Geraldine McConachie
My work addresses themes of grief, nostalgia and loss by personifying and humanising my coping mechanisms, which is the comfort found in food. The recent death of my dad has pushed me to make artwork that confronts my grief whilst also acting as a therapeutic release hopefully with a humorous result because of the marriage of the absurd and the mundane. I like to use naïve, playful materials that remind me of my childhood, a time of vulnerability and comfort, by recreating specific foods that my dad would have cooked for me as a child, I am taking on my grief through childhood memories and remembering him.
I have a deep, complicated relationship with food, it gives me joy but also sadness and shame, the comfort eating I partake in to ‘cure’ my grief also brings guilt due to the pressures of diet culture and patriarchal beauty standards. By enlarging the food, I attempt to comment on how overwhelming my circumstances can be but by placing them in comfortable, relatable positions I want to juxtapose the relationship I have with food, so I can ultimately be in control of my feelings by protecting what protects me.
Caitlin Callaghan
The toilet is a piece I made for a group show in the Old Police Station in Deptford, London. Around this time I was putting on exhibitions in toilet cubicles and in general working round toilets, hence this sculpture! I enjoy just taking time to have fun with different materials and making new things.
In this image of myself you can see me looking rather moody and holding my most recent sculpture titled “This is Not a Football Scarf” which is a large woven sculpture made from recycled football tops. It aims to highlight the toxic masculinity in football and football linked sectarianism in Glasgow.
I mainly work with textiles and I enjoy weaving and knitting. My last show pre covid featured a 2m tall hand built frame loom with over 80 meters of hand spun flax yarn. As someone who loves working with textiles I wanted to try out the actual making process of fabrics and explore more traditional methods. This was something a bit different for me and though it was a very lengthy process, I learned a lot of new techniques from it. The other pictures show more textile works by me.
Niall McCallum
My practise generally aims to engage the everyday experience of navigating subjectivity. Recently I have been interested in the structureof shared experiencesand the precariousness of socials bonds. Through my work I attemptto create “spaces”for exchange, sharing and collaboration as a means to highlight the vital nature of interdependenceand solidarity. These “spaces” invite the participant to consider how space itself could be utilised as a collaborativeconcept which facilitates sociality and encourages connectivity.
Maya Edwards
I adopt a hunter gatherer approach to art making. A semantic magpie who reads objects and uses language like Lego bricks. I aim to punctuate the linguistic landscape with moments of waiting and relativity, using this as a catalyst for poetic and sculpturalhappenings. At best a metaphor, in all things a contradiction, my work exists as acute observations and ephemera with an aim to uncover order and comfort within negative spaces. I want to establish how objects stand in place for us, challenging the sequence of the everyday to occupy the boundary between self and other. Always in series or cycle, closer to madness than reason, I reflect an experience that is personal to me yet universally attainable. Relying on the right degree of wrongness to induce double takes in passers-by, aiming to displace the hierarchy of perception back to the realm of the pedestrian.
Blythe Plenderleith
I am someone who is fascinated with how and why objects are made and in effect how their symbolism is created, particularly those structures used within religion, institutions and cultural identities. Precision and craftsmanship are integral to my practice as I continue to explore materials and their properties. I aim to further my interest into the symbiotic relationship between man, object and the symbolism they create.
Aimée Haldane
From diary entries to dreams, I observe escapism fantasies. I find interest in translating the worlds of the mind in to reality, using processes such as digital art forms and participatory engaged works. The concept of reality and fantasy co-existing fascinates me and informs my practice. My current method of working coincides with the mind’s ideas of escape through play and reimagining. I enjoy working with everyday materials and giving them a new story, which usually takes the form of digital and 3D collage.
To visualise what goes on in the mind I have been using a variety of mediums which lend a hand in telling the story. Recently I have been interested in using digital software’s blurring boundaries between reality and fantasy. I also use a lot of daily use materials in my sculptures to convey imagination in the everyday.
Holly Houston
My work is driven by the response to the ongoing pandemic and maintaining relationships between myself and family in an isolated time, prompting us to sustain contact and conversation in another way through art. In these unprecedented times, I am currently making work by participating in safe collaboration with female relatives by using practices that they have taught me (sewing and knitting etc) and teaching them new ones through fundamental ‘how to’ videos for a full circle of learning.
