Collect Art/ Tbilisi, Georgia

www.collectartwork.org
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[email protected]
 CONTENT

Vazha Melikishvili 05
Salome Kobulashvili 12
Nugzar Manjaparashvili 16
Louise Ward Morris 20
Cameron Lings 25
Ian Bride 30
Liam Collins 33
Tanya Preminger 36
Daisy Richardson 40
Laura Scull 45
Ann Bates 50
Gillian Davenport 54
Major changes have done in contemporary sculpture, which changed the art form,
destroying and stepping outside the barriers, working with new materials,
changing the idea of multifunction, interactive ways to keep up the trends, and
content loading with the different issues, such as political, environmental and
many more…

Depending on Prehistoric times, the sculpture was a fully three-dimensional statue, while
it may not be remarkable, the idea is the evidence of contemporary art’s interest in the
design and manipulation of objects in terms of aesthetics. Ancient Egyptian massive
sandstone sculptures are the most outstanding example of changing the size of the
sculpture and loading the ideas and functions into the sculpture. Greece - connected to
massive changes of breaking away from the rigid mode of portraiture into more realism,
but at the same time destroying the forms, for example, keeping an unnatural way to
stand. Roman Empire - time for perfection of the body, honoring the Gods, and political
propaganda. Early Medieval times somehow continue the honoring idea of religion but
changed the forms, and materials, breaking it into parts, for example, book covers, and
boxes, starting the era of diptychs, and changing reliefs. The religious theme continues in
the Gothic era, even expanding it decoratively. Renaissance - reviving the classical works,
time for broadening the horizons by studying the humanities and somehow it moved away
from religious themes. Running wild based on Renaissance, became the motto of Baroque
and Rococo, round, very dramatic, and dynamic sculptures, changing the material from
marble to porcelain and making it a luxury item. The 19th and 20th centuries paid
attention to personal expression and interest in surface texture, rather than focusing on
the perfect body and storytelling.
Cubism, Dadaism, surrealism, pop art, minimalism, and futurism are the styles
transitioning to contemporary art step-by-step.

As you see, nowadays all the characteristics are included in a Contemporary

sculpture, sculptors are using different materials, and mediums, combining
different subjects, such as science, technology, nature, and many more,
destroying the boundaries and keeping viewers inspired, surprised and provoke to
a, not as a new word.
 Vazha Melikishvili
Vazha Melikishvili’s life was full of constant search and novelties of forms, deep
originality with an understanding of things and events, and a great talent for
generalization. According to the evaluation of art scholars, he was distinguished
by his way of thinking and it was channeled towards the visualization of
immaterial, which is the sign of the eternity of the arts. Simon-Vazha Melikishvili
was born in 1936. He was brought up in the atmosphere of the ancestors of Simon
Mchedlidze's martyred clergy, which still carried the air of the XIX century, the
spirit of Georgia of that era, and where an environment of Ilia Chavchavadze and
Akaki Tsereteli was still alive ... where XIX and XX centuries merged with each
other.

He received his secondary education in Tbilisi's No 1 school for boys, so famous

for its traditions, and continued his studies at the Tbilisi Academy of Arts under
the guidance of such distinguished artists as Sergo Kobuladze, Silovan Kakabadze,
D. Gabashvili... His teacher was one of the founders of the new Georgian sculpture,
Nikoloz Kandelaki. In the 60s, the diploma work by Vazha Melikishvili, called “the
Thirst”, attracted the attention of society by its professional craftsmanship and
originality of the work. This was a bold declaration of a young sculptor in the field
of monumental sculpture. The main objective in Vazha Melikishvili’s life was to
serve the art faithfully. Despite his altruism and tolerance in everyday life, on a
professional path, he was an unyielding man of principle, always fighting against
what he considered an obstacle and obstruction to the development of true art.
The period when Vazha Melikishvili emerged as an artist, coincided with a crucial
breaking point in Georgian visual arts. He became an active participant in this
process: he constructed a number of important complexes in Georgia and outside
the country: The Stela of Victory (Signagi, 1965), Akaki Tsereteli Memorial (Sach-
khere Skhvitory Junction, 1988); “The great memorial to the “Lost in War”- “The
Cube of Glori” (1976-1984) – more than 120 deformed figures which nevertheless
abide by the classical laws of form, and which astonish the viewer with the
virtuosity of expression of the torture of body and soul in the form of a sculpture,
with the high level of professionalism in expressing the global eternal pain of
mankind in realistic symbols. Vazha Melikishvili is an author of such series of bas-
reliefs as “The Riches” (Tbilisi, 1968); one located in the Krtsanisi Governmental
Residence “Motifs of Tbilisi”; the composition built on the Gospel, designated for
the gates of Sioni Cathedral – “Mother Mary with the Child”; Among his works are
the portraits of famous Georgian figures, among others of Shalva Dadi- ani,

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Valerian Gunia, Nestor Kalandarishvili... the great sculpture of Mikheil
Tamarashvili... In the last period of his life, he was pre-occupied with the historical
and mythological themes: “The Story Teller”, “The King Aieti”, and “King Tamar” –
these of his works were of upmost interest among his colleagues and society in
general and created fierce arguments. This is the extract from one of the
published articles regarding the exhibition held in the Blue Gallery in 2002: “This
was a rather unusual, non-pretentious exhibition, where the cast molded works of
the Sculptor, Vazha Melikishvili were presented: “King Tamar”, “King Ayet”, “Iakob
Gogebashvili”, “Paata”, “The Goddess of the Balance”- these sculptures contain,
the distinguished individuality on the one hand and strong generalization on the
other, which is materialized in “wide strokes” typical to monumental sculptures, or
in almost filigree craft as in ivory. But each of them is full of a little bit sad, but
always a very bright emotional spark. These sculptures are waiting to be finally
molded, but unfortunately, the funds usually become available for other,
traditional (stereotypical) projects, with the explanation that society chooses the
ordinary (and it is so regretful that no steps are taken to develop the taste in the
arts of such society). But it needs to be mentioned that, these works, presented in
various exhibitions, attracted the attention of society and were highly prized by
the viewers. Thus the accepted assumption that the tradition of the round
sculpture is non-existent in Georgia, because of which it can not be further
developed, is completely diminished by the works of Vazha Melikishvili.”
Completely new stage and perspectives of not only Georgian Sculpture but also
the book illustration arts are linked to Vazha Melikishvili’s name. Just naming the
very first book illustrated by him will be sufficient “Song and Music Text Book” by
Jimsher Mujiri, which he created during his student years, in the 60s. From the
graphics point of view the famous book by Irakli Abashidze “In the Footsteps of
Rustaveli” is unique by its sophisticated and fine artistry and calligraphy
(Publishing House “Literature and Art”, Tbilisi, 1965); Also his illustrations of the
book by the king Vakhtang the VI and Sulkhan Saba Orbeliani “Kilila and Damana”
(The text was verified by Magali Todua, Publishing House “Merani”, Tbilisi, 1965) –
this is a new stage of traditional Georgian miniature art, which does not violate
and originally continues the traditions of the esthetics visual arts of middle ages.
As for the sculptures, I would recall the reviews which were published following
his last exhibition: “If you happen to be passing the Rustaveli Avenue, your
attraction by no means will be drawn towards the sad figure of a woman in front of
the Gallery, with the prolonged, “non-esthetic” proportions (Expecting the return
home of a missing son from war –“Grieving Mother”): the passerby will slow down
near this tragic figure, by this giving their condolences to this generalized spirit of
suffering mother.” This sculpture reflecting the nearest past of Georgia and the

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current worldwide reality has also caused controversial arguments... The
sculptures presented during his last exhibition (staging offer), Vazha Melikishvili
envisaged being mounted in Tbilisi, his home city, strolling along the streets of
which he enjoyed so much: “I’ll go out, have a look at Tbilisi” he would say and
start heading towards Rustaveli avenue...

Damana Melikishvili

MEMORIAL BUILT IN SENAKI

MY PERSONAL EMOTIONAL ATTACHMENT

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The global view on the war reflects the natural catastrophe, equal to the great flood, and
the eternal theme- the rebirth of life after such a flood.

Theme 1. Motherland and mother home country – this eternal theme supports the spirits
of our ancestors, continuing its existence in us, in our homes, flowing from the past dark
times into our veins, genes, spirits at unrest, stupefied and immobilized by witnessing this
devastation; in this infinity, the dome protects their eternity.
Theme 2. The steed born from the narrow neck of the war disaster and death funnel with
its scarred body, and the hands of mothers and sisters stretched out in the attempt to
save its suffered body.
Theme 3. The group of not grieving but begging, with the view of a perspective, with the
picture in the hand, the picture of a son, the picture of the pristine human hope, and
existence.
Theme 4. The human livelihood force of controversy, a breastfeeding mother with a horn,
deep space disturbed by the cosmic unrest and rebellious spirit of humans – is a great
force.
Theme 5. The pregnant woman, stand- ing on a groundless infinity, tortured and troubled,
but strong, proud – the force that gives birth to the future. The spine. And the dark space.
And a man supporting the ceiling with his head, he tries to protect and hide the bodily
parts which give generations in the restricted space, and a child, a son, the new and
eternal bud from the father’s roots – trying to reach the freedom, thirsty for sky and light.
The theme is optimistic; a child, a new life-the Noah’s Arch after the great flood.

