Something Black, An Art Exhibition…  The notion is simple, an on-line curated art exhibition, a group show of artists and a carefully selected curated show united via the vague theme of “something black”. A collection of painters, print makers, video makers, sculptors and more, a simple notion, please explore and enjoy (Sean Worrall, Cultivate, April 2017)

Click in an image to enlarge or to tun the slide show.  We would like to think the show is worth viewing on a PC or larger computer monitor rather than a small phone screen.  Notes and links to the artists can be found at the foot of this page.

 

NOTES ON THE EXHIBITION (the numbers correspond with the image number)

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1: Something Black, an art exhibition…
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2: Artist: ANGELA READ, Title: Blade (2009), medium: Perspex, wire and cable ties – “This series derived from line drawings that I then reinterpreted using cable ties as a repetitive motif. It has an alien appearance and lacks any human characteristics. The materials used are industrial, they are man-made, they are in opposition to the organic nature of the structure itself” – www.angelaread.co.uk

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3:  Artist: ALISON BRITTON-PATERSON, Title: Expanding Darkness (2017), Medium: Acrylic on Canvas, 61cms x 91cms – “Expanding Darkness is a painting which is part of a series of the same name. In this series I was exploring light & dark & I was inspired by shadows & falling darkness at dusk & how shapes & shadows can become distorted & almost ethereal in quality”. www.alisonbrittonpaterson.com

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4: THE VULTURES – A still from the band’s video for Suicide (2017).  The Vultures have just released a rather fine new album, read about their flirtatious baroque and view the video that these stills are from here…

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5/6/7:  Artist: ANDREW HORNETT, Title: Conurbation (2015), Medium: Installation – found objects, wood, bricks, size: Aprox. 450x150x60cm – A collection of black objects arranged on the gallery floor. All objects found on the street.  www.facebook.com/andrewhornettart

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8: Artist: TABITHA MOSES, Title: Hairpurse (2004), Material:: Metal purse clasp, human hair, fabric, thread, Size: Approx. 9 x 28cm (Photo Credit: Harriet Hall)  www.tabithamoses.co.uk

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9/10/11: Artist: ANN CARRAGHER , Title: All Our Laments (2017): – My practice explores boundaries, demarcations, and contested and luminal spaces, relative to landscape and the architectural/ urban environment, and how we mediate these spaces physically and psychologically – whilst simultaneously exploring the social, environmental & scientific issues concerning our relationship to such environments. The work alludes to uncertainties and anxieties of our time, evoking a sense of loss and lament, through temporal and ephemeral metamorphic. The relationship between society and environment presents all sorts of political, social and philosophical enquiries, which encapsulates ambivalence, complicating our general position in the world against the backdrop of a ‘post truth’ era.  A metaphorical weight, shadow and presence, interrupts, intrudes, and complicates – evoking uncertainty and ambiguity. We alternate between wanting and having, knowing and doubting, staying and leaving, creating a sense of suspension with prevailing uncertainty and doubt. http://anncarragher.weebly.com
www.anncarragher.com

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12: Artist: FIONN WILSON, Title: Black cherry with stone, Medium: heavy body acrylic on canvas, 30 x 40 cm – www.fionnwilson.co.uk

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13/14/15: Artist: ALISON BRITTON-PATERSON – Three paintings that are “art of a series of paintings called Expanding Darkness. In this series I was exploring light and dark, I was inspired by shadows and falling darkness at dusk and how shapes and shadows can become distorted and almost ethereal in quality. www.alisonbrittonpaterson.com

16:  Artist DEB COVELL, Title: Stations of the Cross project –  work currently in progress as part of a series called Stations of the Cross project – facebook.com/deb.covell
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17/18: Artist: JULIE UMERLE, work in situation at solo show at Art Bermondsey Project Space (2016)  Read more and find more images and links via this Organ link  –
Or explore julieumerle.com

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19: Artist: ANYSIA NEFISSI, Title: Substance (2015), Medium: Acrylic on canvas, 90cm x 60cm – www.anysianefissi.co.uk

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20: Artist: SEAN WORRALL, Title: Leaf Growth on Talking Heads (2014). Medium: Spray paint on found heads thrown out of a special effects studio – www.seanworrall.net
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21: Artist JULIA MADDISON – Words from a Cultivate press release painted on the wall of Cultivate Vyner Street (2014)
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22/23: Artist: VICTORIA McDERMOTT – To explore the films/videos of Victoria,  the installations featured in these shots, as well as “the use of colour in my practice is an ongoing testbed” head over to. www.victoriamcdermott.weebly.com
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24: Artist: SEAN WORRALL, Title: A Leaf On A Wall (2017) – Medium: installation on a white wall in Hackney, spray paint, found frame. www.seanworrall.net

