This year we have chosen 4 talented young artist from the RCA and St Martins for our summer graduate show. Transforming the gallery with installations, animations, copper plate etchings and photography the exhibition promises to be compelling and stimulating.
Alida Sayer Source
Experienced in the form of moving image, Source evokes a space that is ambiguous, both in scale and location – perhaps it is outer space or perhaps it is inside a human mind, or both at the same time. Contained in time, it is in fact just one possible reading of an entity that exists purely in digital space. Trapped in an ongoing loop, silent, eternally germinating.
Alida Sayer graduated from MA Sculpture at the Royal College of Art earlier this year. Employing a variety of materials and processes involving repetition, layering and embedding alongside deconstruction and fragmenting, Alida adopts an archaeological approach as she feels her way through her subject, ‘I try to read between the lines, to write the inner book’.
Our homes are full of our subconscious compositions: the way we leave our toothbrushes quietly conversing in a corner, or our plates snuggling on a drying rack. This, these natural compositions, are what Ana Gold captures. Primarily photographing the homes of her friends, Ana develops an intimate relationship with their spaces and objects, documenting moments of relaxation between the residents and their ‘things’.
Recently graduated from BA Fine Art at Central Saint Martins, Ana Gold’s interest in the anthropological has lead her to study and capture the nuances of living, of inhabiting. Ana hopes to return the generosity of those whose homes she has photographed through creating physical/visual spaces (wood and photographic installations) in which you can dwell and play and imagine. Spaces which, for the unfamiliar viewer, will give an opportunity to imagine a life outside of their own. One which is recognisable in the brand of soy sauce, the shape of a glass or a familiar piece of IKEA furniture; but ultimately, a life that is utterly strange.
Felicity Hammond Restore to Factory Settings
Using the paradoxical nature of the colour blue to highlight the way in which, on the one hand, the urban landscape is dismembered, whilst on the other, it has gone through a process of careful reconstruction, Felicity Hammond’s Restore to Factory Settings was awarded this years Metro Imaging Award. Blue commonly signifies a mis-communication, an error report. Restore to Factory Settings is the print of future planning yet it is also failure, already redundant.
Having just completed her MA Photography at the Royal College of Art, Felicity has been using photography in a way which allows her to engage with a landscape that she was never really a part of. Stemming from an inability to apprehend the industrial landscape of London, before the shift into culture and architecture as industry, this series of work refers to a system that has both ended and begun.
Focussing on how the values of society are articulated in architecture and public spaces, James Seow’s latest etched and inked copper plates depict some of the most iconic public spaces in extruded structure-like form. A motif of geometric forms and horizontal and vertical lines runs through Always feel safe… (extrusion series). The work forges a personal sense of order and meaning from rigidly controlled social and political structures and the turbulent disorder of the contemporary cityscape.
Working across a range of media and techniques, including prints, photography, sculpture and installation, James’ work often investigates new possibilities in printmaking. His work is concerned with themes of urbanism, social control and political struggle. James’ work has been exhibited internationally and is in the collection of various private individuals as well as Central St Martins School of Art and Design and Royal College of Art.