Siobhan Belingy

Siobhan’s practice investigates collage in an extended form. Her use of found images and materials and strategies for display sets up relationships that reinvent the identity of the objects themselves investing in them new potentials and new meanings. Her works questions the idea of boundaries and the crossing of boundaries. Her fragmentation and disparate scattering of the work allows it to connect and disconnect with itself and its surroundings, bringing into play objects and spaces both intentionally and unintentionally. Her works in the show feature little horns and hooded figures, mixing up mythological and historical motifs that resemble phallic forms, imagining how ridiculous it would be in world without females.

Recent exhibitions include the Bargehouse, London (2014) and Central Saint Martins, London (2014)

Natalia Davis

Natalia’s work is concerned with sites of exchange or transfer, and the roles of borders as organisational, regulating structures. She considers the borderline not as a linear structure but as a space, a margin of indistinction where tensions and conflicts occur. She is particularly interested in the transgressions and contaminations associated with these sites; the border as area of corruption or compromise.

Her works refer to industrial or damaged landscapes and her recent Salinas works are concerned with coastal margins, lagoons, salt lakes and reclamation sites. Through research and the gathering of information (visual, textual, digital etc) she develops her work across the painting, print and photography processes. She is interested in the processing of information, the transfer of text to image and between images; particularly the disruption or corruption of visual information on reproduction, through digital miscommunication and other processes involving pigment across development or transfer.

Recent exhibitions include Bargehouse, London (2014), Riverside Studios, London (2014), Ambika P3, London (2012) and UDK, Berlin (2012).

Henry Gardiner

Gardiner creates installations with a provocative, humorous, elegant and multi-layered approach to presentation hovering between form and content, process, improvisation, theatricality, public and private space. Just like the excessive and juxtaposing of information and images that we are idly succumbed to daily, he reflects on this by using a broad range of materials such as photography, video, tarpaulin, plants, cling film, which culminates to create a conversation for the audience to engage with. The use of everyday material in the work is concerned with technological, geo-political and economic contexts with each part of the work acting like a module of a whole or a word in a sentence and tackling issues such as value, space, mutability, politics and the building of knowledge and experience especially within the effects of the digital in our daily lives where the velocity, liquidity and horizontality of information becomes essential in navigating contemporary experience.

Recent exhibitions include Camden Arts Center (2013), Candid Arts Trust (2013), Aura Mayfair (2013) and a pop up group exhibition in Camden (2014).

Rikki Turner

Turner’s practice is based on the enquiry into non-figurative painting and the space it occupies inherently and widely today. Her focus is to utilise material processes as a generative tool, to produce images that imitate spaces beyond a flat surface.

Turner has been awarded The South Square Trust scholarship and recent exhibitions include Today/Tomorrow interim show , Bargehouse, London (2014) Responsive Eye, London Gallery West (2011), Weight in Volume, site specific project at a house that was going to be imploded, West Heath Drive, London (2010), Ratios, Slade School of Fine Art / Slade Research Centre, London (2010) Nothing Gold Can Stay (part I and II) Meinblau Gallery, Berlin and 3YE Project Space, London.

Olivia Mazzone

Mazzone’s practice considers all things constructed, focusing on materiality and process and a scrutiny of place, space and objects. She wanders anxiously in and out of narratives, fragmenting things to alter their context and create new realities and dialogues; a new kind of space. As Georges Perec wrote, “spaces have multiplied, been broken up and have diversified. There are spaces todayof every kind and every size, for every use and every function. To live is to pass from one space to another, while doing your very best not to bump yourself.”

Recent exhibitions include a group printmaking show at Tacit Contemporary (Melbourne) and Mazzone is currently showing in the Swan Hill Regional Art Gallery Print and Drawing Awards (2014)

Rebecca Molloy

Molloy’s practice is concerned with the manufacturing of new environments from the combination of bodies, objects and spaces. The work is predominantly formed of paintings, installation, film and sculpture to create an immersive and alternative understanding of the human form. With an aesthetic of expressionist painterliness, combined with a collage like approach to installation, the work seeks to understand the relationships between traditional mark making, contemporary understanding of images and our perceptions of reality. Molloy’s practice also flips between the dialogue of representation and abstraction as way to explore the body in space. As Maurice Merleau-Ponty wrote: “it is only through the body that we can truly experience space”

Recent Exhibitions include Repre Residency, DegreeArt London (2013), Creative Quarter, London (2013) and she will be artist in residence at the Trelex Residency, Switzerland, (2015)

Italia Rossi

Trained originally in Architecture and with experiences of Performing Art, Italia Rossi’s practice questions the space and the presence of the body thought paradoxical conditions and elusive rules. Subjects and imagery derive from architecture, graphics, geometry, psychology of perception, movement and self-detection. The work deliberately mixes 3D and 2D aspects, combining prints, drawings, photos and objects, building constellations of interrelated objects / local events, like immersive spaces (like visions). The narrative is fragmented and dispersed; it is kaleidoscopic. Chosen materials are often simple and perishable -like paper and cardboard- pushed to express a sculptural physicality, through simple actions (such as folding, rolling and smashing). The work constantly oscillates between fragility/instability and geometric precision, in progress and momentarily. Always, there is a feeling of unstable ‘becoming’, as if things are not at their definitive stage and are about to progress.

Recent exhibitions include The Artist Eye, Hackney Museum (2012), Pushing Prints Festival, Margate (2013), Going Underground – East London Printmakers, Shoreditch Town Hall (2013), Liminal, Camberwell Space (2013) and Today Tomorrow, Bargehouse (2014). She has been awarded and supported by the British Council and the European Community.

Adam Zoltwoski

Art is the place where Zoltowski attempts to distill and mix the essence from diverse aspects of his life; from early childhood through to his commercial and family life. This takes the form of assimilating materials and making processes, also narratives and imagery into collaged and assembled work that always asks “what should I be doing?” Zoltowski has made work that synthesises the use of lego in his childhood with the clay of his art education and the casting processes of his time as a contract mould maker. Zoltowski’s current work utilises scrap polystyrene recycled from the film industry re-interpreted as a Lego- like kit of found objects that suggests its own narratives- in the way that tea leaves can be used to suggest the future.

Recent exhibitions include Bloomberg New Contemporaries, (2014)



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