The woven squares that family members have made are a fundamental factor to this collaborative piece as they represent the relationships we have. It is driven by my interest in fabric and the many processes that can be experimented with it. The final form of this work in progress will take place through an installation with a blanket with the woven squares my family made in the middle of it, allowing me to wrap them up in this way until I can physically again and potentially some embroidered pieces to show the skills I learnt throughout the first lockdown and the verbal conversations my family and I would have had if we were to be partaking in the activity of weaving together.
Nancy Collins
Part of my practice is about working intuitively in the landscape, creating while I go. Being spontaneous and experimental in the field is key to my development process. The research starts with immersing myself in the environment I wish to know more about and I develop a sense of the place through sketches, photos, videos, and sound pieces.
My practice also involves experimenting with the interaction between moving images, objects and sculptures. How can spaces be used to change the narrative of the film, or what is the effect of a projected film on a physical space? In this image the wire represents the surface patterns of the water while a film of water is projected on top. I aim to reflect my intuitive approach to filmmaking in my installations, which try to convey my personal experience of the natural environment through the viewers interactive journey through the space.
Rebecca Ramage
I work in mixed media but tend to dabble when needed in drawing . My works often end up looking like shrines- sometimes intentional sometimes not . I have an obsession with obsession and allow my works to indulge in the thoughts and questions that keep me up at night. Normalisation and the ‘fine line’ seem to be consistent throughout my themes. For the big bang degree show I will be exploring shame and in doing so will hopefully understand my own.
Bella Geldart
Informed by my love-hate relationship with British identity, my work aims to caricature the landscape of contemporary society. I draw upon familiar, mundane rituals and objects that are recognisable from all corners of British societywhich I isolate in their simplicity and theatricality,presenting themas iconography. Through performance I aim to pervert behaviours out of context, attempting to exhibit a tongue-in-cheek regurgitation of the social and cultural fabric of the everyday.
My work is driven by aneed to make sense of my past and present surroundingsthrough humour and parody, using making and performing to explore colour, shape, materiality and costume, as well asa vessel for ideas on gender binaries, rituals, behavioursand hierarchieswithin society. I think of my working process as me chewing up and spitting out all the things I’ve absorbed or been thinking about in my everyday life, whether that be my infatuation with sport wear or a muted memory of my primary school play of the Pied Piper.
I am currently interested in the role sports plays as a theatre of the absurd and a spectre of nationalism, using a simple game of tennis as a structure within which to investigate ideas surrounding play, applause, win and lose,and patriotism. Working across the mediums of sculpture and performance I use the video camera, costumes,props and drawing to find form in relation to a particular site and context, investigating the relationship between live and recorded and the negotiation between improvised and directed.
Alice Peacock
Hey, I’m Alice, a 21-year-old artist from Surrey. My fears include late capitalism, herds of cows and weird men. My likes include swimming in oat milk, having beans poured on my head and dressing as a telemarketer.
My work revolves around the uncanny, playing with emotions like shame, homesickness and anxiety. I make sculptures and performances. My most recent work is a collection of Beanie Babies with real beans inside.
My work is also best that has ever existed and will ever exist… I have stuffed bears with beans, stuffed bears with toilet roll and stuffed other people mouths with crisps. I like to work with food, fabric and wood.
This writing has been fact checked by the BBC and have found that it is 110% legitimate.
Molly Stubbs
I use my hands and the practical skills that I have acquired to capture the foundations of my heritage; the bridge formed between my industrial make-up and the entering into a conceptual art environment; contrasting a definite, methodical and practical character inherited from generations of miners and a childhood situated around a working dockyard.
This bridge is materialised through the building of machines, using traditional, engineered planning to arrive at kinetic sculptures with alternative functions, mechanised by audience interaction which is paramount to the function of the work. Gears, cogs and wheels, from blue prints, etchings and drawings, informed by monologues, photographs and film.
The final form is often a contrast of wood and metal, soft against hard, natural versus mechanical; a contrast I find myself between. Whilst the contextual background reflects my own families landscape, the final work refrains from an explicit narrative, and I hope, remains open for interpretation.
Mel Chuaiprasit
My practice hopes to explore how sensory and material experimentation, rooted in traditional artefacts and practices, can help to understand ideas about cultural heritage and belonging, particularly as someone of dual heritage. I want to use traditional techniques as a framework for examining memory whilst playing with material to create physical displays of the mixed Thai and British culture I exist within.
The focus of my work is often on playing with the process and filtering my own experience through it, instead of technical accuracy. I would like to create objects of a shared history, a display of gratitude from me, to all the people that allowed me
to exist within the context I am currently living.
