C02
Aug 7-17, 2002
Alison Bickmore, Jayne Corfield, Bea Denton, Shuxiang Jin Farrall, Ian Glazier, Penny Hamblin, Omolara Ige-Jacks, Miki Inoue, Karen Legg, Renate Moritz | digital images, prints, sound, glass | space 1,2,3

Alison Bickmore

My work is concerned with the initial heartbeat recording in which I contorted the sound waves into visual formations and apply them to my work in digital print and then into light boxes. I am interested in rhythms, both bodily and outside of the human body, so I added the rhythms of the sea and recorded my own sounds of waves from a beach in Sussex, a memorable place in my childhood.

This work also includes a sound piece.

Jayne Corfield

I am inspired by microscopic imagery, detailed observations through the microscope and exploring this abstracted imagery. I am in the process of collecting bodily samples from myself and relevant people in my life. The microscopic images from these samples will form the basis of a body of autobiographical work. I am interested in the fusion between imagery that combines both the unique and indisputable with the artist's interpretation. A delicate balance between the scientific and the emotional.

Bea Denton

This work is produced by sandblasting glass using the Helio relief technique. I have taken the idea of confession and, in a modern context, interpreted it as a form of story telling and catharsis. I placed advertisements in various publications requesting anonymous confessions and secrets. Respondents are also asked to say whether the process of telling is cathartic. I have used this material in my work.

Shuxiang Jin Farrall

The current images in my work come from the memories of my childhood. The forms in the prints have evolved from mushrooms and nature. I want to communicate with mushrooms through abstract styles and appearances and to present them as living beings with feelings and thoughts. I strive to do this in a way that is new and refreshing.

Ian Glazier

My work originates from an obsession with the human body. A synthesis of figurative and abstract elements, with a suggestion of biological and scientific illustration, it expresses my state of mind and body as the two become fused in the physical activity of making. I am currently working on a series of coloured reduction prints using both lino and wood as well as multi-plate zinc lithographs.

 Penny Hamblin

In October 2001, I made an appointment to visit and photograph the decaying structure of the West Pier in Brighton. The images produced from that visit are the basis of this current body of work. Here was a structure I could use as a metaphor for the idea that a space can hold a past and a history; a past that was once vibrant and occupied, but now a system of decaying, claustrophobic spaces.

The shadowed interiors, exemplified by peeling paint and broken windows, contrast with the open spaces beyond. These spaces are both literal and metaphorical: the sea stretches off into the distance and the past is the space occupied by a series of recollections.

Omolara Ige-Jacks

This unending cycle of abuse, poverty, and death of children is harrowing and sad. It gives me a painful hollow feeling deep in my soul, my emotions swirling back and forth between fear and intense anger dreading every news hour. My mind races every time with the question — WHY?

Miki Inoue

I am interested in seeing the difference between the original image and the transferred images. I find there is a significant meaning in the 'distance' between them. I think that this distance suggests something more profound about life and identity.

Karen Legg

The flower is a repetitive symbol used in the work, a symbol of the fragility of human nature. My work is highly influenced by the idea of wild flowers being referred to as 'weeds', sometimes just because they grow where they are not wanted.

During the summer of 2001, I researched wild flowers in Cumbria which grew around the fields where cows and sheep grazed. These flowers had a special poignant significance at this time of the foot and mouth disease.

Renate Moritz

My work investigates the question of space. What space does the human figure inhabit today? New communication systems shift distances and nearness; this creates a new form of reality. These aspects impact our awareness of space. Persons and localities meet in a 'virtual' space or projected space, which appears through digital technology. Virtual space excludes mass, is not static and cannot be contained in a defined shape e.g. the Renaissance invention of space defined via perspective in am imaginary cube.

The figures in my images are in motion, a kind of vibrating state, without mass and look projected — figures in virtual space. This is an existential phenomenon of today, it is also unique. The figures in my compositions travel through their personal landscapes. There are no 'scenic' objects, yet certain areas are sensitised as being part of a personal history, being significant. These space scenes have often an underlying map, records of human traces and their individual story.