25/26: Artist: unknown – a painting found in a skip in Hackney last week (120cm x 90cm)

27 to 34: CATHERINE McLAUGHLIN – to explore the video and installation work of Catherine  – This particular body of work is concerned with the invisible psychological landscape of memory which exists in the minds of all of us who have lived or passed through the streets of Belfast. I am interested in ideas of storytelling and language. The effect which a particular landscape and the cultural heritage we exist within can literally become a moulding force which we are unable to escape. The passage of life we experience in our own individual spheres often cross over those of others around us in fantastically meaningful ways, without us ever being aware of our place in their narrative. I have been working on a new body of work which considers the memories of others as sacred relics, of moments in time which have been absorbed into the streets around us, creating a network of thought which exudes its own power over our psyche as we physically travel across sites which are of emotional significance to those around us…” – http://catherinemcl1.weebly.com

35: Artist: D.EVANS, Title, Untitled (2017), Medium: Digital print and acrylic on birch wood panel on an aluminium frame. The stimulus for the work was a wood in Middleham, North Yorkshire. I manipulated a digital photograph that I had taken of it and transferred it to a wood panel, adding acrylic paint. I am interested in the metamorphosis between organic and digital images. The resulting work shows a fragmented pixelation emerging from the blackness. Website
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36/37: Artist: ANDRAS NAGY-SANDOR, Title: Vic and Tim Playing on the Terrace (2016), Medium: mezzotint. “A diptych inspired by a killing method described in the documentary, The Act of Killing. The mezzotints focus on the tension and playful illusion that surrounds the moment of unethical action”. Website
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38: Artist: ANYSIA NEFISSI, Title: Aura (2017), Medium: Acrylic on canvas, 150cm x 150cm – www.anysianefissi.co.uk

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39: Artist: LAURA SCULL, Title: Untitled (2016), Medium: charcoal, Size 90x 63cm.  Charcoal observational life drawing www.facebook.com/ArtistLauraScull

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40/42: Artist: CECILIA SJOHOLM, A series of oil paintings exploring the disruption of a system Work in progress for metal project exploring the idea of painting with three-dimensional form. – ceciliasjoholm.com

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43: Artist: EMMA HARVEY, Title: Fleshed (2014), medium oil on canvas. From a series of twelve paintings called Fleshed. www.evh-art.co.uk. Read more about Emma here

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44: Artist: ALISON BRITTON-PATERSON, Title: Pink Sunset (2016), medium: Acrylic on canvas, 20 x 25cms – “Pink Sunset is part of my ‘Winter Light’ Series. With this series of work I was inspired by beautiful winter afternoon sunsets with huge pink skies and falling dark shadows which make curious shapes and glimpses of light before finally being overwhelmed by darkness. – www.alisonbrittonpaterson.com

45/46: A shot of a Black group show at Cultivate, Vyner Street, East London, 2012.
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47: Artist: SEAN WORRALL, Title: Left: Three Of A Perfect Pair, Middle: Starless And Bible Black, Right: Lark’s Tongue In Aspic – Trptich (2012)  Medium: Acrylic, spray pain on canvas, (50cm x 60cm) – www.seanworrall.net
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48: Artist: RONALD GONZALEZ, Title: Blind Seers (2016). Medium:  Cloth, Found objects, leather, wax, wire metal filings, carbon, Size 8’x7’x7′ – “Blind Seers. Is a single entity of muted heads that can do nothing but see. Their facial expressions are deformed, tortured and solitary, conveying psyche fear and anxiety. Each is a caricature, aberration and mutation of the other. They appear to be victims, disfigured creatures of decay and devastation, expressing a distorted inner reality that is stunned and petrified. Behind their blind, impaired eyepieces the seers are seeing internal flashbacks, hallucinations, dreams and nightmares. The disembodied heads share multiple personalities and the burden of individualized and collective memories. Memory here is illusionary, retrieved and repressed, associated with mourning and the visionary minds eye that closes in concealment and knowledge. The Seers bear witness to the present moment and serve as a future apocalyptic warning of traumatic darkness”. ronaldgonzalezstudio.com

49:  THE VULTURES – A still from the band’s video for Suicide (2017).  The Vultures have just released a rather fine new album, read about their flirtatious baroque and view the video that these stills are from here…

