StudioBook 2017: Selected Artists
After an unprecedented amount of applications from across the UK, we are proud to announce the 12 artists who will be participating in this year’s StudioBook programme:
Anna Columbine’s practice is process-based, centred around image and object making through photography, drawing and installation. Working in a mostly analogous way, Columbine blends strategies of creating artwork that considers the numerous platforms and spaces that we exist in, including the virtual, the imaginary and the atmospheric.
Her work often surrounds the idea of ambiguity, suggesting a number of themes and ideas that play with space, light, form and colour.
Image: Colour/I like my colour, Anna Columbine, 2017. 35mm film. Courtesy of the artist.
Charlie Franklin’s practice is rooted in the language of materials, and collapsing the distinction between sculptural form and the painted surface. She approaches her work as a series of experiments, where knowledge is gained through doing, to see how colour, material and scale communicate. The act of covering is important to this process, transforming the skin surface of pre-existing forms such as cardboard boxes or off cuts of canvas. These core materials become masked and misshapen as they are coated, collaged, painted or gilded. Transmuting and slipping between categories is central to her research, negotiating the shifting positions between experimentation and ritual, presence and absence, and Minimalism and the Baroque.
Image: SEA SLIP, Charlie Franklin, 2017. Dutch metal, oil, tarpaulin, nylon. Image courtesy of the artist.
Clare Holdstock’s works dissect urban spaces. From these spaces she select objects – such as kerbs, road signs, discarded rubbish – transmuting them into abstract forms. Holdstock is fascinated in the dichotomies as well as the corporeal connections between these objects and high Modernist architectural design.
Image: Periphery series, Clare Holdstock, 2016. Air pillows in Bauhaus colours, ciment fundue and fibreglass. Image courtesy of the artist.
Claire Tindale’s practice is underpinned by a desire to create work which communicates with an audience; the aim being to promote understanding and empathy around a particular subject, or theme. Often site-responsive, Tindale employs variations in scale to explore physical and psychological spaces in connection with aspects of the human condition, and associated vulnerabilities that this can entail. Resultant pieces are, at times, playful, while at others they can be emotive or thought provoking.
Image: In Those We Trust, Claire Tindale, 2013. Plastic, wood, paint, rubber, display case. Courtesy of the artist.
Kwant’s work is an ongoing exploration of the politics of representation. As a multi-disciplinary artist she frequently employs layering techniques; such as incorporating screen-printing and collage into her paintings that re-present and reinterprets the original narrative. For the past five years her work has focused upon migration, and the socio-political effects of displacement. Working directly with asylum seekers and with appropriated media images, her socially engaged practice explores the relationship between the built environment, communities and our personal migration stories.
Image: Fare Thee Well, Elizabeth Kwant, 2017. Household paint, screen print, fabriano paper. Image courtesy of the artist.
Jilly Morris’ practice is concerned with marks that tell a story in the landscape, or moments that retain a physical presence in the human condition; a mapping of memories or moments. Jilly is primarily interested in creating work that is response led to a place, or process driven and researched.
Image: The Writing on the Wall, Jilly Morris, 2010. Stitched newspaper installation. Image courtesy of the artist.
Lada Wilson’s practice is permeated by language and words. Incorporating elements of culture, language and audience, their interweaving explores not only the meaning of words but also their spatial connotations by reworking them as sculptures, performances, artist books and exhibitions. Wilson is strongly influenced by the spaces where her artworks are located. The reconfiguration of space, often not a typical white cube gallery space, is as crucial as the artwork placed within it.
Image: Engraved. Memory. Flow., Lada Wilson, 2017. Still from performance. Image courtesy of the artist.
Libby Scarlett’s practice investigates her own and other’s relationship to home, freedom, movement, change, escape, waiting, aloneness, being held [back], being drawn [back].
Through these themes, she looks at how we connect with others and the environment around us to feel belonging, intimacy and identity. She investigates through participation and experimentation, exploring interventions and gestures to promote interaction with each other and the space around us.
Image: Twizzle Hard, Libby Scarlett, 2016. Still from video. Image courtesy of the artist.
Lucy May Schofield
Drawn to isolated places, spaces that are at once remote or time extending, Schofield is interested in exploring how spaces impact on our sense of dislocation or belonging. Her practice explores language, impermanence, vulnerability and belonging in terms of the cultural narratives we inhabit. Responsive to emotional and geographical landscapes she is currently
developing research examining notions of time, light and space in relation to self-imposed routine and ritual in a series of works relating to imprints of natural phenomenon which, while dictating everyday life, are intangible actions: the move from darkness to light. She is interested in the conversation between the temporary and the permanent, the familiar and unfamiliar, the awkward and the intimate.
Image: The moon and the sledgehammer, Lucy May Schofield, 2016. 15 collages combining silkscreen and mokuhanga (water based woodblock) printing form the portfolio. Japanese kozo and gampi on Stonehenge paper. Image courtesy of the artist.
Mandy Payne is a painter/ printmaker whose work is largely inspired by landscape, particularly the urban and edgeland areas of Sheffield, where she lives. Payne is particularly attracted to locations that are often overlooked or neglected and for the past 4 years she have been exploring Park Hill; the Grade II* listed council estate and one of Britain’s largest examples of Brutalist architecture. Payne is interested in the spaces people inhabit, the traces they leave and the capacity of places to absorb memories and experiences.
Image: Brutal, Mandy Payne, 2014. Aerosol spray paint and oil on concrete. Image courtesy of the artist.
Susan Gunn’s paintings reveal a sculptural physicality that reflect an enquiry into the fragility of their existence.
Gunn’s practice is concerned with the phenomenology and exploration of paint on canvas. She works with raw, natural earth and mineral pigments, and base substances such as chalk, coal, marble dust and organic waxes that are made using her own formulas.
A pre-occupation with the origins and anthropology of colour and naturally occurring substances are intended to trigger notions of life, death and evolution. The works that survive the play of materiality and process are held together in a broken state of suspension.
Her paintings are a contemporary monument to the history of the materials, the ‘objet petit’ of memory, and painting itself.
Image: Lamp Black: Ground, Susan Gunn, 2016. Natural earth pigment & gesso on canvas & museum grade aluminium stretcher. Image courtesy of the artist.
Suzanne O’Haire’s work is a process of defragmenting and re-assimilating the order of the mundane and discarded; creating permanent structures out of impermanent matter. Mixing this with personal narratives informs new objects that contain metaphorical elements. What O’Haire finds – or what finds her – plays with notions of chance and codified puzzles.
Image: micronation 1, Suzanne O’Haire, 2016. Rubble, cast concrete and snowcrete, card, mirror, glitter and found objects. Image courtesy of the artist.
For further information about StudioBook 2017 and the full programme, please click here.