This is how I did it: I did it directly in gyp-sum: I followed the fundament all around ... I
built it like a silkworm. Made a cocoon and found myself inside it. I did it all on my own –
somebody else would destroy it, would make it vanish in its oblivion, and I would not be
able to collect it together again. It would not exist anymore.

The Cube, lit with the light from the skies all across – is the ray of hope.
The solitaire candle would do it well – the symbol of life.

The marble, of course, the marble, white cold, and warm – like earth.

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I spent every night sleepless like this: whoever and whatever you are, the god, the sky, the
earth – help me to do this.

Sub-themes:
a. The wise stargazer, sitting on the high, gazing into eternity.
b. The upside-down figures walking up and down.
c. Mesmerized
d. Bind to each other
e. All meshed up together. Tangled with each other. One hundred and twenty figures with
voices like strings, with heads and bodies. The Cube is white and clear, the pristine grave –
a white shroud. The eternal form with a crack. The great pain embedded in the broken
body.
I feel with my fingertips the magical voices of the strings .. . and ... I am creating

Problems

Composition: distribution of the space, foreground, and background, ceiling and stairs,
bumps and hollows. Interdependence be- tween the round and the flat; Correlation of
narrow and wide and its plasticity; Creation of the spiritual space, arrangement of a large
and a small, correlation between these two; Model and its completion; The secret of the
light and shades; The Cosmic senses.
Works in gypsum are finished.

Three years have passed. 1977 - 1980.

One more year has gone by in search of
foundry-men
The mold is finished!
The mold is casted!
Five happy years have passed.
June 19, 1977 – July 1982
The Sculpture was opened in May 1984.

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P.S.

Twenty figures with bodies and heads: I meant the compositional structure, or more
resize the compositional vision in my mind: as if twenty figures in the inner space of the
cube created a composition of the text or the compositional structures of the bodies. And
being compositionally adjusted to the bodies – the heads bring the chaotic structure of
the punctuation marks into structural order- and prove the order of the entire
composition.

This composition was beautiful in white gypsum: looked like a white marble... very pure-
with the ripples of complex nuances. It is regretful...the concrete has absorbed the light
and as stiffened the perfection... but I hope that the concrete sculpture will go rusty and
develop its own crust, and will look like a volcanic basalt and will stay forever like this, as a
heritage from us.

Finishing with a chisel will be good for the concrete surface of the sculpture; it will
become rusty as time goes on.
If it was a white marble then the smooth finishing of the surface would do it well.

Vazha Melikishvili

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GODDESS OF TRUTH AND UNIVERSAL BALANCE
'IA' - 'UTOPIA'
1995

In Georgian Epos

A long time ago, the Goddess of prosperity and

decency, the truth of the Universal balance, Ia, guarded
the Earth ;
So prosperity, decency, and eternity reigned on the
Earth.
But the underworld irrupted and stole the Goddess of
happiness.
Only her mysterious voice remained on Earth;
And so the tale goes, that only those who lose
themselves in search of the Goddess are able to hear
this voice:
“The truth is within you, as you are still looking for
me...” whispers Ia to them.

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Salome
Kobulashvili
Salome Kobulashvili is a sculptor and jewelry designer from Georgia. It happened
to be that Salome is a granddaughter of King Erekle, and the last residential house
of her ancestors was transferred to the Tbilisi State Academy of Arts.

Her works are created by mixed media, using mineral stones collected from
different parts of Georgia keeping their authentical shape and texture, also using
different materials such as smalt, clay, bronze, and silver. Her background in
stomatology gave her the ability to see the little details differently and play with
them in a creative way.
She has been working in this field since 2016 and is actively working on both
sculptures and jewelry.
Salome's works are kept in private collections around the world.

Coral...Nefertiti... - Bronze, coral, Size 5 H x 2 W x 6 D

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Who are you?
I am a dentist, and co-owner of one of the leading clinics in Tbilisi, I have dedicated 25
years to this profession.
My childhood dream was to study at the academy, but my mother's pragmatism was
much stronger and after a lot of pleading, I passed the Tbilisi State Medical University.
The first push in creating sculptures was Svaneti, its amazing Nature, I brought the stones
completely intuitively. Every evening I would sit and look at these stones, and I suddenly
realized that a sculpture was being created one by one. So through experimentation, I got
a new character every time.

Where are you from and how does that affect your work?
There are a lot of reasons Georgia affects my work, First of all, my family history.
If we go back to my ancestors when our family residential house was Tbilisi State
Academy of Arts, which was known as the Arshakun Palace in the 19th century and it was
owned until the Sovietization of Georgia. If we go back to Vakhtang Kokiashvili, the
greatest stained glass artist, my beloved uncle, and his yard where I find smalt. Georgian
People and their characteristic nature. Mountains and seaside, full of incredible sources
of materials and many more…

Andersen Inspiration - Bronze, Ammonite Fossil, pearls, Size 14x7x2, 2022

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What is the biggest challenge of being an When you are working through problems
artist? in your work, who do you talk to?
Be constantly creative and diverse. Showing works in their unfinished state,
When is your favorite time of day to in the process of work, grows into a
create and how do you work? serious celebration. I organize a dinner, I
7 o'clock in the morning, I go out to the bring my friends, whose opinions I care a
balcony covered with flowers, I drink hot lot about. They are painters, architects
coffee, I turn on music, and I have a very and artistic people, whose opinion is very
comfortable chair, I want to emphasize important to me, I listen to the opinion of
that comfort is very important. In the many people, I can take their opinion into
wonderful light of day, and light is so account or I take a risk and do it my way.
important, in the total silence that is so But that doesn't mean that after some
longed for in this maddened world, I sit time I won't say that they were right.
down and begin to work. But never, the Criticism is very important and I believe
work is not as imagined, it is always that criticism is one of the driving forces
transforming. After working for 15-20 for an artist.
minutes in the morning, I may like it more How do you decide that a work is
when I return the next morning or vice finished?
versa. It's in full swing, undergoing a Mostly, the work turns out to be very
process of remodeling, experimentation, different from the original idea. But that
and change. As for the finish, when you does not mean that unlike the idea, I do
look at it and you don't need to add or not like the final result. I think the idea is
subtract anything when the work is telling the starting point, then it improves in the
me enough, it is a finishing dot. work process. At the end I like the result,
it is the maximum amount of adrenaline
and I guess the work is no longer needed.
When an artwork does not ask me to add
or subtract something that we have
already mentioned above, I do not know
how it happens, just at some point an
inner voice tells me to stop.
Who are your favourite artists and why?
Camille Rosalie Claudel, who was the
sculptor known for her figurative works in
bronze and marble and Rene
Lalique,which I adore because of the
scale of the vision and because of the
endless imagination.
What is the role of an artist in society?
To ennoble humanity and touch the most
tender and hidden feelings of people.
First Experience
Bronze, marble,
Size 10x9x9, 2022

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What inspires you, where do the ideas come from?
That's what happened that evening. A friend of mine comes in and tells me, I have a great
idea for you, make a sculpture in jewelry. And that word was enough to make a complete
visualization of the idea. At home I had silver spoons given to me by my grandmother, I
had plasticine, I sat down and started sculpting. Movement is very important to me in
sculpture and getting the desired item turned out to be a serious driving, adrenaline-
producing force.
Because sculpture was once often used in jewelry as a cameo, I did not want to repeat it. I
was more fascinated by the moving body, the expression, emotion, so I decided to give
the products a different look than the cameo. I love sapphire very much, so some of the
rings are created using the sapphire and some coral. Georgian women were very fond of
coral jewelry and it found its use in my works. My source of inspiration is my dental office,
the coral usually worn by women in a piece or round shape, but it has become a source of
widely opening the wings of my creativity. It is perfectly cultivated by a bore machine.
There are lots of more inspirations.
The first push in creating sculptures was Svaneti, its amazing
Nature, I brought the stones entirely intuitively. Every
evening I would sit and look at these stones, I suddenly
realized that a sculpture was being created one by one.
So through experimentation, I got a new character every
time. I love my uncle's yard very much, he was the greatest
stained glass artist, Vakhtang Kokiashvili, the land is full of
pieces of smalt, which became a source of great inspiration
and also, the sea is a great treasure. Most are made
of silver because it is a pure material that goes very well
with jewelry. So, you see, the rings choose the materials
by themselves.I love my uncle's yard very much, he was
the greatest stained glass artist, Vakhtang Kokiashvili, the
land is full of pieces of smalt, which became a source of
great inspiration.
Do you have any exhibitions coming up?
I have an upcoming Solo Exhibition, there will be
exhibited both, my sculptures and jewelry pieces.
In March 2023 my 5 pieces of jewelry will be exhibited in
Madrid National Museum of Decorative Arts, at
VII MUESTRA·ORFEBRERÍA CONTEMPORÁNEA 2023.
There are few more exhibitions coming up in England, Japan,
and Italy.

Svani Elf - Quartz, clay, Size 18x7x5, 2020

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Nugzar
Manjaparashvili
''When I look at the material, I think what I can do, I look at the world and I start
and I know that I will do it. The main thing is to believe in yourself, be ambitious
only with yourself and you will be able to do anything you set your mind to.''

