A R T I S T B I O G R A P H I E S / S T A T E M E N T S
Cinzia Cremona
Cinzia works with video, photography and digital media. In her work there are no certainties and things are often not what they seem. Her practice challenges the conventional approach to identity, morality, logic and domesticity, to reveal fragmented and paradoxical notions. Familiar images and ideas show a refreshing complexity, whilst the power of cliches and common places is acknowledged and revered. Originally from Italy, Cinzia collaborated with experimental musicians in Milan before moving to London in 1998. She graduated from Central Saint Martins College of Art in 2003. Her work has been shown in galleries and screenings across the UK and Europe, in Brazil, the USA and Russia.
Karen D'Amico
A native Californian, Karen D'Amico grew up in the San Francisco Bay Area and moved to England in 1990. Karen studied at London's University of the Arts, Central Saint Martins, where she received a BA (Hons) in Fine Art in 2004. Prior to that she received two HE Diplomas in Art and Design from Chelsea College of Art. She has participated in various group exhibitions and her work has been acquired by Corporate as well as private collectors. Karen's art practice presently focuses on the devising of various groupings and systems as agencies of connecting and interpreting notions surrounding identity/legacy, accumulated histories, and sense of place. By incorporating maps, text, assemblage and the photographic image in her work, she juxtaposes and manipulates objects and images in an attempt to order, contain and re-present them in various contexts. Currently based at Studio Voltaire in Clapham, London, Karen maintains her art practice as well as co-ordinating / curating the UK arm of the 'Travellers Secret Box' project. She also founded and publishes the independently produced art zine, tangent, and writes the weblog, fluid thinking on a regular basis.
Eggebert-and-Gould
Artists Anne Eggebert and Polly Gould make site-specific installations using the media of photography, video, performance, sound, and drawing. They explore the history and architecture of a site in order to engage the audience in a critical appreciation of what may be forgotten stories. They work with collections, museums and archives, botanic gardens and landscapes (both real and imagined).
They began their collaboration in 1999 at the British Library where they installed a sound work around the glass tower of the King's Library editing together extracts from the Oral History collection of the National Sound Archive. Their work In the Botanic Garden, developed during their 2001 residency at Cambridge University Botanic Garden, included video works installed amongst the plant collection in the glass houses, while Transplantation took transformed images of the Cambridge garden to the Royal Botanic Gardens in Sydney, Australia. In August 2002 they were awarded Arts Council National Touring Programme funding for Nature and Nation: vaster than empires. This project, conceived, developed and curated by Eggebert-and-Gould is an exhibition, publication and schools internet project exploring contested territories - geographical and symbolic; place and landscape; garden and wilderness; culture and horticulture.
Between them they have previously shown work in the UK, Europe and USA; Kettle's Yard House Museum, Cambridge; the Pitt Rivers Museum, Oxford; Southampton City Art Gallery; the Towner Gallery and Museum; The Tate St Ives; the Schloss Rheydt Museum in Monchengladbach, Germany; the Maastricht Natural History Museum, Holland; and Jacksonville Museum of Contemporary Art, Florida. They both teach at Central Saint Martins College of Art and Design.
Marjan Hosseinpour
Marjan received a BA (Hons) in Fine Art from University of the Arts' Central Saint Martin's in 2005 and is now based in Birmingham. Her work addresses concerns around documenting the family experience in time and documenting the relative experience of time within the family. Taking photos, albums and stories from her own heritage, she partially reconstructs them as evidence of a past that points to moments frozen in time so that they (and she) can last an eternity. An attempt at controlling the future by controlling the past merges the two into a third space. The act of organizing these photographic fragments posits that there will always be some that resist that order. These extractions--stripped of their original context, often refuse to fit into the narrative that has been created for them and spill out to create a chaosthat is impossible to control.
