PAMPLEMOUSSE

Fine Arts BA(Hons)

Graduate Exhibition

15th - 31st May 2014


York st John University
The New School House Gallery





#NOT
TO
EVERYONES
TASTE
PARTICIPATING
ARTISTS
My work explores and identifies the connection between two-dimen-
sional painting and three-dimensional sculptures through the means
of travel. By the term travel I mean the connection and continuity the
sculpture and painting control through one another. How something
in one space can connect through line and travel within another
space, identifying how the line becomes as important as the sculp-
tures in completing the work.
This work represents breast cancer statistics with light. In a bid to
show the actual numbers that are normally forgotten in attempts to
raise awareness.
A light in the dark
CALLUM AKRI GG
Bl ock
ROBYN ASTLEY
Unt i t l ed
(2)
(20)
www.callumakrigg.com
My current practice concentrates on taboo feminist subjects por-
trayed in a comical context, helping the audience realise the subjects
should be open and comfortable to talk about. My series of anima-
tions cover periods, womens choice of childlessness and sex. The
humour follows an absurd narrative to make light of subjects people
do not like to confront in a social setting.
CHARLOTTE COULTHARD
Laughi ng on t he Ot her
Si de of Your Vagi na
(30)
The work I produce is strongly influenced by the media - particularly
elements from games, movies and graphic novels and I quite often
create my own fan art derived from my favourite aspects such as
Assassins Creed, Batman and The Avengers. My work is a mixture of
macabre, kitsch and illustrative styles, as I adore the idea of fantasy
& super human elements, skulls and the living dead.
SARAH - JO ARCHBOLD
Mar vel Vs DC (24)
www.sarahjo.portfoliobox.me
www.charlottecoulthard.co.uk
A moment can last a split second or a lifetime and it is within these
moments that we are shaped and defined. This artwork exists not
within performance or finality but the moments in between. The
perfomative text offers insight into the frantic and often fragmented
qualities of memories. It s mirrored aspect allows raw honesty whilst
still maintaining distance from the understanding of others.
EMA CLI PSOM
21 Years (22)
My work is motivated by our bodily experience in the world, how
our meaty selves habitually form familiarities. Using film to visually
explore intrinsic textures thinking about things that become so
intertwined with their context that they sink into it, generally unseen.
JESSANNAH COOLI NG
At The Edges (12)
www.emacate.com
www.jessannahcooling.com
Natalies work has always been process-led, and recently this has
come to the forefront of her practice. The primary idea that drives
her practice is making the familiar unfamiliar - subverting normality.
Her recent work explores the dynamic that is created by situating
craft and other domestic activities in a fine art setting. The work
shown incorporates a secondary artistic interest of sensory percep-
tion, whilst taking a tongue-in-cheek look at the idea of the womans
place being the kitchen.
NATALI E ROSE CL ARKE
Food Ser i es I I (23)
The work I produce stems from my love of traditional styled por-
traiture whilst stepping away from seemingly compulsorily norms.
Wanting to show the obsessive & repetative nature I develop when
working with portraiture I have reproduced the same painting over
& over. The time spent with the image allows new depths & levels
of engagement to develop & poses new questions.The childs face in
a school photograph reminds us of the sacredness held in our own
school photographs - hinting towards a reason for the repetition.
LOI S COOPER
Unt i t l ed (26)
www.loiscooper.co.uk
www.natalieroseclarke.com
I enjoy focusing my art on subjects I care deeply for, as using art
aids me in expressing my opinions in a creative form. The work
shown explores the world of animal rights and different forms of
animal cruelty. Displayed in the form of video art, I aim to show the
harsh reality that is animal cruelty.
REBECCA CL ARKE
Unt amed (25)
My drawings aim to capture moments, unique experiences and en-
counters that no longer exist. Based in the simplest and most repet-
itive thoughts where emotion is slightly removed, there is room for
interpretation. Each drawing maintains it s own existence, occupied
within the boundaries of the drawing. From this, relationships are
formed between the works creating a collective and evolving narra-
tive, broadened as more works are added and exhibited.
REBECCA CORNEY
Subconsci ous
(7)
www.rebeccacorney.co.uk
My art practice is a vehicle for materially understanding and artic-
ulating encounters and concepts. Examining nuances between the
production, reception and representation of art practice; making and
research function in a co-dependent duality. This work enters into a
discussion of how art can be understood and re-understood through
representation.
GEORGI A DEARDEN
Li mbo (17)
My practice has developed from studying maps & exploring how they
represent the features of different places that give them their unique
identity. I have used my own travels as a starting point; marrying
together my own representations & cartographic representations of spe-
cific cities. My work considers how the places we visit leave an impres-
sion on us & how we in turn leave an impression on them. Through this
integral themes of travel, exploration & discovery have been broad-
ened, resulting in a reflection on tourism & souvenirs as end products.
ALI CE DOWSE
Gi f t Shop (28)
www.alicedowse.co.uk
www.gdearden.co.uk
Establishing a connection between humans and nature is the sole
aim of Jasmines work. Specifically, her interests lie in the similarities
between humans & trees. The parallels in the way that they grow,
their roots, their branches & their layers, can all be related to that
of human beings. Working to display these connections through her
sculptures, her intention is to provoke thought about growth, time