The place of birth is the village of Sighnaghi district. Nukriani, May 6, 1951. TSSA Faculty
of Sculpture (1975). Teacher of TSU Secondary Faculty (1978-80) and I. Nikoladze Art
School (1990-95). The main works are Woman's Torso, "Spring", "Demetri Tbileli", "High
Montage", "Mother-Child", composition (1986), "Sitting Woman (stone, 1988); "Head",
"Portrait of Ilias", "Exclamation", "Diver", "April 9", "Aphrodite" (marble, 1997), "Angel with
a broken wing" (1993), "Sphinx of Batumi" (2012), and many other medals Artworks.
Participating in exhibitions since 1976 - group exhibitions: "Artist's House", National
Gallery of Georgia (1979-95). "Georgian Art" (Warsaw, 1985); Academy of Fine Arts of the
USSR (Moscow, 1987); Georgian easel sculpture (Seg, Tbilisi, 1991), Georgian art (Moscow,
Prague, 1991); "Iverthbank" and "Orient" gallery (Tbilisi, 1996), "Greece in modern
Georgian art" (1998); ЦДХ (Moscow, 2003, 2004, 2005); Personal - "Tbilisi" gallery (1996),
Paris (1979), "Art Avenue" (2014). Laureate of the National Gallery of Georgia (2002-03)
and the Gallery of Modern Art (2005) I awards and "April 9" II award. The works are
preserved in the bibliographic directory of the members of the Union of Artists of the
USSR of the Ministry of Culture (Moscow, 1982); In the directory "Who's Who in Georgia"
(2006-2009).

"In the process of making a work, I stop this worldly life and become a part of the
material I am sculpting."

Maia Stone work Torso 2

2015 2017 2010
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Kiss
1995

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Unknown
2002

18
Women
2002

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 Louise Ward Morris
Louise Ward Morris is a visual artist who works with experimental videos,
sculptures, digital animations, installations, and computer networks that question
the ever-intensifying connection between people and technology. In 2021 Louise
received an MA in Fine Art with distinction from Central Saint Martins where she
was awarded the South Square Trust Bursary. Upon graduation, she was
shortlisted for the 2021 Global Graduate Award for her master’s project.
Previously, Louise worked professionally as an architect in London. She has
exhibited in the UK at venues including Tate Modern, Saatchi Gallery, ATP Gallery,
Lux Moving Image and Candid Arts, and the Common Room in Shanghai. Her films
have been selected for festivals including the 2021 London Short Film Festival and
the Bomb Factory’s 2021 Artist’s Film Festival. Her work is in the UAL Collection.
Recently, she was awarded the Clifford Chance UAL Award for Sculpture and will
be opening a six-month solo exhibition called Spares and Repairs at Clifford
Chance's Canary Wharf office this October.
''The interplay between people, technology, and the environment fascinates me. My art
practice studies the nuances of these relationships and how technology is a fundamental
mediator - from videos inspired by Indian LCD television factories and sculptures using E-
Waste to installations concerning human sensing through the internet, wearable
computer devices, and Google Images. I use a spectrum of mediums, including
experimental videos and animations to sculptures, installations, and computer networks.
Far from polished consumer products, my artworks establish a gadget and DIY aesthetic.
They play upon the visual aesthetics of damage and corruption by using outdated,
rejected, and deconstructed technological devices – intertwining people, their products,
and the environment.''

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Where are you from, and how does that What is your biggest challenge in being
affect your work? an artist? How do you address it?
I am an artist from the UK and I live and For me, time and money are the biggest
work in Brighton, England. Brighton is a challenges in being an artist – common
wonderfully vibrant, open place with a issues many artists share. I practice as an
strong art community. As a result, I am artist part-time but aspire to become full-
often challenged to reconsider my art time in a year or two. For me, absolute
practice in a supportive, engaging dedication and making the time I have for
environment. I grew up in the English my art practice precious means I am
countryside and spent much of the committed to ensuring nothing disrupts
Covid-19 pandemic surrounded by those days when I make work and
nature. As a result, my art practice has experiment. However, every day is a
recently developed an environmental possible time for thinking and reflecting,
stance, considering how humans interact even if I am not directly working. That
with the environment and engaging with separation is also necessary for me to
critical contemporary topics like a create resolved, purposeful art pieces.
technological waste. Living in the UK has Because I work with technology, like TVs,
also provided me with stability, access to computers, and mobile phones, my
prestigious art institutions, and a well- sculptures and videos can be very
developed art market. All these things expensive. As a result, I am limited in
make it easier for me to practice as an what I can make, or I must find hacks and
artist, and I need to remember that. workarounds. Recently, my artwork has
What is your background? also been affected by supply chain issues
Although I have always made art, I caused by the global computer chip
originally trained and worked as an shortage, meaning the medium I use does
architect in London and Madrid. I made not exist. To counter this, I reuse
my art practice a core part of my life technology across different pieces. While
following personal difficulties later in life challenging, both the global shortage and
and completed an MA in Fine Art from the concept of reuse are interesting
Central Saint Martins, London, as a thinking points. All these issues impact
mature student. My training as an my artwork and make it what it is.
architect continues to be relevant to my
art practice. It helped me develop
resilience, resourcefulness, collaboration,
and communication, and all these skills
are fundamental to my artwork.

You and I
You and I is a wearable apparatus for recording,
streaming, and displaying human sight via YouTube in an
exploration of sensing and embodiment through digital
images and computer systems.
Wearable sculpture and computer network, 2022

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What do you like/dislike about the art when using it, I always search for errors
world? and mistakes in the recording that reveal
For me, my “art world” is less commercial the true nature of the medium and the
galleries and art fairs and more my subject.
method of interpreting and processing Where do you find inspiration?
the world. I recognize that I make art as a The world inspires me. Although my
natural thinking process, and I am artworks appear very technical and,
fortunate to have the space, time, and sometimes, utilitarian, the relationships
means to do that. There is a lot of between people and our perception of
pressure on new artists to progress and the world lie at the core. My artwork is
gain recognition quickly. I experience always personal, and events in my life are
this, but when reflecting on why I am an recurring topics of inspiration – life, love,
artist, I understand that I will make art and death. I am also inspired by my
with or without commercial recognition. artistic process, my mistakes, and by the
However, equality in accessibility, challenges I face, and I relish exploring a
inclusivity, and representation is line of thought until I surprise myself.
fundamental, as is expanding our Only when I am surprised do I know that I
understanding of who makes “good art” have achieved something purposeful.
and why. Also, every artist needs a level
of support to continue in their path. The
art world is unequal. It has a long way to
go to achieve equality in access for
viewers and artists and the definition of
an artist. “Art” will only become
interesting and poignant with inclusivity.
In the end, art is much bigger than the
commercial art world. It is everywhere,
and people from all walks of life make it
for many different reasons. Maybe, we
should broaden our minds as to what
“art” even is and we will all be better off
for it.
Tell me about your favorite medium.
I keep returning to video and sculpture.
Not narrative video and traditional
sculpture but, simply, moving images in
space. I think video and sculpture have
many parallels. They are both time-
based, experiential mediums. A viewer
can only see a small part of a larger entity
at any time. With both mediums, there is
always something else to be revealed or Job Lot
Job Lot is a sculpture constructed from obsolete,
returned to. I love the texture and decommissioned Clifford Chance mobile phones.
imperfections of video, and Mixed-media sculpture, 2022

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How do you define success as an artist? exploitation in technological
Success is a tricky, personal subject for manufacturing processes or have
anyone, let alone an artist! A core part of challenged the influence of digital
making art is releasing your innermost companies over society. When
feelings into the world for everyone to interacting with my artwork, I hope
see and judge. For me, and maybe most viewers think twice about how they
artists, recognition from others is a consume and use technology and that
fundamental part of how I see success. I they are inspired to change their habits
am trying to create a practice where I for the better. Ultimately, I hope that
make art for myself, and I often remind people react emotionally to my artwork,
myself that opposition can be a good that it engenders conversation and that it
thing. I want to surprise and challenge moves them.
people, and I will not necessarily get a
positive response to my work if I have
achieved this. Sadly in the commercial
world, you are only as good as your next
artwork. That can be a hard act to follow
for any artist.
Does art help you in other areas of your
life?
Absolutely. Artmaking is how I process
and think about life. I turned to art for
this reason, and I continue to use it to
reflect on my experiences and Automated Transience
understand how I feel. Primarily, it helped
Machine and photographic projection with
me to overcome grief, but now I use it as documentary film A found 35mm projector slide is
an anchor for all things. repeatedly animated using a hand-built kinetic
How do you develop your art skills? machine. With unceasing momentum the
Necessity is what drives my artistic photograph’s content is both reflected into itself
and extended beyond the frame, with the image
development. I often have an idea for an cast upon the surrounding walls of the gallery. The
artwork I cannot make, and I learn, characters within the photograph simultaneously
research, and stumble my way to a occupy locations within and outside the
resolution. On a basic level, YouTube photograph’s fixed history, suggesting the
alternate narratives that might have been.
remains the best resource created for Automated Transience was exhibited at Walworth
knowledge sharing. I don’t know where I Library, the Art Academy, London.
would be without it.
What's the purpose or goal of your work? Machine and photographic projection with
documentary film, 2019
I don’t have an explicit purpose for my
artwork. Making art is a way of life for me,
and I hope that continues for many years.
However, my recent sculptures and
videos have taken an environmental
stance to communicate waste and