My current project is embroidering for the first time, on a 6 metre long piece of hand-woven fabric, telling a story of my parents and our family. I hope that my work shows the time and care involved in the process of crafting, along with the excitement of learning and the enjoyment of making.
Scott Pearce
In my art practice I often navigate the balance between the contrasting parts of myself, that maybe don’t easily fit into any pre-existing stereotype of either “artist” or “working class male”. I am interested by the relationship between place and self, where I come from in relation to what I am doing, and the sensory nature of memories that we attach to spaces. I often use multiple mediums when exploring ideas regularly adopting photography, video, sound and installation as primary means of exploration.
Erin Hephzibah
Folklore, fairytales, and mythology have been major influences on both my artwork and song writing. I have been obsessed with dinosaurs and fossils since I was a little girl and at five years old, I proudly declared, “when I grow up I’m going to be a singing paleoartist!” “The Extinction of Folklore”, my third year project, shows a pink, fleshy, Kelpie skeleton crawling from a pond. This piece was the most fun project I’ve ever had the opportunity to create; it ignited childlike passion in me and I found myself discovering a lost world full of fantastical, terrifying creatures. During the piece’s exhibition, it was broken and thrown apart by a man who claimed the work was vandalism. At the time I was heartbroken that my Kelpie skeleton (affectionately named, Feline) had been destroyed. However, in hindsight, I believe it adds to the work. Here I am, an imaginative little kid creating folklore, and another person destroys it – it truly is the extinction of folklore.
Over the past few years, I have slowly began engaging with activism art. My younger sister has multiple chronic illnesses, which have had a considerable impact on both our lives. The first piece I created with this focus, “A Painting of Fainting”, highlighted the physicality of her illnesses. In this work I was able to put myself in her shoes and experience the impact of my body continuously hitting the floor – I dislocated my shoulder completing this work. The prints were shown on the floor, allowing the audience to observe, avoid, or walk over; those who walked over the prints demonstrated the common perception of my sister as invisible and the lack of help, support, and understanding she has received over the years from medical professionals, friends, and the public.
Following this project is my current degree show work, “49.5kg”. This performance work shows my sister engage with the personification of her illnesses and more specifically her new diagnosis of Hypermobile Ehlers-Danlos Syndrome.
Antony Lucchesi
My work focuses on Digital Art Practices, Animation, Image Making, Music/Sound Production and Making Interactive Digital Environments. The work is presented directly as works of digital art where elements of glitch and technical failure are celebrated in the way other artists would celebrate inconsistencies in paint and clay. I want to capture how the real world is reflected back to us through a digital lens.
The blending of physical and digital art making is present in all of my works. I often start by making work using physical media such as sculpting, photography and drawing, which are then scanned digitally to be worked with on 3D programs.
Working in this way offers the opportunity to change and augment objects to create alternate digital versions. By doing so the work created is allegorical for the transition of many aspects of our lives going from physical to digital space and the resulting anxiety of the unknown that can exist as part of this process.
(see full videos @antonylucchesi)
HUSS
HUSS finds the importance to use his work as an instrument to spread awareness about major issues originating within the Middle East which western society don’t acknowledge. Huss investigates concepts such as racism, ethnocentrism and xenophobic behaviours, his own identity and the stigma of mental health in Arab communities. His main source of influence comes the conflicting emotions felt for both the countries he resides in, his culture and his personal experiences.
All my work this year is focused on vulnerability in Arab communities and stigma towards mental health in the Middle East. After putting myself in too much of a vulnerable position with previous works, I have been exploring different ways I can create safe spaces through my performance/installation work. For my final term, I am working on a short film titled “Battle of Tranquility” which is a film where beauty is contrasted with chaos and how in my world, they bizarrely blend in. It is a film about conflicting emotions a lot of people can relate to on different levels. This piece feels like closure to me.
Luke Andrew
Through my practice I hope to entertain people by bringing to them new stories, shown to them in ways they haven’t seen before. I look to challenge myself by seeing if it is possible to capture my love of the city I grew up in, the jobs I’ve worked and the places I’ve roamed while maintain the faults in all of it, as I believe that’s what makes these experiences worth portraying.
I am currently developing a new project centred around portraying human progress, the past, present and future through the use of collaged magazine images on windows. Most recently this has led me to the use of phone box windows, a medium that has allowed me to put my art into the city for the first time since Covid began.
