupt them. The blankets are created to become transitional objects. Which as Mike Kelly
writes, is primarily a tactile object associated with great physical pleasure. It is very present. This
is even more the case with the infants transitional object, which has been called the childs first
Not-Me-Possession. This object represents the mother in her totality As figurative sculpture,
transitional objects are especially interesting in that they do not picture the mother.
90
Sophie Keith
Untitled, 2015
The blankets, as transitional objects, represent a replacement for the mother figure, a sense
of security which becomes upturned with the presence of unwelcomed all-seeing-eyes
and oozing paint. I use collage to create an enclosed world in which the characters I
produce are enveloped in the comfort of the omnipresent blankets. However a sense of
unease disrupts this safe domain, I use the paint to convey a higher force, encroaching and
enclosing in on the characters. These realms are created to signify the fear that sits in our
unconscious minds, the aesthetic being the uncanny. The uncanny is represented in its
own trope of repeated imagery - the double, and through the inclusion of an another eerie
inexplicable presence, which we place to the back of our minds, for fear of doubting our
own intelligence.
91
Kinnetico
jjasperart@gmail.com
92
Kinnetico
Untitled, 2015
93
Michiyo Kurosawa
contact@michiyo-kurosawa.com | +44(0)7478 753848 | www.michiyo-kurosawa.com
94
Michiyo Kurosawa
95
Rosa Langran
rosa.langran@hotmail.co.uk | 07887 369517
96
Rosa Langran
Untitled, 2015
97
Resurrecting Spectres
from World War II in an
Intensely Private Drama
by Chris Welton
99
Dominic Lockyer
lockyerdom@yahoo.co.uk | domonline.tumblr.com
100
Dominic Lockyer
Remote Viewing
101
Frankie Long
chessie.long@ntlworld.com | 07912 852566 | instagram: frankielouiselong
Frankie L:ong
102
103
An Introduction to
Feminism
by Melissa MacPherson
104
An Introduction to Feminism
it, and the obstacles that women face to attain it. The
continual changing parameters of thought around these
make it virtually impossible to determine where one wave
begins and where another one ends.
105
Euan Lynn
Environment , 2015 (video still)
106
Euan Lynn
euanlynn@gmail.com | http://euanlynn.tumblr.com
107
Melissa MacPherson
melissa.vipavadee@gmail.com | 07572 340152 | www.melissavipavadee.com
108
Dear Cunt, 2015 (installation, video and audio displayed on 10 Ikegami broadcasting monitor)
Melissa MacPherson
109
Emily Matthews
emily.matthews93@hotmail.com | 07950 042850
110
Emily Matthews
111
Liz McDade
112
Liz McDade
113
Daniel McGee
Capturing the Unknown, 2015
mcgeedaniel@outlook.com | http://dannymcgee.weebly.com
114
Daniel McGee
Exosphere, 2015
115
Kitty McMurray
kittymcmurray@hotmail.co.uk | 07816 332605 | www.kitty-mcmurray.squarespace.com
116
Untitled, 2015
Untitled, 2015
Untitled, 2015
Kitty McMurray
Untitled, 2015
117
Lucy Moss
la.moss@live.com | www.mercurialities@weebly.com
Now
Its bed time. What happens in a bed then
With hindsight I should have got a single but
I didnt know those things about my brother, at
twelve
And feeling guilty that I ever consented
To sleep on a double mattress.
Oh I must have turned the lights off and sang him
onto the rocks
I must have sold my little siren heart
Because now this askless treachery
The sweaty hands of a full grown man
Seek to find those parts of me I never
Knew I had oh
My sweat glands freeze solid beneath my skin spider
crawls under
Shirts
Up the back
Clawing
Pawing
Undoing clasps hands on my
Neck hands on my
Thigh
Hands on my
...
We drop.
Held in gravitys levity
I forget the ground, forget my feet; bartered
For a little bird heart
Wingbeat heartbeat
Synced with the crank of this
Bird machine
And we were made fearless
Trusting in the stuff we make in breathing
Slamming into walls we make in screaming breaking
Into the house of some
Immaterial architect, whos trying to slow our fall
But the ride never lasts; we stop,
Get off,
And learn to walk again.