and lifespan. The idea of lifespan itself; how short it is in the world,
& the beauty of nature as a material are her inspirations.
JASMI NE DEVLI N
Human (29)
My work is based on the ideas & ideologies which are apparent in
the general media & news. I have spent time looking at what is actu-
ally classed as a news story & why it is deemed as a relevant story
to be represented in the press. I have based a lot of the work in the
show around representation in media & what is broadcasted across
all media platforms to the general public.
SAMANTHA DALTON
Medi a Mayhem
(4)
www.jasminedevlin.co.uk
www.samanthadaltonartist.wordpress.com
The human environment expands to all landscapes, both urban and
natural. What I aim to explore in this work is the way in which hu-
man growth and development has encroached on Britains national
wildlife. It is almost commonplace today, to see animals walking city
streets. Managing to adapt and survive in our environment, as their
natural habitats change. It is this adaption and survival instinct that
interests me the most. Would we as humans, be able to adapt as well
to our surroundings if it were all to change tomorrow?
VI CTORI A GATER
We Change.
We Adapt .
We Suvi ve.
T h e E a r l .
(6)
The work I produce focuses on the edges of unrecognisable forms &
how their identity is recreated through reformation & layering. The
ambiguous & delicate shapes which make up these new formations are
fragments of photographs which no longer have any physical indication
of their origin. Looking closely at the edges of each shape you can see
how their raw cuts hold signs of a previous identity. These shards are
integral to my work because it is the use of unwanted material. The
photographs have become the emphasis & inspiration of the work.
AUTUMN GARNER
Shard (11)
www.autumngarner.co.uk
www.vicbua.co.uk
My practice contemplates the significance of initiating creativity by
removing a mark and the possibilities presented in the act of select-
ing and erasing an image. Responding to the objects function and
the physicality of the object, all emerge as valid ways to process a
creative act. This current project explores the transient and endur-
able nature of the art exhibition for both participant and viewer by
using the exhibition poster.
DEBBI E HEPWORTH
Tumbl i ng Man (27)
My work currently explores the materiality & aesthetic appeal of
mundane scrap objects. Experimenting with scrap mental I aim to
highlight the lost beauty of disregarded objects. I intend to play with
the viewers expectations of the gallery environment by appropriating
objects & placing them in a gallery space. Pushing the boundaries of
artistic norms & asking questions about the gallery space, my work
seeks to captivate & intrigue the audience.
AMY HI LL
Dont Forget Me
(32)
www.amyhillartist.co.uk
www.debbiehepworth.com
My practice examines simulacra of objects and the potential they
have in relation to one another; reveling in play on meaning and
slippage of language. My work invites and repels. Working with ma-
terials and themes which are often repugnant, whilst being simultane-
ously seductive.
Through these tenuous, yet dense relationships the viewer is invited
to draw upon their own conclusions which often appear in the humor-
ous, absurd, and surreal.
OLI VI A JONES
BUNGALOW (19)
J.D. works with the muted tones & natural makeup of wood against
the harsh colours, yellow and pink, within manmade materials such
as cellophane and acetate to create an installation piece. J.D. looks
at shape & line interacting simultaneously from 2D into 3D; lines are
made physically & visually from the positioning of the colour, mate-
rials & arbitrary objects within the work - these arbitrary objects are
given meaning from the decision to place them within the work.
J. D. HI VES
Gut l ess (5)
www.jchartist.wordpress.com
www.oliviajones494.wordpress.com
I employ a conceptual approach to my work, in an attempt to un-
ravel and explore relationships surrounding humanistic values, and
overriding ideological structures. Through the methodology of par-
ticipatory practice I seek to break down orthodox categories, and
hierarchies of artist, curator, institution and audience.
GEORGE KI NG
OSKAR SCHLEMMER
pai nt i ng & decorat i ng ser vi c-
es t o soci et y si nce 1938
(10)
Loong Kweis practice is about anthropomorphism & the representation
of animals through bodily & facial features that we can relate to. The
human elements of animals enable us to have an emotional connection
with them. The marks created allow a conversation with the audience in
the expressions & the accessories the animals are wearing.Loong Kwei
likes to include humour in his work because it represents his personality
and is the way he connects with his work. His practice has an interest in
humorous llamas because they are his favourite animals.
LOONG KWEI LEE
Im Ready For My Close-up
(33)
www.loongkweilee.co.uk
The balance; this work surrounds an emotional approach to creativity
& centers on such negative experiences as neglect, desperation &
restriction. These emotional focuses however are met with structure,
familiarity & comfort in some cases. By approaching my work in this
way I have invested myself into a theme of acceptance, making the
best of bad situations & appealing to the sweet tyranny that is our
human nature to want to suffer. This work will surround a contempo-
rary & surreal theme with use of the human form & discarded materi-
als.
LUKE MAPPLEBECK
Unt i t l ed (18)
Lauren works with surfaces and texture building, revealing layers
through cracks and folds. Working with enlarged prints & using
symbols stencilled with black emulsion to represent hierarchy. The
message is to represent the language that is partaken in daily by the
news. This becomes an act of language as a culture, passively read-
ing words from the media that are repeated within a circulation in
society, creating propaganda which becomes believable, but how
much is fact?
L AUREN MERCHANT