23
How do you navigate the professional art Spares and Repairs
industry? Spares and Repairs is a physical-digital sculpture made
With difficulty! The professional art from deconstructed, broken LED TVs. Bursting open, the
industry is all about whom you know, and innards of the TVs are pulled apart and arranged over
two blue utilitarian shelves to illustrate the unrecognized
I would do better to network more. richness of resources present in each device. New
However, the most memorable meetings screens placed inside the broken TVs play digital videos
of faces, hands, and technological components,
originate around good conversation, so I intertwining people with their products and manipulating
aim for interesting connections and the concept of the screen and the role of time in the
probing discussions. I also spend a lot of video. The sculpture’s location juxtaposes the
functioning TVs on the opposite wall. In their new role as
time applying for funding and art objects, what was originally considered unwatchable
commissions, which is a very time- waste become desirable viewing. The sculpture
illustrates concepts of changing notions of value, the
consuming process and can be aesthetics of damage, and consumer culture. ​
disheartening. However, every action
Mixed-media sculpture and video, 2022
leads to another. Even a failed
application can be an opportunity to
concretize an idea or improve my pitch.
Which art trends inspire your current
work?
Although I want to say that trends don't
inspire my artwork, digital technology is a
hot topic in the art world now. I find it
interesting to compare how different
artists harness or corrupt new
technology, such as Deepfakes or AI, and
to see all the possibilities that originate
from a single trend. I’m inspired by What are you working on at the moment?
discoveries (even if they are not directly I’ve just completed a large commission
related to my artwork) and the for two sculptures and videos about
contemporary issues we face, such as technological obsolescence, recycling,
climate change. and climate change for a six-month
How has your style changed over time? exhibition. So, I will pause and spend time
Yes. My style has changed, but many of following my thoughts without the
my core conceptual concerns remain. I’m pressure of delivering a resolute artwork.
always interested in how people interact However, I do have projects in the
with the world. Stylistically, I have moved pipeline that excite me. Most
from a painting and drawing practice to importantly, this includes a handmade VR
traditional sculpture and then video and headset that shares the sense of sight
digital technology. I think my working between people using YouTube. This
process has also developed, and now I work harnesses familiar mediums, such as
focus on research and theory coupled computers and the internet, and
with stylistic experimentation. Often, I encourages me to develop new areas of
make artwork freely. Only upon reflection my practice, like performance art. I am
do I understand its style or what it looking forward to it!
communicates.
24
Cameron Cameron Lings is a Contemporary
Artist and Sculptor based in the

Lings UK, whose practice consists of

generating three-dimensional
forms from bodies of data sets and
statistics. Through a systematic
and research-based approach, his
creations realize themselves as
functioning sources of information
- despite their initial abstract
traits. Lings utilizes variants of
scale, shape, and material choice
throughout his works, in order to
enhance their relevance to both a
subject and site. He studied Art
and Design at North Lindsey
College, before more graduating
from The MIMA School of Art and
Design, with a First Class Degree
with honors in Fine Art.
"My current work tends to ironically
create itself, and in a way, already
exists - only in a non-artistic language.
I have found that my place within my
present practice, is to translate what
already exists into a format, which not
only results in an intriguing piece of
artwork but as a bridge between the
gaps of science, mathematics, and
contemporary art."

All-Rounders

The fluctuating numbers of UK-based artists

are mapped throughout the previous decade
via a statistical sculpture of stacked discs.
Laser-cut MDF with steel and reclaimed pine
Size 25x10x10cm, 2021

25
How do you work? economic and political themes, I find
Research acts as a pivotal factor in my great importance in displaying these
current practice. All of my generative bodies of information to the general
works feature information at their hearts, public – in more memorable formats than
so finding relatable, suitable, and standard numbers and graphs. It is
interesting bodies of data is of great through exploring these themes, that I
importance. The collected information is introduce how creative visual presence
noted and converted into a can be introduced directly from bodies
proportionally-accurate graph, which can of non-artistic starting points.
be broken down into small sections. How have you developed your career?
Model-making, regularly through a Through the realization of my generative
process of trial and error, results in an sculptures, since late 2020, my role
effective means of displaying the within my practice has transitioned
information at hand. Here I experiment greatly. This body of work has supported
with the structural and visual properties a prominent identity to me within my
of material sections and how they will practice and has allowed my art to gain
behave in relation to one another. Once a recognition on an international basis. In
satisfactory result is made, that is both all honesty, I feel my career has taken a
statistically accurate and aesthetically great step following the realization of
interesting, the proportions of the model these works, as I have found that
are scaled into a finished piece. positivity has been prominent
Throughout my process of creation, my throughout the feedback.
knowledge of mathematics, Within the past couple of years, my
understanding of the material, and artwork has been exhibited widely across
experience in technical drawing are the UK in several exhibitions and has
called upon regularly. Problem-solving is even appeared in shows in the USA. On a
also a tremendous part of how I work, further international level, my practice
often inventing means of securing, has been recognized across the globe
handling, positioning, clamping, and through publications and awards.
fixing material to one another. I greatly look forward to the challenges I
Outside of the studio, my practice is am yet to face in my career.
always on my mind. I am passionate
Daggers of a Rose
about constantly seeking opportunities
to progress and grow as a creative The frequency of relationship break-ups
practitioner. throughout a year mapped through a jagged, data-
visualized sculpture
What themes do you pursue?
Paint on wood with steel on charred pine
Current affairs are widely and commonly Size 15x25x10cm, 2022
addressed throughout my practice.
Environmental issues are prominent in
many of my recent works, as I relay
information around themes surrounding
climate change, pollution, and global
warming. Along with social,

26
What type of art do you make and why? around generating 3D form directly from
My sculptural-based practice realizes 3D bodies of statistics, I proffer to not make
form through the visualization of this too obvious upon the initial
statistical data. This generative process encounter between artwork and
draws attention to bodies of information audience. Again, this beckons curiosity
in order to highlight relevant key issues, and the discovery of information from
often surrounding current affairs. the audience. I have noticed that this
Despite the initial abstract-esque traits, journey of visual exploration is
my art acts as a functional source of data enlightening to the viewer and adds
and bridges the gaps between conceptual depth to individual works.
contemporary art, science, mathematics, What does your art mean to you?
and subject matter. I have grown a firm Being able to be both expressive and
interest in exploring how art can be found creative has always held importance
through non-artistic material. throughout my life, which blossoms from
Throughout these works, I utilize variants my passionate hands-on, and artistic
in scale, form, shape, and material childhood. I perceive the creation of art
choice, in order to enhance conceptual to be something that is universally
relevance to a given subject and site. therapeutic, yet exciting and intriguing to
Ironically, I have found that the visuals of be a part of – not to mention rewarding.
my work realize themselves, through an When considering my current practice, I
entirely self-generative process. Along find great importance in relaying
with this, my place in my practice has information that I find significance in
become that of a translator of addressing. It goes hand-in-hand with my
information – leaping traditional interest in expanding my overall creative
numerics into the realm of artistic knowledge and experience.
creation.
My fond attachment to this body of
practice is enforced through my
intentions to spread awareness of key
issues. Many of my works challenge
environmental, economic, and political
agendas, which I believe should be
rightfully brought to question by the
general public.
How important are titles for you? Refuse

Titles within my sculptural works offer The UK's recent

hints into both the background and history of
recycling rates is
subject of a piece. I aim to subtly not give shown through a
too much information away when segmented data-
choosing titles for my works, as I find driven sculpture.

