The Liverpool Academy of Arts
is a collaboration by the 2013 third year Fine Art BA (hons) students from Liverpool Hope University.
Although collectively bound, each of the artists is individual in their ideas and approach. Their works encompass a wide range of media including paint, photography, film and sculpture. Studio 32 presents the work of these artists for consideration, engagement and investigation. You can see more at their Website by clicking on the image on the right.
Below are two panoramas, one of the private view which was well supported and a lively affair and the other of the exhibition without people so you can get a clearer view of the works on show.
Just click on the image to see the panorama.
Below is a list of all the artists involved. Just click on the name to see their statement and then click on the image of their work to see it full size in our viewer.
The Exhibition is open from Saturday 18th to Thursday 30th May, 12 til 4, Tuesday to Saturday.
My paintings begin from small-scale handmade objects that I make with low-tech materials and processes. These objects inform my larger, two-dimensional abstract paintings where line, form and colour become the dominant content. The paintings are further influenced by Abstract Expressionism and other artists such as Wassily Kandinsky.
By logging and recording via a range of drawings, illustrations and photographs taken from various environments, I attempt to articulate the intricacies of everyday life to gain a greater understanding of my subject matter.
My work is abstract in style, based on the idea of chance and order. I feel there is a beauty and inner consciousness connecting me and my emotion through my work. This is what I term beauty through painting. I create my own ideas of chance by relinquishing all authority over the painting and mark making to create the background. These marks are made by using an unpremeditated technique leaving the marks to chance. Order comes in to play when I use a stencil to create a sense of order in the composition and, the juxtaposition of the opposite reaction with chance and order. This technique is done by using the stencil to transfer paint in the shape of circles or discs of colour to the background created by chance. The discs are various in size and colour creating an interesting composition that creates a conversation between the order and chance technique. I use circles because they are a continuous shape with no beginning and no end that I see as being infinite. Something I associate with chance.
I aim to highlight the growing threat to the natural environment posed by the expansion of urban development. The built environment is expressed through apparently opposing elements; the tension between geometric structures and natural forms. I have explored the presence of these forms in the spaces that they occupy. The work is informed primarily by Piet Mondrian's progression from representation to abstraction and Victor Willing in terms of the placement of geometric forms. The use of line and geometric grids, found in logic puzzles in newspapers, and in the patterned interiors of envelopes has also been significant. A range of media is used, including paint and collage. Paper features in many of the compositions given its association with the destruction of trees.
Currently my work deals with the spirit of space or genius loci, a term first coined by the English painter Paul Nash. The spaces can be natural or from the built environment, real or imagined, small or vast provided they offer a sense of wonder and specialness. I work with a variety of media both in two and three dimensions with each piece informing the next. I am not attempting to re-create these spaces but trying to give the viewer a sense of the atmosphere that appears to dwell within them.
My work involves observing processes of growth and decay and the documentation of these changing states. I have been especially informed by Estonian artist Ene Liis Semper's 'Oasis', Gayle Chong Kwan's waste material installations and Helen Chadwick's work involving the use of meat, hair, bodily fluids, plant matter and other perishable materials. Due to the transitory nature of the materials I use, the pieces physically change over time. This process of change occurs constantly but it is never presently visible to the human eye.
Immersing myself in experimentation with drawing, I have chosen landscape as the model and visual stimulus. I express rhythm and movement through the combination of a variety of media including paint, ink, salt, sand and plaster to bring the landscape into the painting.
My practice experiments with a range of materials; challenging and exploiting their individual properties. By taking everyday materials out of context and applying notions of control and authorship, I explore various approaches and strategies that offer alternative meanings.
My work searches for meanings within the construction of feminine identity and seeks to explore how a masquerade has become a definition of a character. My reference material has been taken from women's magazines, within which I have taken a particular interest in fashion. The props, such as make-up, outrageous hair styles and accessories, seem to embellish the woman to a point of complete transformation. Within my paintings, women have morphed into ghosts. They have been engulfed by the acceptable signifiers that represent 'feminine' identity. I also aim to film confrontations with the public and experiment with extreme disguises and costumes in order to explore what is acceptable within society. My question would be; 'are we using disguises in a desperate attempt to escape from the ambiguity and confusion with our own identities and the multiple personalities that feed ferociously from society's rigid expectations?'
An exploration into memory and its location. This body of work explores memory and location and the effect of time passing upon our recollections of place. I have employed print media to create layered and translucent imagery, juxtaposing compositional elements, alluding to distortions in memory and the transience of 'truth'.
Organisation and chaos. The spontaneous and the determined. Concerns which instigate a dialogue between forms in these paintings. Involving a combination of materials, often hydrophilic and hydrophobic.
Vintage fabric, pattern and colour inform the approach to my studio practice. I make use of collage and paint to express a visual language that juxtaposes and arranges pattern, shape and colour within a process of applying, layering and destroying. I aim to invoke the feeling of the past being reinvented, aesthetically rejuvenating itself and reappearing in aspects of the present.