50: Artist: ROBERT DAVIS, Title: Stone No.4 (2016). Medium Concrete cast of a deflated football coloured with black pigment. “I made this sculpture whilst on a residency at Spike Island last year. I was looking at nowhere spaces and neglected areas throughout the city of Bristol and turned to casting found objects. I produced this series titled ‘Stone Circle’ that draws a parallel between ancient sites and stone circles and merges them with urban decay and the recall of a lost youth. For most, these sites lack the once held social significance and this is reflected in the stones sculptural representations as deflated sports balls. This is the 4th stone in the series and is coloured with black pigment” – www.robertwilliamdavis.com
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51/52: Artist: SHEYDA PORTER, Title: How Close Is My Shadow Self To Me? (2015), medium:  MDF board, Epoxy resin, decking rope www.sheydaporter.com

53: Artist: CHLOE BEECHAM, Title: ANXIOUS AVOIDANT, Medium: Textile installation, cotton, sand and polystyrene. This piece is a textile installation consisting of 17 stitched fabric tubes that are weighted with sand. The piece aims to question what a drawing can be- can space become a canvas? Does a line have to be fixed? The use of black was an important decision; the absence of colour means that the eye is not detracted from the line.  www.chloebeecham.co.uk

54/55/56: Artist: SHEYDA PORTER, Title: O.O.A.A (Objects of Aesthetic Appreciation), 2016, Medium: Digitally manipulated image of found object sculptures. My practice primarily explores subject-object dialectic and the relationship between objects. As well as being a formal investigation into objects as sculptural forms with surface textures and spatial qualities, it also poses ontological questions regarding the existence of everyday objects, and human interaction and perception within the everyday. My work deals with re-using and re-purposing cast out objects, which are no longer wanted to function purposefully; while at the same time, discusses the notion of art-making as an everyday practice, akin to cooking, talking, reading, shopping, and cleaning.
The ongoing series of digital works “O.O.A.A” define art-making as a tactical apparatus; they are created to celebrate the sculptural possibilities of discarded objects and thus present subjective representations of the mundane within the everyday. The underlying intention of these series of works is to create an intimate way of perceiving abandoned items and to transform them into objects of aesthetic importance through a conscious care and attention. The repeated gesture of applying paint is intended to rid these objects of their practical connotations, to reduce them to their ‘thingness’ in order to redefine and reinterpret them, to form an illusion of mere physical material without a history or a beginning.  Website: www.sheydaporter.com

57: Artist: DANIEL GOODMAN, Title:  The Last Judgement (After Martin), Medium: Oil on Canvas, Size 122cm x 92cm – This is a transcription of John Martin’s ‘The Last Judgement’. In my practice I explore painting as an activity through re-working works of the old masters. The picture surface of his work is loaded with sumptuous thick layers of oil paint and constantly reworked to the point where the original image has to be ‘rescued’ from spiraling into purely self-indulgent mark-making. Through the production of each piece this process is repeated several times until reaching the end result, a kind of ‘hybrid’, where form is simultaneously abstract and figurative. Some brush strokes are clearly used to describe form and colour, whereas others just simply cling to the surface independently, acting as a kind of personal handwriting. Website

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58: Artist: DIANA BURCH, Title:  Contemplation (2017) – The single line is crafted using cut and crocheted bin bags. The making of the work was instinctive and meditative, repeating stitches I learned as a child. As the piece grew, it began to feel like a pool of memories, reflecting on the person I once was in a different place and time – a connection between the ‘then’ and the ‘now’. Materials: Crocheted, heat treated plastics, Mylar. Dimensions: 90cm diameter x 15cm h – www.dianaburch.co.uk

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59: Artist: DIANA BURCH, Title:  InOrganics: Shadow (2014) –  Shadow is a 3-dimensional drawing playing with ideas of ephemeral visibility according to environmental circumstance. Shadow will appear as a strong presence in the white space, yet withdraws in the shade cast by vibrant, everyday surroundings – existing but almost unseen.  Materials: Woven, heat treated plastics. Dimensions: 170cm h x 40cm d x 40cm d – www.dianaburch.co.uk

 