Sarah Kent
Sarah Kent was born and raised in Scotland, studied for a BA in Fine Art at Goldsmiths in the early 1980s and has since then worked in various mediums exploring her place in the landscape. An insatiable curiosity to know how others relate to their own landscapes has propelled her around the Globe, and these journeys have resulted in shifting perspecties and changing working methods. Her work has been shown in the US and UK. Sarah is currently studying for an MSc in Architecture: Advanced Environmental and Energy Studies at the Centre for Alternative Tehnology with a view to making a house in Sutherland.
jonathan Lockwood
Jonathan has been working as a mixed media artist for over 10 years. His work has developed progressively from painting and sculpture to site specific sculpture and documentary /performance and video, to live streaming media. His work documents an instant, a journey or intervention. The means of documentation becomes a reference to the media being used; for example, photography and video. Artifacts used in previous works, such as sketches or created objects, also feature in his pieces.
Ivan Pope
A Fine Art graduate of Goldsmith's and noted for inventing the world's first Cyber-Cafe at London's Institute of Contemporary Arts in 1994, Ivan uses a variety of methods to articulate his ideas in his Brighton-based studio. Exploring the themes of tempo and psycho-geography, Ivan's work comments on the ways in which we conceptualise and study the history and inter-relationships of things in the four dimensions of space-time. As such, his work is difficult to categorise, crossing over and often intermingling the boundaries between cyberspace and the tangible. Ivan also holds an MA in Fine Art from Brighton University.
Ettie Spencer
Ettie Spencer is based in Scotland and makes, usually site specific and often non-permanent installations. She also has a background in working in community development when making connections was, and still is, the foundation of her thinking. She is particularly interested in exploring what space is and what it is to have a sense of place. All her recent work reflects this core concern. She believes that, as a society, we have lost touch with where we come from and where our place is in the natural order. In our new 'global' culture, this is reflected in a sense of disorder and lack of common purpose as we increasingly regard the creation of the 'non-place' as a desirable objective. She is interested in exploring how to trigger changes in perception, as a way to liberate us all to reconnect and to re empower. How can the individual make his/her mark and feel the power of and the responsibility for their own lives? Her recent projects can be seen documented on her website.
Walker and Bromiwch
Zoë Walker and Neil Bromwich live and work between Berwick-upon-Tweed on the Scottish / English border and London. Walker and Bromwich work both collaboratively and as individual artists. There practice explores the space between the 'real' landscape and an imagined location. They have previously been awarded the Scottish Arts Council Australia Residency, The Pier Arts Centre, and Grizdale Fellowship's. They are recent recipients of the Welcome Trust Sci-Art Production Award for Panacea a collaborative project devised with fellow artist Michael Pinsky. Panacea venues 2005-6 include CCC and le Parvis, France, John Hansard Gallery and Cornerhouse, England. Walker and Bromwich exhibit internationally. Selected exhibitions include; Somewhere Special, Houldsworth Gallery London, Canberra Contemporary Art Space and Australian Centre for Contemporary Art, Melbourne, Australia; In Search of a Small Planet , for a cross-media art project 'TV Swansong; The Baltic, Newcastle TATE, Liverpool , The CCA Glasgow. Urban Nomads at the South London Gallery, London. Cet été là, Centre Régional d'Art Contemporain, Sète, France.
Daniel Wallis
Daniel grew up in the suburbs of London and has always been surrounded by, and facinated by, council estates, tower blocks and the tarmac carpet of A-roads. Visiting other cities has caused him to analyse their infrastructure and compare the subtle differences and nuances with the landscape he is familiar with. Countryside landscapes with rolling hills, open plains and green fields become, in his mind, covered by high-rise and urban sprawl. For him the city is not a virus spreading out, a concrete expanse polluting and corrupting the innocent, but a vibrant and diverse visual mix of man-made stimuli, that both inspires and drives his work.
Often taking photographs of buildings and spaces and then redrawing them, his practice is cross-disciplinary and incorporates a variety of methods. Drawing on a PDA handheld computer, painting on glass sheets with metallic pens and spray paints, incorporating mapping pens and acrylic paints on drawing film, or using a an illustration programme on a PC to construct intricate repeating patterns based on their structures, his work symbolically represents the city in 2D. The resulting images explore relationships between buildings, wide-open spaces and the overcrowded hubbub as well as how we negotiate our way around this space. In his work, this chaos is reduced to a minimal, symbolic line or mark, a visual depiction of the physical city around us that references formal ways of representing these spaces, such as maps. It focuses on the relationships between viewer, artwork and the 'real' locations.