Like a cheap watch, twelve oclock
And a congregation forms around the burger bars,
the bins
Shedding sweat papers like a second skin
A sour smelling snake or
A hungry paper chain
Wanting back energy spent
In laughing, in screaming
Its not a place of grace
But theres beauty in the beast of it
Everyone smelling of candy floss
The burgers, they smell like the bins
But the crowds wane as the light fades
Me and him
We head home to the star park
Walking between the slant of the sun
To a shared tent, sipping a shared coke
Sharing a helix of DNA code,
Lucy Moss
118
119
ctrl-alt-space
by Julie Bemment and Kinnetico
Kinnetico
Chloe Louise Stuchbery
Lotti Reid
120
Julie L Bemment
121
Kerrie Nacey
knacey@hotmail.com | kerrienacey.weebly.com
122
Kerrie Nacey
Untitled, 2015
In a series of tests I push materials to their limits, air is compressed and architectural space becomes a frame in
which to draw. Using the studio as a place to explore the works conform to the dimensions it offers. Through
the testing of weight and balance they become their own supporting structures, and through their material
form they re-imagine the space. Their forms, piercing through the space, provide new function as tools to
prop, wedge and jar. Im interested in materials that poetically, conceptually and linguistically sit apart from
each other, allowing the temporary situations created through their arrangement to become points of actual
or implied tension. The works establish relationships between the domestic and the industrial, the heavy and
the weightless, the inside and outside.
123
Nurain Omar
nurain-omar@hotmail.com | 07413 700776 or +673 8912160
124
Nurain Omar
My practice is about my negotiation of two different cultures, life in rural Brunei and my current everyday life
in the UK. I am investigating my current experiences in relation to the tribal Kedayan farming heritage of my
grandmothers generation. I moved to the UK at the age of 16 and as I have adapted to life in the UK I have
become aware of my Kedayan culture and heritage fading away. I have been inspired by Tereza Buskavos The
Baked Woman of Doubice, Mona Hatoums letters from her mother Measures of Distance, and Gillian Wearings
overlapping video 2 into 1. Using photomontage and video I have been developing works by exploring
traditional Kedayan materials connected to its costume and dance, including, siraung padian (the hat),
tekiding (carrying basket) and kain sarung (skirt).
125
126
127
128
sarah-owen@live.co.uk | www.sarahjaneowe8.wix.com/sjphotography
129
Charlotte Pattinson
Untitled, 2015
Untitled, 2015
c.jayy-x@hotmail.com
130
Charlotte Pattinson
Untitled, 2015
131
Josephine Peel
josephinepeel@googlemail.com
I am interested in everyday experiences and occurrences, and the photographic works I produce respond
directly to this and to my surroundings. I am trying to make the ordinary and understated visible by
evaluating the simple scenarios and ambient spaces within the world around us. I am drawn to
representations of nature both through its places and objects and through the coincidental, accidental, and
unexpected events that occur within it. My works attempt to reframe situations that might otherwise pass
unnoticed in their original context.
Josephine Peel
132
133
Samantha Potts
134
Samantha Potts
135
Skateboarding as
Artistic Practice
by Euan Lynn
136
137
Alexandra Pywell
138
Alexandra Pywell
Untitled, 2015
Untitled, 2015
Untitled, 2015
139
Lotti Reid
Untitled, 2015 (performance to video - installation view)
140
Lottie Reid
141
Rachael Scorer
rachaelscorer@gmail.com | 07968 633962 | www.rachaelscorer.wordpress.com
142
Rachael Scorer
Untitled, 2015
143
Nancy Seary
144
Untitled, 2015
Nancy Seary
Untitled, 2015
Untitled, 2015
145
146
147
Joanna Street
148
Untitled, 2015
Joanna Street
Light is a catalyst in my work. I distort the perception and blur the boundaries of a darkened space through
the manipulation of light and sound within it. The lack of visibility and orientation in the spaces I create
challenges traditional viewing experiences and immerses visitors within a constructed total environment. The
perceptual experience of the viewer is integral to my work, and I am interested in how the participants senses
are stimulated. The use of everyday objects, such as cheese graters, alongside other materials and perforated
metals transform and disperse light into new forms, creating unfamiliar conditions that unsettle the everyday
environment. Combining the familiar with the constructed transforms and elevates the mundane into
something more sensational. In encountering this the viewer is separated from the outside world and taken
into a new and artificial environment, shifting the ordinary into the unknown.
