Professional Documents
Culture Documents
Foreword
Harland Miller
Foreword Foreword
most galleries, The evening previous, I had been involved in a car I felt a reproduction of the work would transcend to this day,
critics, curators, crash – a very near thing – a truck driver who had all of this, not necessarily now but in time, however I still have a
and collectors stopped to see if he could help and who had there was something more as well; I’d grown up in more intimate
witnessed the whole thing had called it ‘a miracle.’ Yorkshire, where I hadn’t really been able to
collectively upheld experience art, except though books – and, to this
relationship with
the patronisingly Far from the ‘I’m just glad to be alive’ type feeling art through books
day, I still have a more intimate relationship with
romantic attitude I thought this might have left me with, it had for than standing
art through books which you can pour at home,
me suddenly redoubled a feeling of the importance
that you had to while propped up in bed for instance, smoking, in front of it
of having a means of outward expression – and, at
suffer for your art than standing in front of it in a public gallery,
this precise time, for me, the most important area
surrounded by people and watched by attendants.
in the whole building and probably the whole
world was two floors up, behind a window I’d just I think this was also because of the then gulf
cleaned to let in light upon my ‘space’ and – My between the fantasy and the reality of success, that
show – that which represented the culmination of which F Scott Fitzgerald writes of as being the time
three years work, and its potential direction – most “When the realised past and the hoped for future
of all its potential direction. mingle into one gorgeous moment, when life is
literally a dream.”
It wasn’t at that time standard for there to be a
catalogue accompanying student shows and I believe
it was the first time there had been one, and that
this was considered by some of the older tutors to
be premature. Unlike America, the prevailing attitudes
towards young artists at this time in England seemed
to be that they were almost inconsequential, and
though this was happily about to change in a
massive way – it was just then extant in the attitudes
of most galleries, critics, curators, and collectors,
who collectively upheld the patronisingly romantic
attitude that you had to suffer for your art. That it
was presumptuous and jumped up to want to
exhibit or see your work reproduced.
I remember thinking the inverse – that the catalogue
was more important than the show. It turned out
not to be of course, but perhaps I was already
thinking in terms of a lasting documentation of the
course, as opposed to a show which might go up
and come down without creating much of a stir or
ripple because it was unfashionable say, or out of
the loop, and for which you may yet subsequently
still get a third, or a fail.
11
Introduction
Jane Lee, Course Director
Title?
Jo Morra
? title ?
The Artists
this year’s The die has been cast, and once more, the students
graduating students have succeeded in writing remarkable theses. In
have challenged these texts, they have interrogated, complicated,
explicated, disputed, – at times with breath-taking
each other and facility, clarity and ease – what it is that excites and
us, and made us motivates them as practitioners. These students are
all wise to other risk-takers. In their written work, these burgeoning
ways of thinking artists ‘use’ and ‘abuse’ theory: they deform,
transform, distend, and curtail it: they love it and
loathe it in equal measure, perhaps that is why they
are so often so provocative. And then, as if this is not
enough, they go on to paint, sculpt, perform, draw,
photograph and make films that examine, express,
and critically interrogate their material and
theoretical concerns as visual artists. In these ways,
these individuals articulate their practice and the
critical awareness that they bring to cultural
production. This possibility, this space of negotiating
writing and making, words and images, the verbal
and visual, is what makes an art school environment
the uniquely privileged place it is for its staff and
students alike.
Throughout the past three years, this year’s
graduating students have challenged each other and
us, and made us all wise to other ways of thinking.
They have brought with them their new vision and
insight into what the future can be, what it can look
like, and what we can experience in it. Their
enthusiasm for living a creative life rubs off on us
all, and we are appreciative. This is the crux of what
it means to be in art school: what makes it more
than worthwhile, and nearing a necessity. And why
there is simply no place like it.
This year, I am certain that our degree show will be
another success: and with that I wish the class of ’07
the best in their future endeavours.