interest in observing how the viewer Reclaimed Pine

approaches the artwork. and Oak

As my sculptural practice is centered Size 15x5x5cm,

2022

27
 How has your practice changed over
time?
During my time in education, my practice
shifted from figurative and literal
subjects to more abstract exploration.
Throughout this period, I utilized the
opportunity to develop my
understanding of how a concept,
context, and symbolism surface within
contemporary creative practice. An
example of how this has gained
prominence in my recent practice is
through exploration into (and
justification of) material choice.
Although the chance to experiment with
my work was an exciting era, I admittedly
struggled to find an identity within my
practice.
The Covid19 pandemic jolted my artistic
practice, as I noticed how bodies of
numbers during this period dictated day-
to-day life like never before. I still
Heatwave
continue to explore how numbers and
statistical information can be depicted
The increase in global temperatures through art – which I have found to be
is shown through a wall-mounted very captivating!
generative form.
Charred red paint on reclaimed
What are you doing except being an
primed pine. artist?
Size 70x30x20cm, 2021 I graduated in 2020 from Teesside
University, with a First Class Degree with
Honours in Fine Art; and more recently
What is the role of an artist in society? completed my Master’s Degree in Fine
The role of the artist is to explore the Art from the MIMA School of Art and
relationship between contemporary Design.
culture and creative expression. I find Since the beginning of the Covid19
that an artist acts as a vessel of pandemic, I have been employed in the
translation, whose purpose is to question Adult Social care industry, where I still
and interpret the world around them. work today as a support worker. I have
Artists are capable of critiquing social, also enjoyed my temporary employment
economic, and political structures of the at The Northern School of Art, where I
past, present, and future; who have the support students in an education-based
ability to bring both innovation and setting.
inspiration to a community. I currently continue to develop my
artistic practice alongside my
28
employment in the North East of the UK. generative art is very expansive,
What do you like/dislike about the art especially as it is centered around day-
world? to-day living. I’d love to be compared to
Across the UK and Europe, I have noticed both artists as I admire their uniquely
exciting leaps within the arts occurring playful interpretations of displaying
within marginalized communities. I information, I also greatly admire how
believe this should be highly credited to their personalities surface within their
organizations supporting the emerging separate works. Designer, journalist, and
arts scene. I currently hold a proud writer: David McCandless, is also an
studio space in Teesside, UK, thanks to an innovative creator Iook up to. Especially
organization titled The Auxiliary Project after studying his research and unique
Space – a multidisciplinary venue that means of communicating data, through
has worked wonders for creatives across his body of infographic diagrams.
the region. I have so much appreciation Professionally, what is your goal?
for The Auxiliary, and other venues The creative journey I currently find
scattered across the UK, for their myself on, Is very engaging for me. So I
selflessness and continued support would love to continue pushing my
towards helping emerging practitioners. methods and limits around my data-
It is with these venues, like The Auxiliary, visualization work. I especially hope to
that creative activities and opportunities expand the limitations of scale and
are reaching marginalized communities. material over the upcoming years. The
Which I have seen to have created an prospect of creating larger, more
enforced bond between communities permanent works, is a personal goal for
and the art world. me. In late 2021, I assisted the
However, throughout the arts, there is completion of a monumental public art
still a divide that exists between artists piece – after 4 years of voluntary studio-
from different backgrounds. Many based construction. Realizing site-
creative opportunities favor individuals specific public art, and developing works
who are located in a set region, who are suitable for the public setting, is
both wealthy and have plenty of time something I wish to pursue in the long
and space. This gap is especially term.
challenging to bridge for creatives from For now, however, the opportunities I
working-class backgrounds – which is come across are both stimulating and
why emerging artist organizations hold a logistically feasible for me. I enjoy the
vital role in providing such a platform. chance to develop work, and always look
Name the artist or artists you’d like to be forward to responding to what lies
compared to, and why? around the next corner.
One of the first data-visualization artistic Pluvia
bodies I came across, was the ‘Dear Data’
postcard project by Giorgia Lupi and The UK's recent
history of rainfall
Stefanie Posavec. I find the depth of their mapped through a
exploration into freestanding
sculpture
Inksoaked obeche
Size 20x20x10cm,
2022
29
Ian
Bride
Ian Bride's creative practice draws on years as an interdisciplinary
academic/teacher/researcher/practitioner working in biodiversity conservation,
environmental education, and experiential learning. He has degrees in Zoology,
Energy Studies, and Biodiversity Management, a BTEC in Art and Design, and was
an Associate Artist at Open School East in 2018. He has taught subjects ranging
from Shore Ecology to Guiding and Interpretation, and Woodland History and
Management, and is a qualified cabinet-maker and teacher of traditional
woodland crafts. In 2020 he took early retirement to pursue his creativity and has
since exhibited, notably in the 2021 Turner Open, the 2022 Saltaire Open Arts
Trail, and the 2022 Fifty Bees project (see website).

As an 'early career' artist, albeit one relatively 'long-in-the-tooth', I draw upon

extensive knowledge and skills to explore human/nature discourses through
narrative practice engaging with objects (natural and human-made),
representation, and a wide range of processes. I am comfortable experimenting
with almost any materials and ways of making, and my creativity is currently
focussed on challenging traditional epistemological assumptions primarily
generated by positivistic science and offering a perspective that encourages the
'reader' to engage with environmental/human issues from a novel perspective.

A Six-eyed, spotted thwark and commensal

Thwark-snake (Thwarkus stiktika, and
Thwarkopthidis filomenos), being attacked by
a Beaked crabulus (Kavulas ramphostis).

Driftwood, acrylic paint, semi-precious stones

26x50x26cm, 2021

30
What inspires you? Ash Dieback

The world around me, particularly nature

Timber, hay forks, nails, paint
and how we humans relate to and impact Size 200x50x40cm, 2019
it - and sometimes just an object or some
materials, such as a piece of driftwood,
from which something might emerge.
What does your work aim to say?
Something about the above – and
hopefully offer a thought-provoking
perspective.
What is our biggest challenge in being an
artist? How do you address it?
Beyond the process of making – the
challenges of sharing (he said,
deliberately avoiding the question of
money!) – so just be immune to rejection,
and keep trying.
What do you like/dislike about the art
world?
anything goes/anything goes – it’s great
to be able to make what you like, but this
almost invariably means it is little or no
constructive, critical engagement – whilst
the language of the art world is so often
imperspicuous!
I think artists should be challenged about
what they make, and why and how, etc.

Egging you on Name the artist or artists you’d like to be

compared to, and why?
Wooden clamp, goose egg
Size 50x70x20cm, 2017 I wouldn’t presume such an elevated
status on my part – but I can’t deny that
it would be nice for someone to favorably
compare my humble makings with those
of an established artist I would admire.
What is the hardest part of creating for
you?
Finding that undisturbed, fully-focused
time to immerse myself in.

31
What is the role of an artist in society? Which Way?
To stimulate, excite, challenge, provoke,
Our world is in slow motion, held in limbo - a time
enrich, improve, empower, and educate. to reflect and decide before moving on, but where,
Who are your biggest artistic influences? how, and with what? A signpost stands before us,
Can’t really call them direct influences – at the junction of past, present, and future; each
direction is named after specific objects and
but Kandinsky makes me cry, Magritte
symbols from around the world. Which concepts
gives me joy, and I love Mexican crafts – and narratives should we remember, grasp, and
check out alebrijes and Mata Ortiz follow, and which will prevail as we look back,
pottery…. consider the moment, and plan the next steps on
our human journey?
Tell me about your favorite medium.
It has to be wood and other natural timber, wooden clamps, objects, symbols
materials. Size 200x104x60cm, 2022
When is your favorite time of day to
Donated to The People Powered Press, Saltaire
create?
Anytime I can find it! And whenever there
is space in my head to think about a
creative idea.
What motivates you to create?
A psychological/physical need to make….
An itch I need to scratch!.... A want to
speak.
How do you define success as an artist?
A feeling of satisfaction and fulfillment
when looking at a completed piece – and,
of course, some positive vibes from one's
'readers’. Then, I guess, wider recognition
from people/organizations you respect
and whose opinions you value.
Does art help you in other areas of your
life?
Without question – it makes me a better
person!
What's the purpose or goal of your work?
To exercise my creative ‘muscle’ and to
express something meaningful to myself -
and hopefully, in the process, to others.

32
Liam
Collins
Liam Collins is a UK-based artist, sculptor, and environmentalist who has
dedicated his career to a life-long process of working with and exhibiting Art and
Site-specific Sculpture, made from precious metals and found materials. His work
includes influences from Astrophysicists to the historical ancient worlds.

''My creativity is drawn from my unusual life experiences. Raised in children's

homes as an abandoned child, to being kidnapped and spirited abroad where at
12 years old, I was forced to beg on the streets of Athens to survive. Stowed away
on a boat to Crete, I lived in the Caves of Minoan Tombs in Matala living off the
land. Spending 3 years living amongst Machiavellian people and German Hippies,
I found solace in the ancient monuments around me, nature, and the sky at night.
I eventually hitchhiked back from Greece through communist Yugoslavia all the
way to London by myself aged 14.''

Southern France La Tois Bec Ammonite bed in River

Core

33
What is the biggest challenge of being an How can your work affect societal
artist? issues?
Finding the time to do it. Through studying the history of art,
How do you balance your time in the intellect, and playful stories, I stitch
studio with other commitments such as a together creative ideas that illuminate
part-time job, family, or admin? and intrigue through humor and
Unfortunately, my Art has always taken decorative imagery.
2nd place to work that pays. How do you navigate the professional art
What are you working on at the moment? industry?
I’m designing a new unique guttering I don’t believe in anything called the
system for a green home project. It’s a professional art industry. High-end
very creative idea that combines my eco- platforms for artists are all controlled by
building projects with creativity. the collective elite that monetizes
When you are working through problems creativity. Fame and fortune ruin the true
in your work, who do you talk to? and meaningful creative spirit.
Myself. I don’t require help from anyone
else. It ceases to become your work if you
collaborate.
What's the purpose or goal of your work?
to complete every creative idea and
concept I ever have. It’s a thread of
subconscious manifestation that has its
own agenda.

My hand at one with wood Bone totem

Mixed media, A Totem of bones on collage background
Size 40x30cm, 2018 Mixed media, 2017
34
Which art trends inspire your current
work?
My art is created by and inspired by my
subconscious mind, therefore it creates
itself. It doesn’t follow anything or
anyone. My genre of Art is a personal
genre I created called Manifestations.
What is the hardest part of creating for
you?
Finding time to do it. The rest is natural,
fun, and easy.
What is the role of an artist in society? Artists' palette
Firstly to entertain, inform, and delight. Artists' palette is the star of the show. Brushes
To bring about a worthwhile feeling of mounted on a palette, collage olis calligraphy
Mixed media, ,
wonder, and intrigue. To resonate and Size 40x50cm, 2020
trigger emotions.
Who are your biggest artistic influences?
The Renaissance era. Leonardo Da Vinci,
Michaelangelo,. Vincent Van Gogh. The
Dada movement. Rennes Descartes, the
great philosophers. The Eastern European
graphic artists, The abstract
expressionist. Pollack, Joseph Cornell.
Motherwell. Andy Goldsworthy Richard
Long.
Tell me about your favorite medium.
L love the freedom of movement with the
Abstract Expressionists. They set
everyone free creatively and explained
that everything is possible in Art and the
materials you may use.
Where do you find inspiration?
In my sleep. At night.. my subconscious
mind is working very hard to throw ideas
my way in the morning when I quickly
remember what it wants me to do. It
allows all my dreams to come true.
“Manifestations “

Not my type

35
Tanya
Preminger

“My purpose is to express the immaterial essence of things in physical

stuff: to make tangible the universal essence of the creation”.