60/61: Artist: DIANA BURCH, Title:  The Decay Coat (2017), Medium: Heat treated and bonded plastics, textile, Size 270cm x 75cm. The Decay Coat was made in response to a creative workshop I was leading as artist in residence. I worked with teenagers using charity shop textiles to remodel and create ‘Showstoppers’ for a fundraising fashion show.  In my practice I frequently use waste materials, often plastics, to create oddly organic-seeming objects. This was the first occasion I had made an item of clothing that immersed the body within the work. The materials were chosen as charity shop donations are often made in bin-bags. These were then heat-treated to degrade them to a ‘lace-like’ structure, then heat bonded together to form an enveloping form, reminiscent of bracket fungus.. The photographs shows the finished piece on a run-through of the performance. – www.dianaburch.co.uk
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62-65: Artist: DEBORAH WESTMANCOAT,  is a British contemporary painter based in Somerset, UK. She has a long term interest in alchemy and the philosophical sciences and how they help us to understand landscape and our place within it, particularly how the traditionally held metaphysical stages of alchemy: nigredo (blackness), albedo (whiteness), citrinitas (yellowing) and rubredo (redness) might appear within the natural environment.  Paintings begin in the quiet places where these stages become apparent and are made as a direct result of first hand experience within the landscape. Samples of site and weather specific waters – flood, rain, hailstones, dew, frost and snow melt – are collected and combined with ink and locally found elements to record the peculiarities, mysteries and attitudes of water held within the British landscape, particularly around the South West of England. – www.westmancoat.com

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66 to 72: Artist DEB COVELL,  work currently in progress as part of a series called Stations of the Cross project – facebook.com/deb.covell

73 to 79: Artist: ELLA BRAME’s  “Sitting chair” addresses ideas surrounding the ‘other’ and areas of the unknown self. Anthropomorphic objects can tell a story about the nature of objects, the nature of human beings and how these things intertwine especially when used in synthesis within sculpture. We also have some shots of her other pieces and installations, explore more via Ella’s website
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80/83:  Artist: EMILY BIRKETT, Title: Charcoal (2016),: Monochrome (2016), Nickel (2017)  –  “There are unspoken issues regarding textile disposal and the harming of the world in which we live in. Throughout my practice, there is an underlying factor of sustainability, inspired by textile recycling, as I deconstruct used clothing and other materials to create yarns and knit them in which I deem an un-wasteful process. By doing this, I prevent the contribution of unwanted items from landfill in our throwaway society. As I alter the usability of my work, whether that be with a utilitarian purpose or not, and the environment of which it is in, I allow the viewer to acquire an immersive experience with the knitted fabrics, pushing the boundary between what is considered craft and art. I am intrigued by the core social aspects and community values of knitting by which the labour intensive process aids interactivity and I am able to discuss issues regarding sustainability, all while exploring the possibilities of what could be achieved if one were to access the fabric that was to be discarded. Initially using my own clothing, conforming to the ideology of up-cycling, from a visual perspective, a neutral aesthetic was achieved due to personal preference. After accepting donations and shopping in second hand stores, I have accumulated an abundance of scrap fabric and I use natural dyes to mute or tone down colours that do not comply. This enforces the viewer to study the fabric’s texture and composition, adding value to the characterised associations with the physicality of the artwork and conceptual exploration; viewing the fabric to question it’s previous state and why it has been made into it’s new one, rather than appreciating the fabric for it’s bold variety of colour”. – emilybirkett.weebly.com

84:  ENDLINGS, a still from the band’s new video – Endlings re John Dieterich of Deerhoof and Raven Chacon, the duo have just release a rather beautifully textured first taste of their music and a rather fine video that you can view here
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85/91: Artist: FRANKIE GAO –  “Since the beginning of 2017 I have been working on a new series of drawings – ‘In a galaxy not so far far away’, in which I narrate a series of fragmented mystifying fantasies that involve expedition, an alien planet and a pineapple war. Behold, the stage is set and the story unfolds…”
www.frankiegaovisual.com

