Artists

Mark Beecroft

www.markbeecroft.co.uk

I am a 0.5 Senior Lecturer teaching on the BA (Hons) Textiles in Practice Programme at the Manchester School of Art. Alongside my teaching I am part of Rogue Artists Studio group. My practice is an exploration of process, utilising digital software and digital fabrication in combination with photography, print and mathematical model making.  I explore repetition through pattern and form, working with a range of materials including paper, acrylic and wood. I am interested in how digital technologies and hand crafted techniques can be used alongside one another in the design process.

Mark Beecroft Mark Beecroft2

Jaygo Bloom

www.newfuturenow.org

www.cargocollective.com/jaygobloom

Jaygo Bloom is an artist and designer, working as an early career researcher and lecturer at Norwich University for the Arts. Currently Jaygo divides his time between practice, research and the performance of real-time graphical processes alongside seminal Techno Act – Planetary Assault Systems.

Over the past 7 years Jaygo has been the recipient to a number of commissions including Futuresonic, Pixelache, ALT-W, NEoN, developing projects with outputs that help envision interactions through the use of tangible and un/tangible media within public space.

Jaygo Blooms public output often draws comparisons with the technology that paradoxically predominates most of his practice, examining the undeniable effects this has on personal and spiritual growth, exploring the conceptual consequences of living in such proximity to technology, and engaging with research informed practice that helps to expose the intangible nature and magic of technology.

Angela Davies

www.angeladaviesartist.co.uk

‘Time present and time past

Are both perhaps present in time future…’

Burnt Norton Four Quartets, T S Eliot

The work conveys an emerging cultural dialogue between past and present. The relationship between land and mythology is explored to create ecological, ephemeral light-installations with the intersection of architectural, sculptural and organic form.

The message of marking time is achieved through manipulating space and using textiles, particularly lace. This fine open fabric provides a technical and historical framework. Lace is fragile, desirable and precious and occupies a territory, a threshold of space. It contains a pattern, structure and order, a cultural narrative, that of the people that worked collaboratively within communities to create it. These elements are explored, re-interpreting the lace to act as a metaphor, investigating and mapping the traces of human activity.

Hand cut and laser cut silk lace screens are installed with light systems to evoke movement, light and shadow. The concept of human error within the artwork amplifies the human touch and the handmade. The juxtaposition of tradition with new methods of technological processes interconnects the concept of marking time with past and present to illuminate an illusion of a future. To challenge the position of craft through engaging with materiality to create a new material that epitomises the defining characteristics of lace. The machine works as a tool and maps the hand drawn, it has become the shadow of the pencil, the shadow of the past.

Angela Davies

paper (laser etched), 2013 Configured through tracing footsteps through the landscape and aligning burial sites across Offa’s Dyke, North East Wales

Alan Dunn

http://www.alandunn67.co.uk/ADCD.html http://www.alandunn67.co.uk
www.tunnelblind.com http://www.alandunn67.co.uk/thesoundsofideasforming.html

Alan Dunn has been involved with curatorial projects in non-gallery contexts since the Bellgrove Station Billboard Project (Glasgow 1990-91). A graduate of Glasgow School of Art and The Art Institute of Chicago, he was Lead Artist on the community Internet TV project tenantspin at The Foundation for Art & Creative Technology in Liverpool, developing collaborative content with elderly high-rise tenants alongside Superflex, Bill Drummond, Fluxus, Chris Watson, Mike McCartney and EAST05.

Since 2007 he has lectured in Contemporary Art at Leeds Metropolitan University and is currently undertaking a PhD by previous publication around his 10xCD opus The sounds of ideas forming that brings together sounds from artists, students and archives, including agreed content from David Bowie, Scanner, Yoko Ono, Brian Eno, Einstürzende Neubauten, Leadbelly, Andy Warhol, Pavel Büchler, John Cage, Lydia Lunch, alva noto and Carol Kaye.

Alan Dunn

live/sound event for forty people at top of Radio City Tower, Liverpool in collaboration with Haroon Mirza, Peter Hook, Claire Potter, Scanner and Stephen Vitiello.

David Jackson

 www.Storyjacker.net

David Jackson is a PhD by practice student at Manchester Metropolitan University. His work on Storyjacker.net focuses around the ways in which games can be used as collaborative story writing platforms. He is also leader for Digital Arts Research Exchange and founding co-editor of the Tacit Journal, a new journal for digital and emergent arts research.