My work explores self-portraiture but not in a traditional sense. Through my compositions, I aim to pose questions surrounding the representation of the female body within the media and art history and those of feminist theories surrounding 'the male gaze'. Within my paintings I am investigating these questions not only by inserting myself into the media I critique, but also by immersing myself into the process of its production.
My current work explores the aesthetics of landscape through abstracting its forms and boundaries to create new images. Using these elements as a starting point, supported by photography, I create drawings which fuse together or peel away transparent layers of media to highlight texture and form. I continue to explore how I can bring these elements together cohesively and the process remains a crucial part of my practice.
Amelia Lacey has been creative for as long as she can remember. She has A levels in art and photography along with law, sociology and critical thinking. She likes to think about things and create artwork that reflects social connections. Amelia after achieving A levels went on to do a foundation diploma in art and then go on to university to do Fine Art. She consistently looks at ways of depicting the human form while experimenting in art. She can be contacted or viewed via youtube at www.youtube.com/tobiosnmakky.
My work involves the pursuit of the 'sought object' as distinct from the 'found object'. I am a firm believer in the perfomative act of seeking out discarded objects from skips and rubbish bins etc. These objects often take their place within my time-based sculptures in an attempt to reintroduce unwanted things into transient happenings and are employed for both aesthetic and existential commentary. The work is influenced by observations of cyclical patterns within the natural world and how, through these repeating patterns, we can measure time in parallel with our observations of fleeting beauty.
Painting, photography and video work exploring themes of memory & landscape.
The human form and the urban environment. Using the body with ideas of landscapes, exploring contrasts between the energy of the city environment and the textures and surfaces of the human body.
Highly engineered structures, such as bridges and pylons, are currently informing my work. I have been investigating, through a controlled and layered application of paint, how to transform these visually dominating three dimensional objects into two dimensional surfaces, through the careful selection of colour, line and composition.
Through the use of sculptural forms and quotidian materials such as cloth and clothing, I make objects which are informed by themes of entrapment and domestic abuse.
Installation and photography. Dealing with paper as a raw material, I bring the familiar and everyday into focus.
My work explores the way social culture reproduces gender cliche's. This motivates the female audience to conform to what is considered the 'ideal female beauty'. I attempt to represent to what extent women undergo to conform to this ideal through cosmetics, supplements and plastic surgery. I often deal with elements of body horror; raising questions as to what is considered to be beautiful and grotesque.
I am interested in the body as the subject for my practice. My work primarily deals with exploring the figure, its natural forms and condition, through various media but particularly paint and the discipline of drawing.
Recent work has taken the body as its starting point, initially explored through objective drawing and life class. Later works have dealt with the interior and focus upon cellular structures, particularly those which do not follow typical patterns, such as cancerous cells. I am intrigued by the fact that such a dangerous and life-threatening disease can simultaneously be very beautiful.
Mid-twentieth century artists such as Barbara Hepworth, Henry Moore, Alexander Calder and contemporary artists such as Tony Cragg and others, have informed my exploration of the effects of light upon three-dimensional form. The use of negative space within the sculptural object has led me to consider the view beyond the object as part of the work.
I have always valued maps. The process of exploring and visualising topographies, natural forms and landscapes, then producing them in a form which captures their spirit is fascinating and satisfying. This aspiration to 'map' is at the core of my work, whether it be the internal architecture of the human head or the physical geography. Peeling back the layers to expose the hidden natural world is a recurring theme. In this context I have appreciated and enjoyed the opportunity to work with scientists and working alongside a student radiologist allows my work to progress through the scientific element. I have developed this concept by drawing or sculpturing details from MRI and CT scans onto multiple sheets of polythene thereby, layer by layer, recreating human forms, in particular the brain. The finished pieces, presented as continuous line drawings, reveal the extraordinary inner anatomical architecture hidden beneath the surface.
This is my degree year and as a mature student it's taken me a lot longer than most to reach my goal of the "cap and gown" diploma. I started this journey four years ago on a foundation course at Liverpool Community College and I have experimented with sculpture and ceramics but I have always returned to painting. Currently my work deals with landscape informed largely by Ivon Hitchens and Paul Nash.
After discovering the transient qualities of paper through sculptural experiments with phone books and yellow pages, I needed to find a significant content to inform the work. Stimulated by the work of Cara Barer and Dorothy Cross, I began using the bible, transmuting it into unrecognisable objects which opened up many questions and potential for further work. Whether it is viewed as a preservation of, or intolerance to religion, the bible is a recognised symbol of faith, and its presence in art makes us question our own beliefs.
Within my work I have been trying to create pictorial layers and depth. I experiment with colour to create a "push and pull" effect to bring some colours forward and push others back. I have inserted geometric shapes in my paintings and placed these between the layers to question what is under the surface.
I intend to challenge the viewer's oblivion and generosity through the absence and presence of homelessness; via sculpture, performance and print. They are out of mind, not out of sight.