92/93/94: Artist: GRACE HOLLIDAY, Title: Black Pen Artist Book (2014/15), Medium: Pen and Ink –  I began my ‘Black Pen’ Archive to which this original sketchbook turned artist book was central to, whilst studying at the Royal College of Art. This self-directed personal project originated as a simple material enquiry / investigation and gradually evolved to become a much more complex interrogation of the default marking tool familiar in its bold and basic outline – the black pen. Throughout this book which has now become a time and sensory invested object, all areas of ‘black’ have been approached – from pigments and pattern, to texture and tonal narrative. As an Illustrator, I am used to working both figuratively and symbolically, however this outcome was a catalyst for something much more conceptual, more random and more expressive as an invitation rather than a representation. The artist book was originally shown as the central feature of my final major project at the RCA alongside various other examples of my black pen mark-makings on silk, a large-scale wall mural and a type of demonstrative ‘pen shrine’ – all handmade. ‘Black Pen’ is an on-going material archive that continues to grow through my very conscious and dedicated relationship with the tools (pens) that I use. As such physical and sensory objects, it is fascinating to have the potential opportunity to show the outcomes of this project purely visually through a digital platform, giving the pen presence in a whole new untouchable yet creatively atmospheric realm.
www.graceholliday.com
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95: Artist: CAMPBELL McCONNELL,  Title: BREAK UP PARTY, Medium:  Fabric, Wood, Rubber, Pen.  Size: 70 x 51cm – Description: This text on this piece is an extract from a spoken word piece, which you can listen to here:
http://campbellmcconnell.wixsite.com/-art
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96/97: Artist: IAN PYPER, Title: Event Horizon (Towards the Black Hole) #1 and #2′, Medium: Black Sharpie Permanent Marker with 4B Graphite Pencil on A4, grey paper.  www.facebook.com/ian.pyper
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98/100: Artist HELEN ACKLAM, Title: It’s Not Just Black And White, Medium: Oils on hospital gowns & pyjamas, sewn together, Size: 120 x 120cm, shown here along with two other shots for an added artistic flavour of Helen’s work – www.helenacklam.com

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101/103: Artist: JANE FAIRHURST, Title: Glut (2011), Medium:, mixed media, a Victorian glass display dome filled with plastic toy animals painted matt black. Size: 54 x 26 x 26cm – www.janefairhurst.co.uk

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104: Artist: JENNY BEARD, Title: Cockpit I (2017), Medium: filler and household gloss on stretched canvas, Size: 100x100cm – A representational but seemingly abstract painting that is part of an ongoing practice in which a ‘reverse entropy’ of the world takes place – specifically the artists local urban environment. www.jennybeard.co.uk

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105: Artist: KIM HUBBALL, Title: Twenty Degrees (2017), Medium: digital print, Size 30cm x 30cm. Kim is a graphic designer and illustrator based in Manchester. – www.kimhubball.co.uk
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106: Artist: JOHN BRADBURN, Title: Mountain of Dead Selves (2016), Medium: video still, size: 1920×1080 HD video. ‘The Mountain of Dead Selves’ is a six panel video work exploring the psychic states at play in the construction of Bowie’s 1976 album, Station to Station. The work explores Bowie as mystery school as much as art school. Intrinsic to the work is the idea of the Black within Blackstar and how this sinister shadow haunts the creative work” –  ferriclux.vimeo.com / soundcloud.com/ferriclux
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107: Artist: JUDITH WARING, Title:  Disappointed, medium:  dyed ice-cream cone, Size: 10.5 x 5.5 x 5.5cm – “I wanted to use a mass-produced object which has ‘happy’, ‘innocent’ associations to express my total disgust with something. This emotion is ‘monumentalised’ and alluded to here through a universal hand gesture. But it is also ultimately biodegradable and it diminishes as with the intense emotion over time. In general I am interested in the degradability of the sculptural however monumental and its residue in documentation”.  www.judithwaring.com

108: Artist: JULIE UMERLE, Title, Rewind 111  (2014), Medium: Acrylic on canvas, Size: 55 x 55 cm. julieumerle.com

109/111: Artist: JULIE UMERLE, work in situation at solo show at Art Bermondsey Project Space (2016)  Read more and find more images and links via this Organ link  –
Or explore julieumerle.com

