Exhibition Archive

“It never stops, subculture, it just always keeps happening… keeps revolving”.

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“The Third Paradise is an evolutionary transition, in which human intelligence finds a way to coexist with the intelligence of nature”.

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“The advantage of aging is that you haven’t got too much to lose whatever the risk you take, and risk taking seems an essential ingredient in making art”

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A lot of my work involves using materials that might be thought of as disgusting, but my intention is to create something beautiful through transformation.

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“We can only guess at what a frog or cat sees, what a dolphin or bat hears. The same world is sensed and resonates differently for different species”.

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“As a maritime nation the idea of the sea is part of our DNA. The sea defines our relations with the world and the freedoms it offers, or the threats it presents, are part of our collective thoughts and dreams”.

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“Drawing represents for me the most honest gesture, the moment of truth when the paper and I breathe together, the line offering in its simplicity many variable forms of expression”.

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“If you use a lot of plastic coffee mugs, you transform them into something else. If you use just one, then it’s still a plastic coffee mug”.

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“In examining the funerary rituals, fashions and processes surrounding the body at this time, the film illuminates our attitudes to the one definite fact of life: our death”.

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“I like that as a former church Fabrica has been sung in. The fabric of the building has vibrated with sound. Where are the traces of this? The air in the volume of the space has been filled with invisible sound”.

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“A shirt is the closet to the heart, so that is why I use shirts. The person is there”

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“Our ‘contract’ with the kids is direct and uncomplicated. We just told them that we believed they could take great pictures and that people would be interested in their lives”.

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“I’ve been thinking about how people, creatures and trees gather together, how we cluster together for protection”

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“If poetry can be understood a study of constraint, then I See Infinite Distance… can be understood as an experiment in concentration that speaks of the mobility of thought and the movement of the ocean”.

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“Both works seek to examine our collective identities, how we behave in public space, and reflect Melanie Manchot’s continued interest in portraiture as a performative event”

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“Stéphane Cauchy uses simple mechanical devices which often take the form of improbable laboratory experiments”.

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“You can hear the sound move from one choir to another… and then experience the overwhelming feeling as the sound hits you”

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“I have a very strong collecting gene”.

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“I am in search of the tipping point, the moment of almost falling over.” – Frederic Geurts

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“We get an intimation of our own mortality from things like this”

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“How is it that an individual’s smile can lift the atmosphere of a room or that we find ourselves ‘catching’ another’s mood from a display of anger, fear or disgust?”

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“I want to humanise time, I want to bring a person into an environment and present to them [unknown] places that are imbued with meaning”. – John Grade

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“All those beautiful young bodies, decapitated; all those tumbling heads and bloody, spurting necks”.

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“The degree of conscience […] is the first step to get a distance, to not be involved, to ask why, where, who?”.

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“When I began my work I often used 3D spaces to create work that existed in the virtual world… gradually I thought it was more interesting to make objects or sculptures that evoked these digital spaces without any intervention of digital technology’.

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“The piece is about an effect of peoples’ lives having been involved with, in any way at all, the phenomena of serial killing. Particularly when a woman has been involved”.

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“We’ve always worked with the moving image. In these works we put the viewers in a first person experience and we take them through some journey. We are interested in the human perception of the landscape, whether manmade or natural landscape, and the things that we don’t hear or experience.” – Ruth Jarman

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“The Land of Cockaigne is a medieval idea of paradise in which food is ever plentiful, rivers run with alcohol, roasted chickens fly through the air, and eggs walk on legs offering themselves up to be eaten’.

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“Twilight zones, where simple pinpricks of light encourage you to dwell on whole worlds of other possibilities”.

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“See beyond the familiarity of everyday materials and be transported into the realm of the magical…”.

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“Running Stitch sews together our routes to work, to the sea, and our walks for exercise or shopping with the meandering and more personal journeys we might take within the fabric of the city”.

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“He positioned himself for the best possible image. He waited 20 minutes. He was hoping the vulture would spread its wings”.

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“The idea that nature can cope on its own should not be encouraged – an autonomous nature would only lead to disaster and chaos, not just for us, but for nature itself”.

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‘The pattern, form and intricacies of lace resonate deeply as a metaphor for our relationship to the fabric of our cities … social connections … and our common heritage.’

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“Memories seep into the present, creating a virtually woven fabric of inhabitant’s traces that grow and evolve over time…”

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“Sycamore seeds tumble slowly toward the viewer, echoing a naturally occurring event yet also appearing highly orchestrated….Things constantly shift between plausible and implausible, and the artificial/natural divide remains elusive to grasp.”

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“I am not the point of the piece, I am not the point of focus. I am part of the machine that makes the drawing”.

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“By their very nature unstable, my works are marked by problems associated with dissolution and disappearance in a world that never ceases to remake itself. ”

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“Within this context, the adoption of the quilt medium, in preference to the higher status options of painting and sculpture, may be seen as a political act, aimed at affirming and perpetuating a woman’s tradition of art”.

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“In my installations I produce representational structures that undermine the distance between the spectator and the image. I am interested in developing visual technologies in which the body cannot be separated from the act of looking”

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“Retake…attempts to expose the dynamics of producing and viewing this icon of difference and object of curiosity, suspicion, and fear”

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“Suspended gently from the rafters of the building, the sculpture rose and fell to the swell of visitors beneath.”