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David Thirlwell
150
David Thirlwell
david_thirlwell@hotmail.com | www.coroflot.com/davidthirlwell
151
Character profiles
All players in this LARP will be human beings born in
the mid to late 20th century.
Unlike human beings living in subsistence
conditions in the third world, Players will all be
occupants of the comparatively much wealthier
western world. They will therefore enjoy a relatively
more privileged lifestyle with plenty to eat,
comfortable clothing and access to sophisticated
entertainments.
They will also be politically free and, whatever they
may like to think about their personal circumstances,
any limitations in their social lives will be largely of
their own making. Within the laws that govern our
society and socially accepted norms, they can
choose to act as they please and do what they want.
Roles in the LARP
All Players in this LARP will be assuming the roles of
visitors to the 2015 Degree Show exhibition being
staged by final year Fine Art students at
Northumbria University in Newcastle.
Game Instructions
Players will be invited to wander around looking at
the art on display in their own time. Throughout the
exhibition they will encounter other Players in the
game. How they, and other Players, choose to play
their respective roles will stimulate various types of
Player Interactions.
For example:
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153
Murray Thompson
thompson.murray@yahoo.co.uk | 07738 821930 | www.flickr.com/photos/69478198@n02/
154
Untitled, 2015
Murray Thompson
Untitled, 2015
Untitled, 2015
155
George Unthank
unthankdesign@aol.com | 07547 455194
156
George Unthank
157
158
159
Rebecca Watson
becky_watson@live.co.uk
160
Untitled, 2015
Rebecca Watson
Untitled, 2015
161
Chris Welton
chris.welton@alpha-ra.co.uk | 07581 393001 | www.chriswelton.co.uk
Up to the age of about two years old we are not fully self-aware and cannot discriminate between others and
ourselves. In fact the first lie you tell is an important indicator that you know that others cannot read your
thoughts.
By three years old we begin to have others in mind when we behave, and as we continue to age our selfawareness develops. But we never fully separate ourselves from our surroundings, and involuntarily
behaviours like body language mirroring are physical indications that our identity continues to be
subconsciously framed by our circumstances and those around us.
My artistic practice is an existential journey, which considers how the negative spaces of life - the
surroundings in which we exist and respond to but dont control - define our identity much more rigidly than
any frail, artificial, lines of self-image we might draw for ourselves.
In the context of the omnipresent framing delivered by todays permanent online social connectivity,
moderated by postmodern angst about what we can trust, I investigate presence and the powerful impact of
its absence. I challenge issues of authorship, time, relationships, and narrative to draw attention to our
constant struggle with the morphing spectres of identity, and the unknown unknowns that frame us all.
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Chris Welton
The Stranger LARP is a meta work created for the 20-15 Degree Show under the pseudonym of Visible
Psychology Inc., itself an online pseudo organisational identity ostensibly created to explore human
behaviours and the implications of personal identity.
www.visiblepsychology.co.uk
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Hope Whittington
hope.whittington@btinternet.com
Archive image
Archive image
Dear person,
Yours faithfully,
Archive image
164
Hope Whittington
War
165
Yuanpu Xia
xiayuanpu25@yahoo.com or contact@paulxiaphotography.com |
07702 048135 | www.paulxiaphotography.co.uk
166
Yuanpu Xia
Memories, 2013-14
167
Georgia Young
168
Untitled, 2015
Georgia Young
Untitled, 2015
Untitled, 2015
georgiayoung_1324@fsmail.net | http://georgiayoungart.tumblr.com
Animation is in many ways a less conventional form for an art practice to take. My use of animation developed
from an interest in drawing and image making, the graphic as well as the surreal, and my work has ultimately
became a combination of various styles. My animations often reflect darker ideas around the uncanny but
also some more light-hearted themes. I feel that this mixture of tone and style is important as it allows the
films to move from one process of animation to another. The work uses the movement of inanimate objects
and drawings to explore a fantasy world, frequently without too much focus on a conventional narrative.
Objects and photographs collected from family members feature in some animated sequences but their
origin is not apparent within the work itself. In this way the objects collected are similar to a cabinet of
curiosities, and take on a life of their own within the work.
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Untitled, 2015
Thomas Zielinski
170
Thomas Zielinski
171
Artist Name
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Acknowledgements
The 12-15 artists would like to thank the following for their help and support over the last three
years; specifically for fundraising, the preparation of the Degree Show and the production of the
12-15 catalogue and website.
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15