May 22nd - May 27th 2001

 

Amanda Moss
My new work is a series of anthropormorphic Icon paintings featuring Hollywood movie actresses. These bizarre combinations of half human - half animal images express through the feminine form a kitch blend of sexuality and dark exotica and take the notion of "pin-up girls" into an entirely different realm.

Jason Hawkridge

and

Shaun Clifford

The redundant process of instant lettering has been employed to indicate the artists concern with the rapid changes in information technology since it's heyday in the nineteen eighties. By collaborating on this venture the artists hope to create the visual representation of otherwise invisible communication, drawing out and refining common ideas and sharing information and perceptions.As the letraset is burnished onto the canvas it forms it s own composition within a square format . This format has been the constraint of type design since the renaissance,
Stephen Felmingham
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 Stephen Felmingham graduated from an MA in Drawing at Wimbledon School of Art in 1999. He has a studio practice in the East-End and is currently working on art/science and sound-art projects. One of his present interests is thought experiments, and the effect an observer can have on the outcome of a process just by observing. Usually this is the concern of the quantum scientist working with sub-atomic particles, but Felmingham draws the analogy out to include tiny model aeroplanes. Recent exhibitions include Listen/hear at the Hope St. Gallery, Liverpool, Drawn from WSA at the River Gallery, Milwaukee Institute of Art and Design, and 'Wheel of Life' at the Spitz Gallery, Spitalfields.
Robin Whitmore
" The kind of drawing I am obsessed by does not feel very cutting edge. It is very slow and repetitive. It goes through periods where I am often bored and haven't got a clue what I am doing yet in a peculiar way it can give me the most profound sense of connectiveness with the world. Hearing a recording of myself drawing I was struck by the relationship between the insistent scratching and the final object. It was as if a being had come to life with an existence separate to my own. this work isolates this mysterious energy and evolves an intangible feeling closest to a sense of unease."
Liz Tetlow
The word in its visual sense is a beautiful abstract form , as are lines in space. Words and lines are displaced in my drawings - poetic displacements - the word taken from its seat in language. Through the use of a ‘ritualistic’ repetition the words become almost unknowable but always within the grasp of understanding. Drawing makes space into an entity, this entity is charged - the power within its material harnessed, creating a bridge between the internal and external landscape .
Graham Seaton

Seaton's work emerges from his long held interest in everyday objects, and, more recently, their possible reference to forms of architecture and urban landscapes. Using basic casting processes he presents objects in new arrangements and contexts, stripping them of their original identity and function to put them to use in new and suggestive ways.
Seaton's installations can vary according to the nature and size of the site in which they are constructed and re-constructed. The site and its contents become part of the installation, its scale and function automatically colouring, and being coloured by, the work.
These miniature cities dramatise the way we experience space, using illusions of scale and depth to tap into the imaginary dimension of our most basic perceptions.

Seaton is a recent MA graduate of Wimbledon School of Art and has already had a solo installation at London's cutting edge Chisenhale Gallery, as well as several other London shows. He is currently showing work at The Economist, London (10th April – 27th May) and at Hales Gallery, London (April 28th – May 26th).

Adam Tetlow
Ultimately this thing we call ‘art’ for me, is about creating gateways for wonder to enter into the world. Much of the work is concerned with creating ‘objects of contemplation’, ie. a ‘sacred centre’ or axis mundi. Harnessing the inherent symbolic and physical qualities of materials, my aim is to craft an object to the best of my ability. Influences include alchemical writings, Sufism and pulp science fiction. Having much in common with an animistic approach to making, I believe that the more care and attention to detail that goes into an artwork the more ‘charge’ (or as Shinto would call it ‘intelligence’) the object has.
Daniel Langton
Daniel Langton.Born London 1967. Has exhibited work and co-curated shows in London and Berlin. His work is predominantly site specific drawing on the history and physical nature of a space in order to create work which is often temporary. Recent venues for performance and installation work have included Trellick Tower in west London and the Roundhouse in Chalk Farm.