Containers

Marble,
Size 260x200x140cm, 2018
Tongchuan, China

36
Stratum - Earth, grass, Size 6.5x28x18m, 2013, Setouchi Triennale Shamijima, Japan

Round Balance - Soil, grass, size 900x900x260 cm, 2008, Festival Saint-Flour, France
37
Who are you? Where do you find inspiration?
I am Tanya Preminger, a sculptor from Stone is a very Israeli material, as the
Israel. I call myself a "sculptor" even country stands on a stone and is as
though I work in different media. eternal as a stone that carries the history
Where are you from and how does that of this country. The earth is also a
affect your work? material, which is already a metaphor in
I have been living in Israel for 50 years. itself, and the artist only needs to
But I was born and studied in Russia in arrange it. The earth on which we grow
Moscow. Of course, such a change of and live, its nature, and the entire
scenery was not easy and it took me environment of a person, are absorbed
several years to get rid of the old by our consciousness, processed by it
framework. And I think that I will hardly and our unconscious, and then find a way
be able to fit into the Israeli art scene. out in artistic creativity. And although
But today there are no borders for artists these materials are difficult to work with,
and I create my works all over the world I get satisfaction working with them.
participating in numerous stone Describe how art is important.
symposiums and LandArt festivals. Wars and conquests do not unite people.
Culture and art do it. They give people
common spiritual values and create a
common understanding. It is they who
strengthen the connection of a person
with his homeland and connect him with
the whole universe.
How do you define success as an artist?
Success is when you are appreciated by
colleagues in the profession.

RitualCut - Earth, grass, 4.5x60.75m,

Pedvale Open Air Art Museum, Latvia

38
· And Time to Displace - Tree, plastic mannequin, 250x400x230cm, 2009, Park Dina, Israel

Window into Another World - Soil, grass, mirror, 90x500x300cm, 1989, Givat-Brener, Israel

39
 Daisy on
rds
Richa

Daisy Richardson was born in 1975, in Edinburgh. Now lives and works in Glasgow.
Studied Royal College of Art, London, Painting, Glasgow School of Art BA Fine Art.
Exhibitions include Beep Painting Biennial, Elysium, Swansea (2022), These Times,
Making Space, London, (2022), Contemporary British Painting Prize, Unit 1 Gallery
Workshop, London (2022), Entheos, RGI Kelly Gallery, Glasgow (2022), I Didn't Lick
It, Bruton Museum, Bruton (2021), Dividing Time, Glasgow Project Room, Glasgow
(solo exhibition) (2017), Shapeshifting, Galerie Kusseneers, Antwerp (solo
exhibition) (2009). Awards include Visual Artist and Craft Maker Award, (2018),
Open Project Funding from Creative Scotland, (2016), Flora Wood Award, (2012),
Anna Miller Trust Scholarship, (2004), JD Fergusson Travel Award (2002).

Daisy Richardson’s work approaches ideas of the domestic and the majestic, the meeting point
between interior and exterior, time, space, the unknown, and the formation of the earth and our
place within it. Her work is an attempt to understand these subjects. She works in drawing,
painting, sculpture, and collage. Within her sculptural work, she often uses found objects which
she surrounds with constructed natural substances representing forms such as quartz or
sandstone. With these works, she is trying to bring together domestic interior objects with the
exterior. In the case of Widmanstätten Chair which combines a photographed meteorite surface
with a found chair, the intention was to bring space into the domestic domain and create
something approachable that still maintains its roots in deep time and space.

40
Where are you from and how does that The Italian Renaissance, Surrealism,
affect your work? literature, especially science fiction or
I grew up in Perthshire in Scotland near futuristic writers JG Ballard and Kurt
the Highland Boundary Fault. There were Vonnegut. Music is a big inspiration, I
often small earth tremors and I think this always listen to music in my studio -
early awareness of tectonic plate artists including Max Richter, Olafur
movement and events occurring beneath Arnolds, James Yorkston, and King
our feet gave me an interest in the Creosote. History and film, for example,
formation of the world within my work. I Andrei Tarkovsky’s ‘Mirror’. Ancient
now live in Glasgow; It suits my work to be architecture such as cave-dwelling
created in an urban sprawl where I can compounds and standing stones, rocks,
stumble across objects just lying in the and fossils found on the beach. I’m also
street to integrate them into my artworks. inspired by my parents, artists Jenny
Because of Glasgow’s proximity to the Richardson and Danny Osborne who are
Scottish wildernesses, I can easily get out both in their seventies and have been
of the city to draw and research new work making art for over 50 years. It’s inspiring
and to see our ancient landscape in to see how they have both honed down
action. their separate practices and how they are
Why did you choose to be an artist? exhibiting and developing exciting new
Because being an artist brought together work in their seventh decade.
everything I was interested in - making What is our biggest challenge in being an
things, research, reading, writing, artist? How do you address this?
traveling, and music. At the time of I think some of the big challenges are;
choosing to attend Art School, I couldn’t time, the integrity of the work, and
imagine a better life than one which making work that is relevant to the
revolves around making. I still can’t. current time as well as our place in
What inspires you? history. I never get enough time but I
Drawing, the natural world, artists such as manage to maintain the integrity by
Da Vinci, Pisanello, Louise Bourgeois, working for a living and having no
Meret Oppenheim and Ellen Gallagher. demands on the work. I think a good deal
about my work’s place in the current
time, I’m not sure if it gets there but I
often try to integrate modern objects
into it and the inclusion of crystal forms
or rock-like substances is an attempt to
conjure up lithic history.

Table
A table with two front legs hanging above the floor
as if being picked up and held by the lava-like
substance which is encasing it. Inspired by the
scene of Maria levitating in Andrei Tarkovsky's film
'Mirror' (1975)
Found table, plaster, graphite,
Size 67x60x80cm, 2011
41
What do you like/ dislike about the art How do you navigate the professional art
world? industry?
I like the side that facilitates wonderful I exhibit in group exhibitions, open
exhibitions of artists that can be seen by submission shows, and occasional solo
everyone. I like that artists who sell work shows, often in artist-run spaces. My
are able to fund the creation of future work is not commercial; I like to have
artworks through sales generated by the complete creative freedom and prefer
art world. I don’t love the extreme not to have any timelines on it. Recently
financial side of it, particularly the I’ve really enjoyed co-curating exhibitions
emergence of NFTs which reduce the with other artists and working with a
artwork to digital code to be exchanged collective. I have also placed some work
for funds. with the Sculpture Placement Group
Describe your process when starting a which is an excellent organization that
new piece of work. places sculptures in community and
I work in sketchbooks when researching business settings, bringing art to new
and developing new artwork so I usually audiences and prolonging the life of the
start by referring to my notes and artworks. I’m interested in alternative
drawings in my sketchbooks. I think about spaces and models of showing art.
the idea and which is the best medium to
make it in. For sculptures, I always start
by making numerous drawings and
measurements and if the sculpture is
large or complex, I will also make several
maquettes. I often use found objects and
will keep them for months or even years
before using them. If I’m going to use a
found object, I will design the sculpture
around it, work out how to connect it with
the constructed areas of the sculpture
and which are the most appropriate
materials to use with that object. This
could be as simple as selecting a metal
leaf to gild an area with. The planning
stage can last for months until I have
everything in place to get started. When
I’m ready to go, I’ll usually start on my
first studio day of the week so I have a
couple of clear days ahead of me to get
the new piece started.

Rock Seat
A stool with a large rock growing over it
Found stool, papier maché
Size 155x100x70cm, 2011

42
When is your favorite time of the day to developing ideas for new paintings and
create? collages and planning a fourth, more
I like to start work in the mornings when complicated sculpture.
the day is fresh and I have plenty of What are the projects, interests, and
energy. I’ll work solidly until whenever I experiences with materials and
have to leave in the afternoon. The techniques?
morning hours tend to be the most I use papier mache with a wooden
productive for me when I have the whole armature or thin plywood with a wooden
day ahead. armature. I also use gilding techniques
How do you balance time in the studio using leaves such as palladium or 23-
with other commitments such as a part- carat gold. In preparing the wood for
time job, family, or admin? gilding or painting, I will build up the
I have two children who always take surface in the same way that I prepare
priority and a part-time job so have to boards for painting on. I’ll build up 8 or 9
have a strict schedule to make sure I coats of gesso, sanding between each
manage everything. I work 2 - 3 days a layer. I’m currently using tying as a way to
week in my job with Art in Hospital, make sculptures and have previously
Glasgow. I facilitate art workshops in a used digitally printed fabric, sewing, and
care home, coordinate student lighting gels to make work. I also
placements, and run the organization's sometimes work with video and
social media accounts. I plan my studio animation, improvising soundtracks to
days in advance so I have everything I work around the piece or use as a starting
need when I get there in order to get as point.
much as possible done with the time I Marble
have. I usually take notes at the end of An apparent slab of marble on a wooden
every session so I can remember exactly support, made from card and self-
where I was for the next time. I carry a adhesive vinyl.
sketchbook in my bag wherever I am so Card, self-adhesive vinyl
I’m often thinking, planning, and taking Size 20x20x15cm, 2012
notes outside one of my children’s music
classes or on my lunch break. I fit admin
into any gaps that appear in the evenings.
What are you working on at the moment?
I’m working on three new sculptures. Two
are integrating found objects, one with
consideration to the anthropocenic era.
With the third, I’m experimenting with
techniques from my painting practice and
mixing up colored materials to work with
so the piece is made from a colored base
rather than the color being added at a
later stage. I’m also

