Elin Ahlberg
Fine
artist from Bristol, working in video and other media to create installations
which explore the human experience of digital technology.
Shared Stuff
Single channel video installation, depicting deficit and
excess through the flow of assets.
Everyday objects transfer between three spaces.
Everyday objects transfer between three spaces.
Digital video. 1 minute. 2010
Elin Ahlberg. Shared
stuff. Digital video still. 2010
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Steve Fossey
My
arts practice is interdisciplinary in its approach, but rooted in site
specificity. I use elements from video, installation, and
performance as supports for my questions. I attempt to capture and
rework observations of everyday life in a process of layering knowledge
creatively as it is revealed. The form of this layering is a
palimpsest of moving image, audio and text that asks the viewer to dialogue
experiences that foster a shared sense of Site.
Berlin - The Space
Between
This video was shot on a train above ground in Berlin. The
experience of being in Berlin contains an inescapable duality of a resonant
past and an immediate sense of an unfolding present. Behind the newly converted
exteriors of buildings that will become apartments, shops and bars, there are
creative ambitions to forge an exciting future that belies the bullet ridden
exteriors that neighbour the developments.
The histories of Berlin fluctuate between the hidden and the
revealed. As one travels between places on the S-Bahn and U-Bahn, a sense of
suspended time occurs as the sound of the voice announcing approaching stations
blends with the hum of the electrics. Shapes pass by and views of the city
formulate histories in the minds of the traveller that produces a sense of
space between points in history. As these sounds and shapes merge, an
abstraction of location is caused and colour, perception, time and space become
a moving image that allows the traveller to be lost in this space between.
Animation. 10 minutes. 2011
Steve Fossey. Berlin
– The Space Between. Digital video still. 2010
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Jonathan Kelham
My
work is based in drawing and spans painting, sculpture and film.
Jonathan
Kelham was born in1986, in the East Riding of Yorkshire, UK. Receiving a BTEC
Foundation Studies in Fine Art from Hull Collage [2006] & subsequently
undertaking a BA [Hons] in Fine Art at Birmingham Institute of Art & Design
[2009], being awarded the Sir Whitworth Wallis Art Prize and Artwise
Curators/British Airways Award. In 2010, Jonathan completed a MFA at BIAD,
gaining a Distinction for both art practice ‘Leaders Of Men’ and research in
the ‘Subjectivity of Utopian Philosophy: within the Realms of the Unreal and
Nobson Newtown’. During 2010-2011, Jonathan completed a Postgraduate
Certificate in Education which included a Research Residency at Meantime Independent
Project Space, Cheltenham, UK on Art & Education’. The ongoing Leaders Of
Men have been exhibited nationally including: Surface Gallery, Nottingham,
Oxford House, London Flatpack Festival, Birmingham & BIAD/The Lombard
Method [for The Event 2011], Birmingham, whilst being printed internationally
in publications including: Yuck n’ Yum [Dundee, UK], Impulsive Random
Platform [London, UK] and Potroast [Auckland, NZ]. Forthcoming projects
include: Leaders Of Men: Village Tour, [2012] Residency, MEANTIME Independent
Project Space, Cheltenham
Leaders of Men
The hand drawn and rudimentary Leaders Of Men Animation
incorporates the development of the juxtaposition through montage of specific
English figures and the awkward, bumbling cartoon characters to develop this
notion of the creation of alternative worlds, narratives, dialogues and spaces
with a concern for a particular sense of the intentionally constructed
portrayal of a romanticised Englishness. Whilst the use of the record by
post-punk band Joy Division [An Ideal For Living EP, 1978. from
which the work takes its name] references another nostalgic and specific
English social and historical period, which provides a potential for creating a
ambiguous narrative or contextualisation of the hybrid characters, generating a
contradictory dynamism to these lumbering figures.
Animation. 3 minutes. 2010
Jonathan Kelham.
Leaders of Men. Animation still. 2010
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Duncan McKellar
My
work is based in drawing and spans painting, sculpture and film.
The
scale of my work ranges from single line drawings capturing a moment to
paintings and sculptures which can take years to complete, acting as physical
and mental challenges. These large pieces form a constant from which other work
can evolve. I find great satisfaction in both extremes, from the immediate to
the obsessive.
48 Hours in Moscow.
A Pantoscope was a pre cinema entertainment device enabling
a theatre audience to watch a continuous panoramic painting scroll by on
tremendous rollers. For hours audiences would watch as scenes unfolded before
their eyes. I created a portable version of this public entertainment device
that uses a ten-meter scroll of cartridge paper measuring 28cm in diameter.
Like handmade videotape, the paper scroll is wound from spool to spool and a
drawing is created on each visible section as it passes by. This device enables
a continuous image to be produced. When the drawing is complete, watercolour is
added from memory and documentation photographs.
The finished scroll is then recorded rolling passed a digital video camera. The animation can then be viewed as if riding the journey, continuing the tradition of an informative, entertaining public travelling artwork.
Animation. 4 minutes. 2010
Duncan McKellar. 48
Hours in Moscow. Animation still. 2010
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Eleanor MacFarlane
Founder of theViewergallery and theProgressiveImage, I am an
artist interested in Moving Image and art contraptions, scientific and optical
ideas, and their meaningful implications.
I have a first-class BA in Fine Art and am currently undertaking an MA. I am an Artistic Assessor in Visual Arts for the Arts Council, an arts book reviewer, an Arts Mentor for the Koestler Trust, and an occasional tutor.
I have a first-class BA in Fine Art and am currently undertaking an MA. I am an Artistic Assessor in Visual Arts for the Arts Council, an arts book reviewer, an Arts Mentor for the Koestler Trust, and an occasional tutor.
X4
Insects behave in ways which reveal deep parts of human
psychology. Motives and anthropomorphisising aside, insects react to forces,
they interreact and respond. They have the basic instincts of flight or fight.
It is as if humans retain a primitive insect part of the brain, and so although
we have a basic understanding of their behaviour, there is an inner conflict as
insects are also linked to our repulse mechanism.
Digital video. 5 minutes. 2006
Eleanor MacFarlane.
X4. Digital video still. 2006
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