David Jackson

Gemma Latham

My practice is rooted in process, responding to objects and stories in the development of pieces and interventions. Using both traditional and new technologies, I am interested in combining both digital and physical processes in my work and I aim to invert traditional craft practices by imposing actions of the hand onto the digital.

Through the participatory and social elements of my practice I am concerned
with engaging people in craft and reconnecting people with materials.
Through interventions I enlarge and magnify processes and impose a craft
aesthetic upon structures and surroundings. This creates a dialogue between Community Primary, Oldham
myself and the environment and opens up opportunities for conversation 2013 School workshops for public art element of new Public Square with the public.

Gemma Latham

Ralph Mills

www.firesofprometheus.org

I am in my first year of MPhil/PhD research at MIRIAD, exploring the phenomenon of miniaturisation and focusing on what mass-produced small things meant to “ordinary” people in the nineteenth century, as well as comparing and contrasting this with the roles everyday miniature objects play in our lives in the present. I am looking especially at miniature objects found in archaeological investigations of working-class contexts from the recent and contemporary past. I am intending to share the results of my research as an (anti-)thesis, going beyond printed words and images into the realms of the digital and three-dimensional.

My background is divided between 20 years of field archaeology and an equal time spent in various aspects of writing and editing, and I have been involved with things digital since the 1990s. I have been inspired by the idea of Dig Where You Stand, Sven Lindqvist’s call for ordinary people to value their past and claim their histories from the grasp of “official” sources. Lindqvist famously stated that “history is dangerous,” which is why those in power attempt to control both its dissemination and what it reveals. I am also a keen follower of photographer LaToya Ruby Frazier, who explores the connections in decline and loss between people and abandoned places, in her case a rust belt community. It is my hope that my research leads to an increase in people’s value of everyday decorative material culture from the recent past and today.

Sally Morfill

http://www.fiveyears.org.uk/archive2/pages/169/169_00.html

Sally Morfill is an artist and educator working in the Department of Design at Manchester School of Art. Since 2007 she has been a member of Five Years, a London based, artist run gallery where programming maintains a direct relationship to practice. She has exhibited both nationally and internationally, most recently in One And One And One at CPG London 2012 and, in 2013, as part of Fragments a series of collaborations between Five Years’ members and practitioners working in other fields of the Arts. Sally’s collaboration with Karen Wood, an independent dance practitioner, resulted in new work that brought the drawing process into the realm of performance, where drawing was made in response to movement and improvised dance performances responded to the dynamic of the developing lines as the drawing evolved.
Sally’s research interests relate to shifting drawing between 2-, 3- and 4-dimensions and particularly the idea of translation through media and materials. Work currently focuses on capturing the fleeting lines of movement corresponding to the gestures we make whilst speaking.

Sally Morfil2

David Ogle

http://www.davidogle.co.uk

http://www.telegraph.co.uk/culture/art/art-news/10004333/Sculpture-Shock-Subterranean-art-from- David-Ogle.html

http://www.youtube.com/watch?v=3toJ9PwF3ss http://www.youtube.com/watch?v=XTbox3v943M http://sculptureshock.rbs.org.uk/blog/P8

David Ogle graduated from Lancaster University with a 1st class BA in Fine Art History and Practice in 2009, and an MA with Distinction in Contemporary Arts Research in 2012. Currently undertaking an AHRC funded doctoral research project at The University of Liverpool, Ogle maintains his studio prac- tice alongside on-going academic study. Having exhibited work across the UK he has shown in a number of group and solo exhibitions, under taken gallery residencies and has been awarded several art prizes. Recent exhibitions include; Kinetica Art Fair – London (2013), Sculpture Shock (Subterra- nean) – London (2013), The Catlin Art Prize – London (2013), Light in Contemporary Sculpture – The Royal British Society of Sculptors – London (2013) and Means of Feedback – CUBE- Manchester (2013). David Ogle in based in Liverpool, UK and is represented by Kinetica Museum, London.

David Ogle

Fluorescent fishing line, ultraviolet light, cardboard box. year: 2011

Daksha Patel

Daksha Patel is a Manchester based artist and AHRC funded researcher at Northumbria University. She is an associate lecturer at MMU teaching on the contextual studies programme and she has worked with museums and galleries across the North West managing and delivering projects which respond to collections.

Drawing is central to her practice, and her work responds to medical imaging and data about the human body and its interaction with the environment. Her past projects have engaged with digital visualisation technologies such as GIS (Geographical Information Systems) and SEM (Scanning Electron Micrographs).