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“Shimmering, just above the gallery floor, it is reminiscent of the play of light on water…”.

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…this idea of transformation, the ability to take something that is around you, the traces that you live in, and make it into yours so that it belongs to you rather than corporations… Parade A video installation with an unnerving sound: a parade of consuming pleasures in psychedelic decadence … For the Brighton Photo Biennial […]

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“There is a knock from underneath, the slats rise, power transmission via network – sensations on the move” -Christian Kühn

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I think that a human is just a very little vanishing part of the nature with no special rights to think himself to be bigger that is one reason why I make installations reminding  landscapes out of jackets.

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“I am aiming to arouse an emotional response. I am looking at the psychological experience of entering a space”

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…visitors build up a pattern of associations and memories, because smell is so closely linked to the ability to recollect experiences of space …

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“My practice of responding to an environment, interior or exterior, making use of material which is local and/or linked to the specific place through work or nature brings a significant depth and strength to the completed work.”

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“…Through jewellery, issues of value, communication, personal and collective histories are explored. The work reflects the importance of owning, giving and wearing jewellery throughout our lives” -Mah Rana, artist

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“The power of the contemporary British landscape is up for question here. Plan for a Spell is a proposal for a social space set in the immediate future.” -Adam Chodzko

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“People are fascinated by this work, it brings a shiver, a sudden recognition of death, perhaps as though we have seen or heard our own ghost.”

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“I wanted to evoke a sense of being locked in the enclosed and isolating space of an internal dialogue between a dominant and dying language”

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“The equipment free aspect of reality here has become the height of artifice; the sight of immediate reality has become an orchid in the land of technology” Walter Benjamin

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“… It is a multiplicity of ideas, facts and observations that seem to best describe our perception of the city. Brighton is multifaceted, energetic, Pythonesque. Polyphon is our representation of this research.”

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“…. We Japanese sometimes say that there is something mysterious, an invisible force in nature. I feel this is so, I try to show this invisible, all encompassing force through my work. I would like viewer to feel enveloped by the mysteries of nature when they see my work.”

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“In [Viola’s] work we glimpse mystery through the ordinary and everyday, the transcendent through the imminent…a profound meditation on life and being itself”

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“I describe my work as awkward, in between, ambiguous, like bits in films where nothing much happens…”.

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“Working with the given form of a tree is a process of discovery, of limitation and an attempt to transcend these limitations. During the carving of the elongated figures I realised that they represented present day lives in the west, rootless, fast moving and fluid.

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“Modern carnivals are split between the officially-sanctioned spectator events, and the more communal, sometimes anarchic activities”

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“The interaction for me is a means of sophisticated telecommunication made technologically easier and psychologically more complex…”

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“As a disabled person I am generally perceived as ugly, sexless, inert, helpless and miserable. I know I’m not” Alison Lapper.

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“Collective Dwelling is an installation in constant evolution that invites different members of the public to participate in its construction”.

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I want to break people’s image of glass. My primary motivation is to be innovative in terms of ideas and experimentation, although I know that in order to produce high quality work I also need to master the techniques of glass, so am constantly evolving and developing ways of working with the material.

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“As the viewers move, these halos move with them, creating complex interweavings of the spiralling figures as various viewers halos interact with one another.”

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“The atmosphere in the gallery was quite haunting when the organ pipes were being played”.

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“I am interested in creating an environment which at first glance appears safe and yet is a distortion of that which is intimate and secure, an illusion of security.”

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Artists often have to work within an isolated environment, so it is refreshing to find those in a similar field, exchange ideas and share a common goal.

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Do we need to be called textile artists- is textile art a thing apart?

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For ARTWAR read mental war & Energy into Form It’s Auto-Bio-Graphik But not an Autobiography Direct projection & not an illustration

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“It’s much more interesting to use these existing images and work with them than making new photographs, because existing photographs not only represent parts of our realities, they are reality. Today’s reality is the reality of images.”

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“It’s a collision between two very different types of conversation, perhaps creating new forms of communication.”

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“Many of the ‘organic’ activities in our lives have been replaced by technical substitutes because of the acceleration of contemporary lifestyles… I want to make a garden that reflects this substitution/transformation. A combination of the organic and the technical.” – Halinka

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The work is driven by a persistent inclination to make pots that, at least have the potential to exist as individuals rather than exclusively elements of something greater.

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The first time I went to Brighton I was surprised to see that the beach contained no sand. I had never encountered a stone beach. For some reason, nothing in my life ever turns out to be what it seems.

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I’m now convinced that only arbitrary differences exist between art, advertising and the media.

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“I associate sand with labour, with its constructioni techniques, with its storage and shipment. I have attempted to create an atmosphere of work, building shapes that refer to the way sand is stored at docks and industrial sites.” – David Watson

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Artists often have to work within an isolated environment, so it is refreshing to find those in a similar field, exchange ideas and share a common goal.

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“The spire is a structure of growth, a shoot springing skywards from the belly of a seed. The spire connects earth to heaven, matter to spirit, it is the arm which stretches from the body of a building towards the sky, defying gravity; impossibly, impractically high.”

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