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112/113:  Artist: JENNY KEANE, Titles: Abluo/Ingeminated Battology – video stills (2012), Medium: video.   Abluō is a double-channel video installation which was exhibited in two large solo exhibitions, Platform Arts Gallery, Belfast, and Siamsa Tire Gallery in Co. Kerry, Ireland. The installation explores issues of the uncanny double, and also simultaneously examines the shot-reverse-shot imagery of filmic narrative. The piece investigates the issues of cleansing and purification – the word ‘abluō’ is Latin, meaning to wash away, and the installation explores the horror film’s use of the bathroom, which embodies the cultural taboo of abject dirt and the taming of monstrous femininity. Through repetitive actions, and the sheer scale of the installation (which consists of two 2.4m by 4.2m screens at right angles to each other), the videos attempt to create a space in which to subvert the negative representation of female sexuality.
The left image consists of a hand leaning over the edge of a bath, with black liquid slowly dripping from the fingers. It seems to be static except for the noisy liquid, but occasionally the hand moves – not enough to be very obvious – but disconcertingly present at the same time, suggesting life in death and death in life. The other, right-hand channel reveals the black liquid dripping upon the tiles of a pristine white bathroom floor, slowly seeping into the white grout and making it ‘dirty.’ The video is looped and edited to create a fractured sense of time, whereby the liquid on the tiles constantly vary between a single drop to a fully black-soaked floor.
The double channel installation is installed in an attempt to explore the gallery space itself – the screens stand apart from each other in a ruptured V formation that attempts to envelop the audience, mirroring the bath that envelops the figure in the video. I positioned the screens to incite corporeal movement, in opposition to the passive spectatoral position of the black-box of a typical film theatre or video piece. The pillars in the gallery block any complete viewing of the two channels, and the audience must walk around the space to view the videos from either one side of the pillars or the other. To actually capture the two videos in their entirety in the installation, the spectator must get in front of the pillar, but is so close to the projections that the image becomes blurred, thereby creating a discontinuity between formal narrative and space. The physical movement of the audience in the video installation readdresses issues of spectularisation and suture, and provides a solution to the passivity of cinematic spectatorship. – www.jenny-keane.com

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114/116: Artist: KRISTY CAMPBELL – This practice conveys a visual language that demonstrates the fluid ambiguity of meaning, and reading. Challenging linguistic traditions, and methods of curation, prompts the study of meaning, letter, and line. kristycamp.tumblr.com

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117/118: Artist: LUCINDA BURGESS, Title: For Milarepa (2013), Medium: Charred wood Size: 55 x 55 x 55cm – Milarepa was a buddhist monk whose teacher instructed him to build a great tower. The teacher said it wasn’t good enough and that he must take it down. This happened many times, Milarepa worked and worked building a tower and taking it down, building a tower and taking it down. The teacher suggests that any attempt to build perfection will always ultimately be undermined by the facts of life, namely that all conditioned things are transient. www.lucindaburgess.com

119/120: Artist: LUCINDA BURGESS, Title:  Redwood (2014). Medium, Charred redwood, aluminium, Size  210 x 70 x 1.5cm (raised off floor 15cm) – Lengths of redwood have been manufactured to be uniform and identical conforming to 1″ x 1″. Each length has been burned and in the process has cracked and bent uniquely resuming natural and individual characteristics. No single length of 1″ x 1″ looks the same. ‘Redwood’ refers to the memory of the strength and usefulness of the wood that was, but also the reddish colour that it had, emphasising the constantly shifting nature of life and the inability of language to capture this flux and changeability. – www.lucindaburgess.com

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121: Artist: QUIET BRITISH ACCENT, Title: Cor!, Medium: : Gloss Paint & 1Shot Signwriters Enamel on Canvas Size: 50cms x 50cms –  www.quietbritishaccent.com

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122: Artist: NICOLE WEISZ, Title: Eyewitness – Nutcracker (2016). Medium: Acrylic on newspaper. Size 60 x47 cm. Painting on Guardian newspaper centre-page spread – nicoleweisz.co.uk

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123: Artist: QUIET BRITISH ACCENT, Title: Yum! Medium: Gloss Paint & 1Shot Signwriters Enamel on Canvas. Size: 50cms x 50cms –
www.quietbritishaccent.com
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124: Artist: LIDWINE TITLI, Title: Metal Heart:  Medium: Original collage, Size: 41x59cm  – http//www.lidwinetitli.com
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125: Artist: MIA-JANE HARRIS, Title: The dreams of a broken winged bird –
Sculpture – Painted skull sheep with taxidermied pigeon wings
– www.mia-janeharris.co.uk
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126/128: Artist: VESNA PARCHET, Title: Art Wrestle (2016)/ Handshake (2016),, medium:  Hand-coloured screen print. “My work revolves around themes such as growth/transformation, conscious/subconscious, real/abstract, fusing imagery from personal experiences with magazines and newspapers cut-outs in order to explore the complexity of the human form and the body as a convoluted entity.  I use a variety of mediums ranging from painting, printmaking, photography to collage art.  I live and work in London”. – www.vesnaparchet.com
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129: Artist: KIRSTY O’LEARY-LEESON, Title: In Amidst (2015).  Medium: Pencil on gesso primed wood, Size: 50 x 60 – In the centre of the drawing is a leaf, the rest is all shadows. For most of us only a fraction of our perception of our life is centred in the present, for the shadows of past experiences and expectations of the future envelope and effect our present. www.kirstyoleary.com
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130/132: Artist: MARA ACOMA, Title: e/utopia (2016). Medium video stills
“For millennia the imagining of a ‘perfect society’ or ‘just state’ has been a pastime for men of learning. A philosophical exercise or discourse often presented as an account of a traveller’s journey to a far distant land. In reality the journey is into the realms of the mind, a pilgrimage of thought to a better way of being.The journey continues.”.  Stills from a video piece exploring the concept of eutopia and utopia and how the two concepts have morphed over the 500 years since the publication of Utopia by Sir Thomas More, incorporating modern aspects of mans attempts to build a utopian city.. A low res version of the video can be viewed via www.maraacoma.com

