Ailbhe Ni Bhriain works with film and photography to explore ideas of identity, representation and displacement. Using collage, CGI and ad–hoc props, she interrupts the believable space of the image and transforms archetypal or generic locations into a dreamlike theatricality.
(Crawford College of Art, Royal College of Art, Kingston University)
Matthew Burrows considers himself a painter of people and places, yet it is rare to find these fully articulated anywhere in his work. Instead he speaks through analogy and metaphor. He sees the environment or landscape paintings as poems, reflections on time and space and how everything we see, and picture is always a part of a web of meaning.
(Birmingham School of Art, Royal College of Art)
Sarah Dwyer’s process of conceiving an image is rooted in the line, always retaining the impulsive nature of drawing. A scratched mark might suggest the contours of a landscape, a stream carved out of a hillside, a figure or a portrait. The form that finds its way through always settles back into an unresolved entanglement, where the pictorial narrative is in constant flux. Her work is suggestive of personal and shared histories, drawing on myth, religion and psychoanalysis, existing on the outskirts of understanding.
(University of York, Royal College of Art)
Ana Catarine Pereira's work is centred on steel’s composition and behaviour, in a metallurgical sense with an artistic point of view. She sees Beckett’s poem as a struggle for demarcating space, which ultimately deals with the issue of potentiality, like the formation process of steel: an extraction of carbon from iron, through the injection of oxygen. By originating empty spaces, the result is a much stronger material. The placement of the work intends to reveal inert spaces/features from the house, aiming to bring new perspectives to the site narrative.
(University of Westminster, Chelsea College of Art)
Robert Rush’s practice involves the making of objects that include jewellery, sculpture, painting, souvenirs, t-shirts and homewares, as well as installations, curated exhibitions and alternative museums. His more collaborative projects are designed to be open forms for social cohesion and communal activity. Examples of this are the building of kilns, the making of clay and the running of his own arts residency. Through these means he hopes to engender positive and connected experiences imbued with questions of both the cosmic binding into which subjectivity is enmeshed and the material and social ordering into which we are all enfolded.
(Central St Martin's School of Art, Royal Academy Schools)
Constance Slaughter makes light, semi-transparent fabric sculptures representing children and toy-animal figures, which evoke our half-remembered dreams, songs and games. The transparency of the fabric plays with notions of absence, temporality and ambiguity. She is interested in the unspoken, what is not there, what might happen. The work offers glimpses of a narrative left to the viewers to develop.
(Central St Martin's School of Art, Pratt Institute)