43
What are you focussing on right now?
I’m really interested in the formation of
the Earth, geology, space, gravity, and
human lived experience of these things.
I’m also interested in the unknown and
often include meteorites in my work as a
shorthand for this, as visitors to Earth
from deep space and deep time. These
are the overarching concerns of my work
and themes that I look at so are usually
present in some form. At the moment, in
addition to this, I’m focussing on
constructed Anthropocene objects that
combine ancient mineral development
with objects affected or caused by
human activity. I’m always looking at Mid Times (detail)
alternative materials that are appropriate
A bird table with a loose pyramidal silver shape
to my ideas and trying out new ways of
instead into the middle it.
working and making artworks. Pre-made bird table, wood, palladium leaf
Size 144x40x30cm, 2012

Wave A wave based loosely on the Hokusai's 'The Great

Size 8x18x7cm, 2015 Wave off Kanagawa'. It was created from the
rubble cut from newspaper images of the
aftermath of tsunamis, stuck together into the
wave form.
44
 Laura
Scull

45
Laura Scull is an artist who studied at the University of Gloucestershire whilst
investigating several mediums to fit the purpose of her growing art practice. Now
practicing in the Northwest, Laura defines herself as a visual mark-maker and
continues to experience what art can achieve through a daily practice of
refinement of old techniques to expand what is and can be possible to create.

Focusing on individual decisive mark-making, I consider creating a contrasting

geological composition and surface area within the form whilst it is representing
an immutable structure that compresses a neutral but complex space. The
artwork is constructed through a partially controlled process where unintentional
and accidental actions of erosion or application contribute to the state of the
artwork. This lack of control is used to intentionally irritate and engage with the
human senses to cause the viewer to become uncomfortable and approach aware
and with caution.

Untitled
Plaster, 2018
46
Where are you from and how does that Why did you choose to be an artist?
affect your work? Looking back now, the path wasn't always
I was born in the Southwest of England clear for being an artist. I didn't know for
(just outside Bath) then moved to the such a long time that you could be an
Northwest after completing my artist as your full-time employment and
University Degree at the University of not just a hobby until I reached the sixth
Gloucestershire. Ever since I first visited form. I think I can remember the exact
Liverpool, I found myself feeling more artworks that it suddenly clicked for me, I
comfortable being myself without was a teenager still trying to figure out
restraint or anxiety as I feel accepted everything and we were sent on a trip to
here. In turn, this has been reflected in the Tate Modern in London and I came
my artwork as the artwork has become across the Rothko room. I remember
somewhat more personal for me and as a sitting there feeling overwhelmed, almost
statement rather than simply pleasing crying, and yet so at peace. I thought to
the surrounding critics. myself that if one man could recreate
What is your background? that feeling of feeling free amongst the
I have always identified myself as a mark- busy walls of London then I could. Why
making artist as the medium and choice not me? Pretty much later that day I also
of mark-making techniques are never the realized that all the other subjects that I
same in each individual project. I like to took really didn't click with me when I
think that a material/medium has a say in was learning about them. I had double art
what it wants to do as that lack of control on a Friday afternoon and I would looked
only comes down to applying that forward to it just because it felt similar to
medium and the artwork is formed by the same feeling I felt that day in London.
itself as what the medium wants to do. I There have been a few other artists and
find that this lack of freedom can make artworks that have created this sense of
some people more uncomfortable when freedom and peace since but nothing is
looking at some of my artworks whether it more powerful than that moment since.
be from a scale, composition, or color What inspires you?
point of view but that uncomfortable Life has always had enough inspiration to
feeling is what we are missing in this keep me interested in all the little
modern age, I am simply reminding pleasures I find but I do find that the
people of it. other hobbies that I have outside of art
do tend to seep in from time to time. My
love of video games, gardening, and
travel has always made it into my artwork
without me knowing. I was traveling a lot
pre-covid and you could see it in my large
sculptures as now I see them as more of a
representation of ancient ruins and time
than ever. Gardening and the natural
world are
Tryptic
Plaster, 2019

47
probably why I enjoy still-life drawings What is our biggest challenge in being an
and live drawings so much because it is artist? How do you address it?
organic and raw, you can't fake any of Currently, having enough time aside to
them. It is what it is. But how you project allow my artistic practice to not only be
that is different from everybody else's maintained but to grow. If you aren't
view. well-known enough in the art world you
What does your work aim to say? have to find other ways to fund your art
My artwork does tend to say different practice as well as to pay the bills and
things each time I create something new sometimes that means working for
but generally, I quite like the idea of it somebody else. I loved the three years I
being able to speak for itself by the use of did at University as it gave me this taste
mark-making techniques and application of what life could be like but as always it
of the process of creating that artwork. comes with a bitter-sweet ending. You
However, there does seem to always be a experience this freedom at the
contrast between organic and man-made graduation end of it all but you feel like
surfaces through the use of individual you are shouting and now no one can
mark-making techniques that compresses hear you. Now that I have my feet a bit
a neutral but complex space in which the more on the ground, four years later, I
artwork is partially controlled allowing have found that if you put aside at least
unintentional and accidental actions are 10 minutes a day to do something from
the leading features of the artwork. Often drawing to painting, printing, art research
this results in the viewers being irritated to even replying to art opportunities you
to engage with such an artwork because it find that it suddenly becomes quickly
makes them uncomfortable triggering a into an hour or two. If it doesn't then you
cautious approach. try again the next day.

Untitled - Plaster, Size 27x28cm, 2017

48
What do you like/dislike about the art What is the role of an artist in society?
world? Artists have always been able to show
Unpopular opinion but I do feel like if you the unseen in any particular situation.
don't know the right people. have gone to Sometimes it can be something that we
a London University or paid to get into feel and yet can't explain. Take Banksy's
the art community then you are 'Devolved Parliament, an artwork that
consisted lesser. Not every artist is like was made back in 2009 and yet is still
that but generally, I feel it's a little relevant today it still demonstrates
underwhelming that no matter how hard exactly how we feel parliament is playing.
you try or however many exhibitions you It is a time stamp that you can place
get into, you will never succeed due to amongst any history line and it will still
being doomed from the educational be relevant in that period.
beginning. Who are your biggest artistic influences?
Name the artist or artists you’d like to be I take a large amount of influence from
compared to, and why? musical artists as well as fine art artists.
All ready mention him once but Mark Currently, Halsey and Paramore are both
Rothko is definitely one of them. That fighting strong and maturing like cheese
aura his artworks can create is truly life- with old age. Recently I have found that
changing. Duchamp (figure moving independent artists are influencing me
downstairs particularly), Picasso's more than usual as they have not been
Cubism period and all of Racheal touched by fame and are more pure,
Whiteread artworks do spring to mind as down to earth as well as true to
being the most obvious direct links to my themselves. An exhibition I took part in
artworks but you could argue that back in August had a wide variety of
Jackson Pollock and Frank Auerbach tend artists where none of them were full-
to pop up in my sketchbook now and time, they simply created art in their own
again. time and enjoyed and yet it has moved
What is the hardest part of creating for me more than any other artwork I have
you? seen in the modern age.
Space. My artworks are always reflecting How do you know when a work is
on the space that I have to hand, it isn't finished?
attentional but I think back in my A difficult question is this one. I find that
subconscious it happens to influence me if I am not immediately adding to that
to the size and scale of the artwork. artwork then it is finished. Whether it
Currently, I have a meter wall space in my looks it or not. If I can't find a place that
back bedroom with a small desk and floor immediately needs attention and that I
space so everything I have made in this can identify then it is finished. There is
room has been small and delicate so I can also a long way to finding out if an
easily store it away and come back to it artwork is finished or not. If you leave it
when I need to. I look forward to the day for a few months and then engage with it
that I can afford a proper-size studio, oh without having a memory, flashback, or
the mess I would make! emotion towards it then it isn't finished.

49
 Ann Bates
After graduating from the University of Derby UK with a First Class (Hons) degree in
Applied Art, Ann has been working with clay for over 25 years hand building vessels and
tiles.
When her partner unexpectedly died it was working with clay that helped her through
bereavement and inadvertently changed the focus of her work. Over the past few years,
Ann has concentrated solely on producing handbuilt ceramic funerary urns.
She has worked with Funeral, in California USA, a gallery dedicated to supplying individual
funerary urns, and also with individuals who have discovered her work through the
internet. Ann's most recent collaboration is in conjunction with the newly built Long
Barrow in Wilshire UK; inside this contemporary, spiritual monument are chambers with
niches for the placement of funerary urns.

''An interest in archaeology, particularly standing stones with their carved decoration and
symbols, led me to research ancient burial practices, due in part to my own experience of
loss.
I became intrigued by ceramic cinerary urns made in the Neolithic and early Bronze Age to
contain cremated remains and began to design and make funerary urns, not copies, but
contemporary interpretations with great respect for the past.
Echoes: reverberations across millennia, is a body of work aiming to show through design,
concept, and materials, that ancient practices of honoring the dead can still be relevant
today.''