Simba Tharun
Growing up as a brown man I feel my experiences have differed greatly to those of a white person. Sometimes positively, often negatively. I am influenced by experiences that I face as a young brown man in society. My strong multi-cultural backgrounds allow me to appropriate creative processes in my work. Identity is a key focus and interest throughout my work. Currently, the idea of symbolism is what I am inducing in my work, it allows me to create work which is vibrant,and a sense of remembrance. I am a product of my environment, therefore the work I produce is a reflection upon the experiences and struggles that I face.
My creative processes tend to overlap with the final work, in terms of the decisions that I make during the processes is what fuels my obsession in producing the work.Methods that are set for a precise goal is the complete opposite of how I perceive and use “methods” in my creative process in producing the final work.
Samantha Clark
The intentional utilization of the mirror as a material within my work, is an exploration of me seeing my place in the world as a woman through fragmented self-portraits, within a North Eastern life and in a post-industrial town. Based upon reflection, mirrors, windows, fragmentation, self-portraiture, representation and framing images within images; the multifaceted photographic work is an ongoing project and is mostly based in Middlesbrough my hometown in which the series were made/are being made. 35mm film is used to make the images.
A question I’m exploring, and I find cool: “Is it a mirror, reflecting a portrait of the artist who made it, or a window, through which one might better know the world?” –American Photographer, John Szarkowski.
A lil extract taken from my dissertation titled “The Mirror as A Window: Mid-Century American Women Photographers and Self-Representation”
“But what does it mean to utilize the mirror as a medium to construct a self-portrait? I have mentioned the immediacy that comes with the mirror, the direct instant encounter of oneself that is seen through it, so the women that used the mirror; they had a sense of what the image would look like before processing. This perhaps was their way of having control over the final image, looking through the viewfinder, through the mirror, to reveal the self, to construct their image. If we think of looking into a mirror at ourselves, that is to us, what we look like, so by using the mirror to self-represent the image maker maybe wanting us to see what they see, see how they see themselves, themselves placed in their own world.”
The photographers I discuss within this are Vivian Maier, Diane Arbus, Florence Henri and Dorothea Lange. Apart from being a pure stress writing it, it seems to have informed my current project massively.
Tilly Prentice Middleton
I’m interested in visual culture being created through user generated content on the internet, visuals collaging as we scroll (of course accessibility only stretches to people who have internet and a device). I’m interested in play and how this exists within the blur of digital and physical; I think about how to encourage exploration, play and misunderstandings: misunderstandings creating new thought processes. I collage sound, digital 3D, tactile technology and video. This layering makes what was previously unimagined now form the beginning of imagining, play created through imagination, objects, and self, temporarily coming together creating a specificity of time that can’t be repeated. My work usually takes the form of an installation, the core being the tactile interaction or bodily interruption of the viewer, for people to be able to explore and play, the viewers touch (physical or digital) shaping the encounter.
Beth Anderson
My practice involves formingworks of suspension, worksthat presentopportunityfornew perspectivesupon approaching reality, for myselfand for the viewer. I’m interested in manufacturing moments in which the viewer is solidified asthe protagonist. Whilst being able to revisit integral spaces and aspects of my identity, as well as improvised techniques,I have been delving into ideas of memory, spirit and belief in a visually based world.
Remi Tohno
I believe art is salvation.
Sometimes we feel life is hard.
But we can receive the sense of security,
the echoes of your invocation and warmth from the art work.
My work centres around themes of emotion and memory, exploring personal and collective anxiety and trauma, aiming to draw between the personal and the universal. Influenced spiritual practices such as Buddhism and Shintoism, as well as Romantic and Abstract Expressionist art traditions which adopt simplicity and minimalist expression. I am interested in the process of conceptual art and its relationship to the spiritual. My work endeavours to create a void and a space where the viewer can explore the quintessence of the work in relation to their own emotions and experiences. Here the work can be experienced as meditative and therapeutic. The works with a variety of both two-dimensional and three-dimensional processes, often using photography and text. The result is often presented as an installation. This involves playing with the space and allowing the viewer to be immersed in the work.