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133: Artist: MIA-JANE HARRIS, Title: Ashed Darling – close up image of a taxidermy sculpture – www.mia-janeharris.co.uk
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134: Artist: MIA-JANE HARRIS, Title: Don’t Turn To Ashes Darling. Sculpture – Taxidermy jackdaw holding a vile of his insides’ ashes – www.mia-janeharris.co.uk
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135: Artist SABI KOZ, Title Blackpain, Medium: A4 ink drawing/painting – sabikoz.com
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136/138: Artist: MARTA WAPIENNIK, Title: Imaginary landscape (2017). “Made with spray and ink and later digitally modified.  The works are free to interpret, for me they show imaginary landscapes” – www.martawapiennik.com

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139: Artist: R.PROST, Title:  Karasu No. 4 (2013), Medium,  mixed media on canvas. Artist statement “Less is enough”. – R-Prost.com

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140/142: Artist: RHIANNON LEWANDO, Title: The Salient Dead (2015), Medium: Earthenware, Ceramic sculpture, size:  approximately 121 x 60cm – The Salient Dead is a large scale ceramic sculpture consisting of approximately 100 handmade earthenware pieces. ‘We are the hollow men, We are the stuffed men, Leaning together’. History removes man from sites of carnage; death tolls of warfare are reported via the amount of weapons used rather than casualties: “They describe the struggle of the tanks, guns, battalions, supplies, barbed wire, divisions. The dead take their place, along with burnt out tanks and empty petrol cans, among the waste material of history.” – Gil Elliot, 20th Century Book of the Dead.
The Salient Dead is rendered in earthenware, from the material that is the land we fight over, the land under us at the time of birth which dictates and classifies our rights, yet ultimately unites us in death. It explores a landscape of manmade death that unifies the humanity of the hand with the metamorphosis of man into weapon. ‘This is the way the world ends, Not with a bang but a whimper.’ – T.S. Eliot, The Hollow Men   http://rhiannonlewando.com/

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143/145: Artist:  SAMANTHA HERIZ, Title: Dawn in a Dark Room (2015), Medium: Stills from video.- “This HD video (12 mins) explores the idea of ‘nothing much happening’. The video invites attention to a lack of visual stimulation and through that immerses our awareness in subtlety. Absurdity is added through subtitle’s of various languages, to create a tension and to question if meaning is present or absent – www.samanthajheriz.com

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146: Artist: FIONN WILSON, Title: ‘Port Talbot Steelworks’, Medium: heavy body acrylic on canvas, 30 x 40cm – www.fionnwilson.co.uk

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147/148: Artist: MATEJ TOMAZIN, Title: Minotaur (2013), Charon (2017).. Medium: ultra-gloss photos on plywood panel. Size 136 x 122cm – My research mainly explores the human ability to depict and comprehend movement and the fluidity of time and space. I create photo collages via deconstruction and multi-perspectival fragmentation in order to understand how different physical dimensions interact with each other, how we perceive them, and most importantly how much of their totality we are actually able to grasp. www.matejtomazin.com

149/150: Artist: SAMUEL LEE, Title: Divorce in Darkness (2016) Medium: monoprint woodcut, size: 55 x 75 cm – Two unique monotype woodcut prints in response to Brexit. www.axisweb.org/artist/samuellee

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151: Artist: SHARLEENE OLIVIER. Title: The rabbit hole (2016), Medium: paper, acrylic paint. Size: 30cm x 42cm
DOWN, DOWN, DOWN – Double click internet icon;
GOOGLE
Click;
Search: Alice in Wonderland
Click images-
Scroll-
Click,
Scroll-
Click,
Click,
Lost in the rabbit hole.
sharleeneblog.wordpress.com