17
Guven Akkir
+44 (0)20 8482 6525
+44 (0)7944 947 561
akkir12345@hotmail.com
Unititled
Oil on canvas
30 × 24 cm
18 19
Volvo plus amplifier and Holiday in the Woods with Birds above Stills: Yellow Brick Road, You Must Dance To My Beat & Through The Mind’s Eye
Video Video
Dimensions variable
24 25
Removal. Untitled
(Part of an ongoing series of work entitled Emergence and Removal) Oil, pencil on linen
digital photograph 20 × 20
34 35
Sweeping/mopping ‘How to Time Travel’ from the series ‘Utopia, closed at weekends’
Performance: October 2006 2007
mdf, pine, glass, gloss paint, poly prop fiber rope.
400 × 490 × 110 cm
40 41
Yellow Pages
Video Still time machine (mission 0144)
1 Lloytron Hairdryer, Blue, Brought From Shepherds Bush Market. 1 Moulimex Food Blender,
10 - Year Beige, Stolen From Mothers Kitchen Cupboard. Small Fold Away Stool, Borrowed
From Kenny. Stack of Yellow Pages 2005–2006, cut down to 5cm by 5cm on band saw
46 47
Chewingun Untitled
2003 Black pen on paper
medium: Beretta Gun + chewingum. 11 × 9 cm
size: real size
50 51
Perplexity Skin
Still from animation Oil paint on canvas
122 × 91.5 cm
66 67
Untitled Untitled
Video Still Photogram
78 79
God
Photograph
150 × 100 cm
80 81
Untitled Untitled
Image w38 by h40 Oil on Canvas
Oil on wood 12ft (365.76 cm) × 6.5ft (200cm)
84 85
Picking Fossils Audio Journey from Charing Cross Road to Bloomsbury Square
2006 2006
Installation detail DVD Projection
Dimensions variable Mins., secs. 120 × 150
cma
90 91
Substrates IV Photograph
Oil on board
10'' × 7''
92 93
Untitled Untitled
Photo, light passing through water Digital Print
80 × 50 × 50 cm 84 × 40cm
94 95
Untitled
Oil on Canvas, 240cm × 120cm/94.5ins × 47.25ins
bottom top
Nan’s House Colin’s Birthday
Oil on Canvas Oil on Canvas
63 × 45cm 73 × 52 cm
102 103
‘Lost: Where has the way that I was going gone?’ Photograph from series: every day, same window, same time, december 2006
Inkjet print
site specific display – A4 (21 × 30 cm)
106 107
And so trying to read is a lonely thing, eking out circles and trawling Untitled
up the dredgethread that breaks on cornersharps and comes loose. pen on paper
artist’s book 237 × 84 cm
21 × 130 cm, 60 pages
108 109
Stupidity highs and special effects and lucky pulls and romance (the miscellaneous Fixed (2007)
and sophistry) Digital photo still from film of the same name
112 113
Self-portrait no. 16 GQ
Pastel on paper
310 × 210 cm
116 117
Smoked
Acrylic and oil on canvas
150 × 190 cm
132 133
Shadow Punch and Judy puppet show and if you look closely
Acrylic on canvas mini Sofie and Vic hanging in the background!
102 × 76 cm
136 137
Rehearsal Untitled
Video installation Photograph
w 34.11 × h 51 cm
141
Acknowledgements
“My favourite shop in all the world” – Eduardo Paolozzi
Matthew J Clark 39
Helen Elizabeth Cocker 40
Benjamin Cooper 41
Sarah Cooper 42
Reuben Cope 43
Michael Costello 44
Anisa Sarah Hawes 72
Bi He 73
Katie Henry 74
Stephanie Herfeld 75
Kate Hickmott 76
Lauren Hitti 77
Mark Coutts-Smith 45 Charlie Hugall 78
Julia Crabtree 46 Hass Idriss 79
20% student discount
Helenie de Souza Jensen 47 Polina Ivanova 80
Daniela Di Donato 48 Carolyn Jackson 81
% A R L H A M 3 T 7# ( ,' Marina Doritis 49 Nick Jensen 82
D OVE R B O O K S C O U K
144
Index of Artists