Exhibition at. Home project is a response to how Covid-19 affects the world at the moment and how as an artist, I can continue to develop my practice. I am literally carrying out an exhibition at my house in Tokyo (and hopefully in Glasgow). The idea of the exhibition at home came from Bachelard’s The Poetics of Space, in which an inner space like a house is considered a kind of safe place in which we have all had to retreat to during the national lockdown. Having to stay at home, I have had time and space to reflect upon previous works. I noticed how my artworks and their reality can be changed in a new context. My work centres around themes of emotion and memory, exploring personal and collective anxiety and trauma, the hiddenness and personal nature of the domestic space relates back to these themes and aims to draw between the personal and the universal. Because the viewer will not be able to visit the physical exhibition, this project’s outcome will be shared in the form of an exhibition catalogue
Emma Read
My practice usually sits within sculpture and moving images but has shifted massively during lockdown where I began to delve into writing. I wrote about Functional authenticity, the idea that when we functionally fail we are brought closer to the authenticity of the things around us. I was making a case for functional actioning transcending notions of concept and boundary.
This has influenced my practical work this year, where I have set myself up for my own functional failure. I’ve given myself a task to create a new world for my work to belong within. Under the title ‘Exercising existence’ I delve into science fiction and create props that help me navigate this new universe. I insure chaos into my world by setting myself up for new types of failure with varying tasks of difficulty. For instance I make a canal boat and test its floating ability for it to get stuck in a duck pond. The chaos from this failure then follows a scene where I wash the canal boat, as duck pond water seems to be mostly duck and less pond. Without a motor for the canal boat to navigate in the pond I found a new way to simulate a boat’s movement and make it a skateboard to sit on. The Skateboard fails to keep the boat upright and so I make a rig for it to swing. Decisions in my world become untangleable from the failure that came before it. I like to think that my alternative universe is the product of these failures.
Jason Richardson
My practive largely involves using found or recycled materials and working in a way that brings something new out of those materials. Texture and form are the main consideration when making, and I try to trust my artistic instincts and keep a sense of fun or play in the works.
Bella Hansard
Whilst living in Glasgow, I have witnessed how socially driven projects positively benefit the broader community through alternative practices; I see them as essential disruptors to the systems that govern our society. This makes me both hungry and excited to engage in a radical change in this city, and other places throughout the world, by using a different way of creating and being inspired by the thriving community work around me.
These projects made me realise that, within my practice, I want to activate forgotten spaces within the city and use disregarded materials to temporarily intervene with their narrative. Through sculptural play, with forgotten materials, I will explore, appreciate, and share the wider environment’s historical, political, and metaphysical context.
I will always acknowledge that my work will not be permanent. It will just exist for a brief moment in time and, by no means, will have more value or purpose than any other aspect of the environmentin which it is placed. My work and practice will always be developing and redirected. I aim to learn, to explore, and to be a part of a community that is much bigger than me.
Maya Fleury
I’m interested in the collision of objects and bodies in space. A method whereby all the senses become enmeshed and memory is the sixth-sense. At the foreground of my work is an emphasis on personal, local, and universal mythologies. Coincidence and superstition inform narratives about a place and its objects, sounds, structures, bodies. I like to assemble alternative fictions using ones that might already exist.re-processing elements of an environment in site-specific contexts. An approach that involves feedback loops rather than linear histories and timeframes.Images are usually central to the development of my inquiry; a visual field trying to become haptic.
Marie-Claire Lacey
(for me) art is anything that sees or does (or doesn’t do) things differently from the way things are done. For me, at the moment, doing things differently involves presence, connection, physicality, the unconscious, slowness, being rather than doing, community, rejecting the rigidity of principles, embracing contradiction. I want to try to untangle difficult realities with a view to nurturing a life that’s easier, richer, freer, fuller and more joyous.
I have to admit that I’m generally very bad at upholding these ideals. Which is why they’re my ideals.
I normally make things that: are multi-faceted, use multiple media, are complex, speak to emotion, deal with issues, engage the body, deny the idea of single authorship.
I want to make ‘things’ that: begin and continue with imperfection, are honest, don’t conform (and pursue finding out what that means), are emotional, are physical, are communally authored, really speak – something of me, to other people.
Salvatore Capuano
I am influenced primarily by my cultural heritage and displacement as an Italian living in Scotland.
However,I find myself in a state of “suspended balance,” between two worlds in which I have had to adapt myself to change.
This change is reflected in how I relate to my world, my culture and in how it has impacted my art.
My personal experience has been the main inspiration for my creativity. Bridging a gap between my background and the Scottish culture was hard at first to accept but gradually my new environment opened many avenues and many possibilities in forwarding myself as an artist.
Tatiana Robb
I’ve been exploring religious concepts and grief as my work has always been a way for me to sit with and process different experiences. Within this, I currently wish to explore home environments as they allow us to understand our past present and future objects as one.