Echoes II

Handbuilt ceramic funerary urn,

glazed and high fired
Stoneware clay
Size 18x18, 2021

50
Where are you from and how does that What do you like/dislike about the art
affect your work? world?
I live in Matlock, Derbyshire UK in a rural I enjoy being part of the art world
area. My home and workplace are community, meeting artists of different
surrounded by woodland, it’s very disciplines, speaking with them, and
beautiful and peaceful with few looking at the materials that they use to
distractions. It suits me well as I can create a piece of work. I also enjoy
concentrate on my work. introducing others to Art through working
Why did you choose to be an artist? with clay, marveling at the diverse range
I became an artist in my mid 40’s, and of objects that can be produced from this
before then I looked after the home and seemingly basic but metamorphic
my family. When my children had left material.
school, I began working with clay and Name the artist or artists you’d like to be
joined an evening class at a local college. compared to, and why?
A few years passed and I was offered the I’m not sure that I would wish to be
opportunity to study at the University of compared to another artist, we are all
Derby UK. I graduated with a First Class individuals and have our own voice
(Hons) degree in Applied Art in 2000 and through the work that we create. I do,
have been hand-building vessels and tiles however, feel a connection to our
from clay ever since. ancestors in the way that I form and
What inspires you? decorate my funerary urns.
Through my own experience of loss, I What is the hardest part of creating for
became interested in the rituals of our you?
Neolithic ancestors, in particular, how The most difficult part of creating a
they honored the dead. I am fascinated funerary urn comes very near the end of
by the patterns, carvings, and symbols on the process and it is glazing the piece.
ancient standing stones, they inspire my Sometimes it can be a complicated
work. The Spiral, the natural form of procedure depending on the size,
growth and symbol of everlasting life I intricacy of design, or colors required.
use as my maker’s mark. Glazing comes after the building,
forming, drying and first firing of a piece,
it is like applying makeup to a face and
can enhance or ruin.

Echoes I

Echoes V Handbuilt ceramic

funerary urn, glazed
Handbuilt ceramic funerary urn, glazed and high fired and high fired
Stoneware clay Stoneware clay
Size 14x17, 2021 Size 16x12, 2020

51
 Echoes VIII Is there a specific environment or
material that's integral to your work?
I could not produce my work without
Clay. My tools, some of which I’ve made
myself and others more than 20 years
old, all are integral to my work and feel
good in my hands. And of course, my kiln
provides the intense heat that transforms
clay into ceramic with the potential to
last for thousands of years.
How do you balance your time in the
studio with other commitments such as a
What is the role of an artist in society? part-time job, family, or admin?
Generally, I think the role of an artist in I devote the mornings to my ceramic
society is to inform. However, speaking work, admin usually in the afternoon or
as a maker of funerary urns my role later in the evening, and family time is
begins by listening and empathizing early evening. That is the plan, but things
rather than informing. I encourage change, and I have to be flexible.
people to work with me on the design for Sometimes a piece is ready to be worked
an urn; becoming involved in the process on in the evening in the warmer weather
has helped some bereaved people move or in the winter pieces take longer to
towards closure of their grief. become firm. I listen to the clay, it guides
Who are your biggest artistic influences? me.
My biggest artistic influences are perhaps What are you working on at the moment?
What rather than Who and can be found I’m preparing to begin work on a
in the Archaeological sections of commission. Meeting the client,
museums when viewing ancient artifacts. discussing requirements, ordering
Traveling to sites of ancient standing materials, making maquettes, and testing
stones and tracing their carved symbols glazes on tiles. All preparatory work
with my fingers knowing that maybe before beginning to work on a funerary
5000 years ago another hand did the urn.
same; this gives me great pleasure and is
inspirational to my work.
When is your favorite time of day to
create?
My favorite time of day to create is the
morning. I am fresh and eager to begin
work, picking up where I left off the
previous day. If I am building a piece the
clay will have firmed a little and will be
strong enough to take more coils or is
perhaps ready for sgraffito decoration.

Memories of Newgrange I
52
 Echoes VI

Handbuilt ceramic funerary urn, glazed and high fired Stoneware clay
Size 21x18.5, 2021

Do you have any exhibitions coming up?

My latest exhibition, entitled “Echoes: reverberations across millennia” came to an end on
08 October. Through design, process, and materials the aim was to show that ancient
practices of honoring the dead can still be relevant today. Photographic examples of a
Neolithic and modern-day barrow for the interment of cremated remains were exhibited
alongside my hand-built funerary urns and Early Bronze Age cinerary urns revealing a
connection that has spanned for over 5000 years.
53
Gillian Davenport
''My practice aims to highlight the beauty found in usually
overlooked natural objects and illuminate their presence
in the outside world by transforming and displaying
their isolated presence inside. I draw on the ordinary
but highlight the extraordinary and concerns the
natural world that feeds into my sculptural
practice. Transformation interventions occur by
removing mundane objects [stone, driftwood,
found objects, and bricks]from their original
context thus creating dissonance through
isolation from the original function. This
recaptures natural objects in an unnatural
way, man-made and industrial way

My creative focus in my practice has been on

sculptural practice deploying as wide a range of
materials as possible on an experimental basis.
These include resin, wood, found objects, and
perspex which has worked individually and
juxtaposed.
My work is characterized by an interest in the
physical aspects of material and modes of
construction, my sculptures are often made
from an accumulation of similar parts. By
emphasizing the process of making, and
experimenting with mixing materials to produce
a range of sculptural pieces. I want to retain the
organic quality, but then refabricate them into
something new. My practice highlights beauty
Driftwood
found in unusually overlooked natural objects.''
found object industrial stand, fund driftwood, resin made remade
gneiss stone
2019

54
Who are you?
 What does your work aim to say?

My name is Gillian Davenport. Aged 53 My practice aims to highlight natural
Where are you from and how does that beauty found in usually overlooked
affect your work? natural objects and illuminate their
I was recently living on a 1948 fishing presence to the outside world by
boat, a renovation project situated in transforming and display displaying their
Ayrshire Scotland. Due to ill health, I have isolated presence inside.
had to return to Manchester. My practice What do you like/dislike about the art
is influenced by nature.
 world?

What is your background?
 Art to me is an escapism, a distraction
I varied background, I worked for a from the stresses of everyday life, it
photographic company as a manager, allows me to explore and evoke different
photographer, self-employed wedding emotions privately. The art world can be
photographer, then teaching assistant for pretentious and not as accessible to
children with autism and behaviourally everyone who wishes to engage. Art
challenged children. establishments judge people on
Why did I choose to be an artist? academic merit, there should be other
I have always been creative, from winning alternatives to universities like
a drawing competition at school and my apprenticeships with leading artists or
drawing in the Whitworth Art gallery to galleries.
being commissioned to produce a Name the artist or artist you would like
painting of an old mill, the inspiration to to be compared to.
produce photographs with meaning to The artist that inspires me is Rachel
the viewer. Art has been a huge influence Whitread. Her work has been described
throughout my entire life so I decided to as 'minimalism' with heart. Her practice is
do a Fine Arts Degree primarily sculptures. My practice aims to
What inspires you?
 find beauty in usually overlooked objects,
The natural world feeds my practice and I by transforming their isolated presence
intend to present the ordinary and inside, through form texture and negative
highlight the extraordinary through my spaces.
transformative interventions to reveal What is the hardest part of creating for
the unexpected beauty in previously you?
unseen ways. Generating an idea, methods, and
What is our biggest challenge in being an materials costs. All three are problematic.
artist? how do we do you address it?
 My practice is partly experimental
My biggest challenges are creating processes however the spirling cost of
opportunities for commissions and a lack materials has made me consider cutting
of funding for materials. By having down on some of the materials I use.
determination in myself, pushing my What is the role of an artist in society?
ideas and experimenting with different Artists are important in society as they
materials. I strive to capture the essence inspire open-mindedness, evoke
of materials and transforming objects emotions otherwise hidden, and create a
into a sculptural form.

55
positive view of the world. Also to change
people's perceptions or raise awareness
of social political & cultural issues.
Who are your biggest artists' influences?
Vincent van Gogh, Andy Goldsworthy,
Balance
Rachel Whitread, and Marian Abramovic.

Tell me about your favorite medium. Original found gneiss stone, concrete plinth
My practice primarily is a sculpture. My Natural stone and concrete
Size 12'', 2019
aim is to create a body of work that
pushes the possibilities of using a
juxtapose of materials, glass concrete,
cement, and plaster found objects of
interest.
Where do you find inspiration?
I find my inspiration through natural
forms, nature, and researching artists
within my field, Lynn Chadwick, Monica
Bonvicini, Richard Long, Robert
Smithson, and Nancy Holt.
When is your favorite time of day to
create?
Morning time when the light is low, I
usually go for a walk when the streets are
empty and the traffic is slow, hearing the
sounds of nature and feeling the breeze
on my face evokes peacefulness within
me.
Describe how art is important to society.
Art is important to society because it
encourages escapism from the real world,
it evokes different emotions hidden
within a person's soul. It allows history to
be discovered through a vision captured
in time. There are no boundaries you take
what your eyes see, then develop your
own interpretation of something.

56
 Mixed found objects

Found stone with industrial elements

balancing stone
Size 5'', 2021

57
58