Frances Arnold’s current practice focuses on drawing within a site-specific context and on paper, employing processes including printmaking, book making and paper folding. Reductive, non-guesturaland geometric in nature; materials are lightly manipulated and structural lines drawn to imply illussionary spaces.
The movement of light across the surface often completes the work. Moon and Gift employ the movement of light across a metal surface to create playful changes in tone and an ephemeral elegance of line and pattern.
Deconstructing the vibrant, visual chaos of an urban terraced house through its numerous embossed wallpapers, these works further Arnold’s interest in responding to the surrounding architecture and landscape; her practice aiming to heighten perception and question our assurance of a concrete reality.
Frances Arnold, Moon, Silver leaf on embossed wallpaper, 2011
Frances Arnold, Gift, Gold leaf on embossed wallpaper, 2011
Bridget Kennedy often use maps as a staring point for examining a specific place, using the names of the places described on them or perhaps the shape of the land as inspiration for her work. What happens when North meets South? came out of an artist’s residency called “Triparks” in 2008/9. Kennedy’s aim was to reference the great care and attention taken to maintain the park and the very human desire to try to record and remember a place.
Bridget Kennedy’s current work reflects an interest in how technology and modern day living influences perceptions and representations of a place. Kennedy considers technology to be a filter through which we experience our environment. She works across drawing, painting sculpture, photography and moving image; using the materials, fabrication techniques and methods of presentation that she feels are suitable for each different situation.
Bridget Kennedy, What happens when North meets South, Pen on graph paper, 2008/9
John Lavell’s practice exhibits parallels between criminal forensics and the creative process. These are areas where intuition and abduction are combined, with absence and presence often being of equal importance. The works produced from this co-optive encounter are pierced, punctured or hammered sheets of white paper. There is a marked tension between the quietness of the work and the premeditated violence used to create them.
In the field of forensics(and criminal profiling) investigators attempt to re-create the past or a profile, using traces and fragments to create a whole, to find what is seen as the ‘truth.’ [the] relational problem, the endlessly absorbing search for reconciliation between the fragment and the whole. (Thompson, 1999:24)
John Lavell, Signature Aspects, Pierced paper, 2010
John Lavell, Wound Pattern Analysis, Pierced paper, 2010