Currently I’m working on a series of mosaics made from smashed printed tiles depicting objects from mine and my grandmothers houses. Through this I wish to metaphorically paint an interior image of us together and honour the objects that live beyond them.
Olivia Topalian
This year I have been exploring the expectations an audience will automatically attribute to media, most specifically television. We never get to taste the food being made on a cookery show, yet we assume that it will be delicious, we watch the news and expect disaster, and we apply the same contextual patterns that we have been exposed to since we were born to everything we see.
Through performance to camera work, editing techniques, facial prosthetics, QR scanning and home-friendly sculptural workarounds, I aim to visually articulate the natural human instinct of assuming a narrative by providing the audience with slices of information. This will be done by simulating channel-flicking, an activity which U.K. viewers invest an average of 40 minutes per day into, amounting to one week of browsing per year.
This piece is comprised of three programmes and five adverts. [Programmes: The News, Documentary: Living with My Clone, Off the Map.] [Adverts: Dinner Sauce, “What’s That?”s, The Body Language Guide, VPRD painkillers, Cough Bags] Each programme and advert will be shown in segments and will be available to view in full via QR codes onscreen.
Alex Porter
My workspace is the site, using space and its ecological and cultural narrative as my main medium. I am interested in how ‘other’ underused spaces can be loosened through interventions, like transgressive rituals and street theatre, which explore the fringes of ‘other’ space and question its purpose in the modern urban landscape.
Taking inspiration from the multi-faceted histories of post industrial sites, I have been exploring how performing queer interventions can soften the industrial nature of the wasteland.
Recording and archiving the cultural and biological histories of these landscapes in flux, I aim to provide a memento, commemorating the wasteland, highlighting its ecological importance and preventing it from fading from local memory. Signposting the land through mementos and independent sound recordings, I intend to build an archive commemorating the heritage of industrial lands and their people.
Zara Smith
Third Year became an exploration of the natural environment which brought the use of ‘wild clay’ into my practice. I dug up the ground, processed it into clay then made vessels which were left un-fired and returned to their original site in a subtle performance of their demise back into the land. This ephemeral work sought to highlight the transience in nature within the cycle of life.
Most recent work ‘Mother Plant’ explores themes of impermanence, grief and connection by using a cutting of a spider plant that I was gifted from my late mother. Taking cuttings from the plant, making pots to re-home them and passing them on to a web of participants with an invitation to share cuttings back to me in the hope of making a larger web of connections. The ephemeral nature of this work exists in the reliance of others and in the flux of impermanence within nature.
My work has become heavily process based and I am interested in the meditative process of making while exploring the properties of different clay bodies and the ritualistic nature of alternative firing techniques.
Francisco Llinas
My work examines notions of migration, Latin American identity, the Bolivarian Diaspora, and the elaboration, performance and representation of cultural difference.
While resolved pieces often takes the form of installations and participatory art, my making process explores a breadth of media and techniques; starting with annotations, drawings and film collage, which are later translated into large scale sculptures that can feature smell, sound or food. Such a multidisciplinary approach responds to myinterest in liminality as the space where identity is negotiated.
Similarly, an important part of mypraxis is the development of socially engaged art projects responding to ideas of cultural belonging and representation, de-colonisation of cultural spaces and stories of migration.
Paria Moazemi Goodarzi
My work revolves around cultural and political transfers and translocations, the idea of contemporary human condition, cultural identity and political issues that resulted in an ambivalent coexistence of civilised life, conflict and displacement respond to contemporary, cultural and political aporias.
I examine the hybrid condition of our society and the processes of formation, performance and representation of identity through a multidisciplinary practice that often takes the shape of participatory and socially engaged artworks.
As part of my initiative practice, I focus on ideas of cultural appropriation and belonging by altering the meaning, function and contexts of cultural identity to shed light on dehumanisation democracy, equality and inclusion on the migratory process
Edie Preece
My work goes under the name of the secretgroundsman:
Pitches that can regain function Pitches that have gone beyond function Spaces that can become pitches
Impermanence of the built environment Gaps in the cycle of utilisation Slow time Open systems, open spaces Observed Passerby
Potential of such spaces, and the possibility that any member of the public could reactivate/ change/ call them to attention. Why has it not been maintained? Who should maintain it? Who has the means to maintain it? Is this public or private land? Who has the right to change things in spaces? Why would they decide to do that?
Act on space in the city
Fourth Year Sculpture and Environmental Art 