(8)
www.laurenmerchant.co.uk
I work mostly with paintings and am interested in how the process
of painting becomes the work itself, as opposed to having a pre-de-
termined meaning. With little or no realist content, and all emphasis
placed on form, any meaning which does emerge is as a result of the
making process.
NI AMH O BRI EN
Pai nt i ngs 1 & 2
(31)
My work is about my experiences within the natural landscape, ex-
plored through paint and acrylic ink.
KAYLEI GH RI CHARDSON
Unt i t l ed (9)
www.kayleighrichardson.wordpress.com
www.niamhobrien14.wordpress.com
Death is imminent. It is the only thing in this world that is a certainty.
Everything else is just a pleasant surprise. Through the combination
of desaturation, muted colour & geometric shapes, I explore the idea
of death & decay from a contemporary viewpoint. Though the idea
of death is one that has been heavily exploited, my practice looks at
the small details of it. I try & find the beauty that comes with these
details, whether it be the delicate cracks in a skull or the muted col-
ours from roses which only exists as a result of rot & decay.
SKAL AWSON
Deat h Cannot Ki l l What
Never Di es
(3)
My work is a large installation piece consisting of a purpose built
room. This room, made of wood with a pitched roof holds a collec-
tion of my drawings and mono-prints. The patterns and shapes which
will form my mono-prints will be a product of my unconscious mind
as I inhabit the room over a period of weeks. Resulting in a room of
drawing which reflects the course of my movements and feelings.
BECKY SI MPSON
Dwell
(21)
www.rebeccasimpsonartist.wordpress.com
I aim to create work that can encompass every viewer. In other
words, create something that everyone can find meaning in. In many
ways it portrays the emotion that I feel without being too literal, but
I also hope that others can find emotion within the work too. This
particular piece embodies that idea to the full, enabling the viewer
to see their own reflection, but hopefully something more. This more
I believe is the true power of a work, and something that is usually
hard to come by.
BETH THRAVES
A Versi on Of Me That
I sn t Af rai d
(16)
My practice involves mixed media photography. The foundations of
my work are based on a selection of old found photographs. I have
used these photographs to analyse the materiality of an image,
through a process of erasing and destruction. By altering the original
form this allows the images to take on a new aesthetic and meaning.
The work is a formal inquiry into image making, breaking an artwork
down and investigating the works quality, surface and aesthetic.
CHARLOTTE TAYLOR
The Mat t er Of Li f e (1)
www.charlottetaylorart.co.uk
www.bethsoniathraves.co.uk
My artistic practice is strictly linked with the process of my research
on I Ching, and provides the basis for my final piece. This takes
the form of an illustrated book containing all the key information
amassed as well my personal experiences and artistic engagement
with this ancient Chinese text. The book will be set within a space
that will enable the viewer to move from a rational stage to a stage
of intuition: to what is undiscovered and internal.
JULI A TRZPI S
Unt i t l ed (15)
A multi-dimensional memory theatre, this light installation presents a
journey experienced in the aftermath of trauma & displacement. Ex-
tensive study into the fluid, immersive medium of film has led to explo-
rations of this, together with that which is perceived to be static - our
foundation, the domestic home. The paper house serves as a catalyst
to points of existence where trauma occurs. Flimsy walls & roof offer
protection from the elements, but in doing so create an unnatural envi-
ronment. As light casts shadows around us, we are invited to interact.
SARA TREW
9. Way Through (13)
www.juliatrzpis.co.uk
www.saratrew.co.uk
The true mystery of the world is the visible, not the invisible.
- Patrick Keiller

4000 Feathers is an interactive piece made to engage the senses.
The work stems from ideas of trying to reconnect with reality. By
using our senses can we feel more human? 4000 individual feathers
have been used to create this piece, like many sensory art works it is
to be touched and enjoyed by the viewer.
SOPHI E WOOLGAR
4000 Feat hers (14)
www.sophiewoolgar.com
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