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152/154: Artist: SHARLEENE OLIVIER. Title: Little Black Book (2016), Medium: Artist’s book, paint, ink, thread. Size: 30cm x 21cm. “Artist’s book, the theme of the book was black” – sharleeneblog.wordpress.com

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155: Artist: SUSAN PLOVER, Title: Black (2016). Medium: Mixed media collage with string. Size 13 x 17.5cms – The piece evolved from a gift tag. I particularly enjoy that each viewing is a different image as the string is deliberately not fixed. Often it resembles a noose. The palette is dark reflecting a more depraved sexual encounter. The harsh light could infer a snuff porn filming. – www.susanplover.com

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156: Artist: SUSIE HAMILTON, Title: Figure XXXI (2001). Medium: acrylic on canvas. Size: 50x40cm . Painting of a figure: layered, white acrylic is floated on a black background to make an x-rayed, ghostly effect. – susiehamilton.co.uk / paulstolper.com

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157: Artist: SUSIE HAMILTON, Title: Black Dinner (2017), Medium: oil on canvas, Size: 132×132 cm – This is a painting of a restaurant table lit by candles with figures either damaged or predatory. It is influenced by TS Eliot’s early poems about awkward social encounters. – susiehamilton.co.uk / paulstolper.com

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158: Artist: SUSIE HAMILTON, Title: But Don’t Think I’m Having Any Fun (2015). Medium: oil on canvas. Size 50x40cm . Painting of a hen on a hen night alone in a dark street- susiehamilton.co.uk / paulstolper.com

159: Artist: SEAN WORRALL: Title: Sometimes They Have Thorns, medium: Acrylic, spray paint, marker pen on board in found frame – www.seanworrall.net

160: Artists SEAN WORRALL / THIS ONE – A shot from Cultivate’s Fragile show at BSMT Space Gallery, Dalston, London N16, February 2017

161: Artist: MICHAEL KOCH, Title: Tippi (2012). Medium: mixed media (feathers, glass, metal, wood). Size 155x25x25cm “a black wing in a glass box”. – michael-koch.org/
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162/168: Artist: SEAN WORRALL:  – Leaf Growth – Installation on found material at the closing Pop Up, F**k Off show at Broadway Studios, Tootling Broadway, London SW16 (2015)  – www.seanworrall.ne  or read more about that show here

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169: Artist: TAMIR DAVID, Title: Not Today (2015), pigments on cotton, Size 141cm x105cm – tamirdavid.com
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170: Artist: TAMIR DAVID, Title: Harvest (2015), Medium: pigments on cotton, Size 145cm x113.5cm – – tamirdavid.com

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171: Artist: TEDDI COUTTS, Title: Gin (2016), medium: Mixed media, frottage with ink pastel  – http://www.the-arthouse.org.uk/artists/list/15/teddi-coutts
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172: Artist: AINE KELLY, Title: Spatial Form II (2016), Medium: Silver gelatin print, 38 x 48cm – “This employs a sculptural approach that reflects on the nature of photographical representation. Sculptural form made from transparent materials are placed onto light sensitive paper that are exposed in the darkroom. This process bypasses the use of a camera that allows for a direct reinterpretation of material and form to light and shadow. The resulting image presents the ambiguity of depth from a photographic perspective. In doing so, the work reveals what is lost and gained in the photographical image making process”.- cargocollective.com/ainekelly
or facebook.com/awnyar
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173: Artist: TEDDI COUTTS, Title: Cat (2017), Medium: Monoprint – http://www.the-arthouse.org.uk/artists/list/15/teddi-coutts

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174: Artist: SIMON LE BOGGIT, Title: Shadow Mirror (2017), Medium: acrylic on canvas. “When viewed through a Shadow Mirror, we all look pretty much the same…” quantumsouporchestra.weebly.com

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175: THE VULTURES – A still from the band’s video for Suicide (2017).  The Vultures have just released a rather fine new album, read about their flirtatious baroque and view the video that these stills are from here…

176:  The Midsweeper Collective at work at the closing PopUP, F**k Off show at Broadway Studios, Tootling Broadway, London SW16 (2015) read more about that show here
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177:   Artist: Artist: SEAN WORRALL:  – Leaf Growth – Installation on found material at the closing Pop Up, F**k Off show at Broadway Studios, Tootling Broadway, London SW16 (2015)  – www.seanworrall.ne  or read more about that show here
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178:  The Midsweeper Collective at work at the closing PopUP, F**k Off show at Broadway Studios, Tootling Broadway, London SW16 (2015) – read more about that show here

179: The End….