CALUM-LOUIS ADAMS — Feeding, Spitting, then Feeding again
Calum-Louis Adams is a Brighton-based artist who’s conceptual practice takes drawing as its foundation, departing from the tradition of ‘artist dominating material’, to instead favour a collaborative effort between artist and material other. Most areas of Adams’ practice relies on recognisable imagery and design in order to stray toward the anti-image, a place where reimagining’s can occur. Often the artist works with the immaterial and ambitiously displays events through performative processes, imagery and objects...

Written by — TAYLOR LYTTLETON

PATRYCJA LORANC — I won’t make a sad film (Nie zrobię smutnego filmu) —

Patrycja describes her film, Nie zrobię smutnego filmu (I won't make a sad film) as ‘an exploration of distant family relationships and finding balance in the awareness of the private space and one’s own company’. It was inspired by the Buddhist philosophy of living in the present moment, and was made during and in reflection of the lockdown period within the UK....

Written by — RHIANA BONTERRE

BENJAMIN HALL — Spiritual Successor —

On first time playing I try to get a sense of the landscape, feeling my way around and choosing the first memory I encounter out of indecision. Now I say first because I have revisited Spiritual Successor multiple times. Sometimes pausing for a detour and coming back, ingesting it slowly. There are various paths to take...

Written by — JOHANNA SAUNDERSON

ADRIENNE SCOTT — Will you miss me when I’m gone? —

Adrienne Scott’s series “Parcels” presents a series of intricate objects alongside a family archive of letters and telegrams from World War I. These objects appear ancient and otherworldly, simultaneously sinuous and metallic. One image is leaf-like, reminiscent of fine Kanazawa gold coating a natural object. Others are beautiful, fungal - like ancient organs frozen in time...

Written by — JESS TSANG

SEAN ROY PARKER — Fermental Health —

I have encountered Sean Roy Parker’s project, Fermental Health, over a period of around two years, and have met it gradually in glancing at its various forms: images of eco-dye t-shirts and swap economies online, scanner-bed reprocessed trash and weeds, handwritten school workshop instructions, kimchi swaps, pay-what-you-can food services, Instagram post and zine articulations of methods which pertain to processes of learning - radical amateurism, non-judgemental observation...

Written by — KATE PAUL

SAJIL KALEEM — Audio Collage —

Sajil Kaleem's visual language explores a personal approach to a sense of displacement and dysphoria. Identity and the questioning of such comes out of the work through a subtly built-up understanding of cultural context and contradiction, that not only forms the work, but imprints the identity of artist into the work itself....

Written by — AMY JOWETT

BEATRICE ZERBATO — Dancing on the Ruins —

The work Dancing on Ruins salvages the use of the symbology of the tree, to communicate with visuals dense with meaning. Symbology is used as a guiding element for the performance: the human being participates and is complemented by its own symbols in a dance of mourning and rebirth. The broken tree at the center of the images is the stage where the dance takes place, in an imaginative attempt of reconstruction of balance and harmony...

Written by — SARA SANI

LILY HOLLYWELL — Art Book Series —

‘Art Book Series’ is an abstract and improvised response to ‘The Art Book’. Lily responds to every spread, one by one, working onto the book’s pages with various mediums including paint, collage, and drawing. Some of the spreads are completely obscured, the page's original content hidden under layers of paint and paper. Her choices in what is covered and what is exposed control and show much of the book that we see...

Written by — ROSA SAWYERS

ANNIE KING — From Dust We Came and Dust We Shall Be —

Annie King’s ‘From Dust We Came and Dust We Shall Be’ is, for me, a beautifully humble sign of the times in every single way. It does not bear any overt relation to the much-exhausted topic of coronavirus and thus escapes any media desensitization we might feel towards the topic already. Instead, this series of photographs delicately reflects upon a secondary effect we are experiencing; a mass return to nature...

Written by — THOMAS LAKE

EMMA CRABTREE — Touchstone —

‘Touchstone’ emerged from Leeds Discovery Centre, where Emma stumbled across an artefact and was inspired by the caption – ‘small, squat, globular vase with frilled neck and three feet’. She was interested in the fact that the writing was specific, yet descriptive, and both formal and creative at the same time. This duality sparked the genesis of Emma’s project. From it spurred a cycle of production where Emma would respond to the description through drawing and making. Next, Emma complemented her creations with self-written captions, which acted as visual prompts. From drawings she would make objects, and from objects write descriptions, and so on...

Written by — HANNAH CARLILE

BEN DAWSON — If I show you more, am I less? —
Utilising realistic detail in his rendered imagery, this film tantalises you with moments of presumed reality. Nothing has been left to chance, Ben carefully and masterfully crafts a digital western dystopia as a catalyst to provoke a personal enquiry into how we construct ourselves online. In 13 minutes, Ben defies physics through shape-shifting bodies, vast sets, and dancing horses to demonstrate a fictional world in which our digital neophilia is questioned...

Written by — FRANCESCA CAVOLINA

GEORGIE HERST — Dear Me —

The eclecticism of the work adds a quality that shows the differences that the women all display while moments of synchronicity between them demonstrate a spiritual unanimity between the women. The chaotic layout and partial concealment of the words and imagery project the complexities of being a woman, how much is revealed and how much lies beneath the surface. It conjures up feelings of curiosity in the viewer, which invites the viewer to feel micro expressions of pain or discomfort, mirroring the emotions delivered in the writings...

Written by — RAMZIA JAWARA

HERMIONE OLDHAM — Virtual Holocaust Memory —

It is forever necessary to show up the injustice and inhumanity of their oppressors, and prove that in spite of their efforts, hatred does not win. Hermione successfully drills home the urgent message of these memories - that, as Susie Lind concludes, even in the 21st-century, in all its ease and technology, we have still failed to learn the lessons of discrimination and hatred. This could not be more pertinent at this moment in time, with George Floyd’s murder amongst many, and injustices against people of colour coming to light through Black Lives Matter movement as a result. We are left troubled yet impassioned to remember ‘everybody has to learn to live with everybody else’..

Written by — SOPHIE SINNOTT

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