Daksha experiments with a variety of materials such as oil, fat, clay and vellum in her drawing practice, as well as working with more traditional materials such as pencil and charcoal. The concept of measurement – particularly in relation to the human body – is an on going theme in her work.

Daksha has undertaken residencies in the radiology department at The Christie Hospital, Manchester and in the neuroscience laboratories at Kings College, London. She will be showing new work in the Wellcome Trust exhibition ‘Brains: The Mind as Matter’ at The Museum of Science and Industry in 2013.

Amanda Ravetz

http://www.artdes.mmu.ac.uk/profile/aravetz

http://www.miriad.mmu.ac.uk/caa/index.php

http://www.amandaravetz.co.uk/

Amanda Ravetz is a visual anthropologist with expertise in the theories and practices of observational cinema; and the interdisciplinary connections between anthropology and art. Her anthropological films have been screened in the UK, Portugal, Germany, Majorca, USA, India, Finland and Latvia. Her most recent edited volume Collaboration through Craft with Alice Kettle and Helen Felcey was published in 2013 by Bloomsbury and her book, with Anna Grimshaw, Observational Cinema: Anthropology, film, and the Exploration of Social Life, was published by Indiana University Press in 2009.

Amanda trained originally as a painter at the Central School of Art and Design, London and later completed a doctorate in Social Anthropology with Visual Media at the University of Manchester. Her doctoral research explored the possibilities of image-based media for sensory and environmental anthropology through a study of vision, knowledge and place-making in an English town.

Amanda’s current research projects concern artistic epistemologies; and improvisation, play and reverie in art and anthropology. She is a consultant on the five year European Research Commission project Knowing from the Inside, which is being led by Professor Tim Ingold at University of Aberdeen.

Angela Ravetz.2

Derek Trillo

Project URL www.insightimages.wordpress.com

Commercial/personal URL www.insightimages.co.uk

I originally worked in computing (mostly as a computer programmer) before a move in 1994 to The University of Manchester to work with digital imaging.

From 2007 I have been a part-time tutor for the Open College of the Arts’ Photography degree pathway (BA) and more recently an assessor. Since 2008 I have run a part-time photography business, Insight Images.

Derek Trillo 4

Dr Karen Wood

Karen is currently a dance practitioner/researcher/educator.  She is currently working on artistic projects, supported by Arts Council England, collaborating with other art forms, such as fine art, lighting design and music were she creates and performs in dance pieces for traditional and non-traditional spaces. In the past, she has worked with Rosie Kay, Artistic Director of Rosie Kay Dance Company, in different capacities.  She co-leads the Manchester Tap Rhythm Project, which is part of a nationally co-ordinated project, where she teaches improvisation and rhythm tap technique, as well as choreographs and performs for regular events. She is also a member of the strategy group for Manchester Dance Consortium where the group advocates for dance in the region and supports professional development for dance artists.

She has a keen interest in the inclusive training of young dancers and, in particular, how supplementary training helps to improve dancers’ knowledge of their body and to improve performance. She obtained her MSc in Dance Science at Trinity Laban, London in 2006 where she continued to work until securing an AHRC studentship to further study a PhD in dance at the University of Manchester.  She is interested in how dancers acquire kinesthetic, embodied sensibilities and how this relates to improvisation and musical structure.  This ties in with her recently completed PhD project investigating the experience of kinesthetic empathy when viewing dance.

Simon Woolham

http://www.darkcorner.co.uk http://www.paper-gallery.co.uk/70879/626348/paper-artists/simon-woolham
www.vimeo.com/user1038690 http://www.animateprojects.org/films/by_artist/w/s_woolham http://www.artcornwall.org/webprojects/scanners_simon_woolam.htm http://www.darkcorner-simonwoolham.blogspot.comindex.html http://www.drawingcenter.org/viewingprogram/portfolio.cfm http://www.bbc.co.uk/dna/collective/A24030497 http://www.axisweb.org/seCVPG.aspx?ARTISTID=12273 http://www.blocprojects.co.uk/programme/exhibitions/2007/simon-woolham http://www.guardian.co.uk/artanddesign/2008/aug/16/art.centrallistings http://www.chapter.org/13795.html

Simon Woolham’s work is concerned primarily with occupied spaces and the narratives that unfold in them. His drawings of school playing fields, junked underpasses and the like often contain text with the tone of dialogue. Through these glimpses of speech the dilapidated environments come to life in a skint version of enchantment: a tree stump or a broken fence are filled with the meanings of the events that go on around and about them. In his attempts to unearth this unpredictable and fragile process of memory, he uses biro drawings, paper interventions, animation, video and text.

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