Dialogues {Online} Artists

During this unprecedented time of lockdowns and physical distancing, we are all lacking important social interaction and communication. Critique and conversations can be essential in the development of your practice and work. Dialogues {Online} is a 17-week programme of group workshops, peer-to-peer exchange and one-to-one practice development support for up to 12 artists led by Mark Devereux Projects.

Dialogues {Online} is aimed towards artists that may be developing a new body of work, building a new project or working towards an exhibition or commission. Focussing on the development of the artist’s core ideas and how they manifest their voice within the making of the work, each artist will benefit from three group crits, three 1-hour one-to-one mentoring sessions and three group workshops. Taking place online (via Zoom), Mark Devereux will lead each session; offering tailored and critically engaged developmental support.

David Appleyard | www.davidappleyard.co.uk

Since establishing his artist practice in 2007, David Appleyard has developed an extensive portfolio of site- specific work across the UK. Using a wide variety of materials and processes (including timber, metal, glass, stone, resin, light & sound), he creates large-scale temporary and permanent artworks. His work is informed by the narrative and geography of each individual site, integrating time for community engagement and consultation.

Storytelling with objects and installations is at the heart of Appleyard’s artist practice. Myths, fables, superstitions and ideas about belief are woven into his work and help communicate aspects of our shared heritage. Often of a symbolic nature, project outcomes have included: sculpture, architectural interventions, time- based work and engagement activities with local communities.

He has extensive experience within public and private art commissioning, alongside working on several large-scale heritage projects. Notable recent works include a public art project – ‘Merthyr Has An Iron Heart’ for Merthyr Tydfil funded by Arts Council Wales (2017). Working with the local community, Appleyard developed a permanent sculpture referencing the events of the 1831 Merthyr Rising, which has received wide acclaim. Another pivotal point in his practice arrived in 2017 when he won the highly competitive MeetingPoint2 commission managed by Arts and Heritage. The resulting work was a temporary sound sculpture installed in the Grade II listed ice house. Other notable projects include: ‘Fair Winds and Following Seas’ (2019) for Natural Resources Wales’ and Never Eat Soggy Wheat,’ Normanby Hall,(2020) for 20-21 Visual Arts Centre.

 

Paulette Bansal | www.paulettebansal.com

Paulette’s approach to Printmaking is experimental, intuitive and ordered all at the same time. Her artistic practice is based on personal observation and experiences in the places frequented locally and further afield. The recorded narrative is abstracted and then reconstructed.

‘A sense of place’ is central to the inspiration behind the work. The experience and memory of a place initiate the starting point, walking locally or further afield when travelling. Attachments to local surroundings develop naturally, and this constancy flows into new environments. Observation of what has gone before and the layering of environments are the key elements this artist will take away to consider.

The narrative is initially recorded through photography; the imagery is then reconstructed and abstracted afterwards. This is sometimes done on a computer, using Photoshop to cut and paste elements into a format to work from or lots of images can be printed out and pieced together to form different compositions.

Paulette prints at HBP, a printmaking facility in Salford but has recently acquired a small press at home and during lockdown has set up a studio space to allow her to continue working.

Nicholas Carn | www.nicholascarn.art

Nicholas is an Audiovisual and multidisciplinary artist based in London. His work involves combining the processes of digital and analogue media, animation, music/sound design, video, photography and sometimes celluloid film. He develops projects in film-making, AV performance, installations, new media and video art. Sometimes converging these processes into one or working separately. His workflow is motivated by and explores disappearing identities in systems filtered through the prism of technology, at the juncture of cinema, design and new media art. As a media artist his practice involves manipulating sound and music with visual imagery using generative algorithms in real-time processes or rendered and edited as a film.

He’s developing projects in “expanded cinema” which combines narrative abstractions of cinematic imagery and live performance. For example, on a residency in Krakow in 2019 He produced an audiovisual performance using sonification techniques from climate data. The work was an abstract, ambiguous and from a fictional post human perspective. The film installation was performed live across 4 wall surfaces of 360 degrees and was 16000 pixels in width. Other recent works include Residency and Audiovisual installation called “Site Effects” for Rausch festival in Chemnitz, Germany in August 2019 and a screening of an Audiovisual film at Sound Image Colloquium 2018 in London, Greenwich.

 

Jemma Grundon | www.jemmagrundon.com

Jemma Grundon is inspired by transient and ephemeral encounters and experiences; a momentary dialogue with a stranger, bubbles being blown, a shaft of sunlight bursting through the gap in the curtains. An underlying association with nature runs throughout her work; and using this familiar imagery her work helps us to question and consider how we might experience, acknowledge, and remember an impermanent and transient encounter. Working predominately with painting and installation, Grundon expands upon the residue of these encounters which often leave little or no physical trace due to their ephemeral nature. Just as the blossom falls to the ground, and the snow melts, the quiet allure of the cloud heightens the awareness of fragility, leading to a melancholic sensibility towards these events. It is this sensitivity and association with memory that is the foundation of her work.

Jemma Grundon (b.1985) is a Bristol-based artist, working from Jamaica Street Studios. Graduating from Bath Spa University in 2007 with a Fine Art degree, she has since completed an MA Artist Teacher and Contemporary Practice from Goldsmiths University in London in 2014. She has gone on to work as an artist and educator and her work has been exhibited in the UK and Europe, including the group show, ‘AIR: Visualising the Invisible in British Art, 1768 – 2107’ at the RWA, Bristol in 2017.

 

Tom Lambert | hologon.info

Tom Lambert is a sculptural artist who works geometric industrial forms and animated light pixels to create experiential light sculptures. These regularly feature specially produced music and special effects to envelope the audience in the piece and allow them to fully immerse themselves. Tom creates pieces that act as a contrast to the environment that they sit within, whether that be a forest setting or urban environment. I take influences from modern architecture, science fiction movies, as well as sets and lighting installations at music festivals and club venues.

Tom’s work creates unearthly wonders that draw visitors in from far away to discover their secrets. His sculptures are transcendent otherworldly experiences which take the audience away to a different place, playing with their perception and challenging them to feel into the moment and think about what the experience means to them.

 

Carole McCourt | www.carolemccourtart.com

Carole McCourt is a mixed media artist with walking and drawing at the core of her practice and is interested in heritage and place. She uses walking as her methodology and forensically investigates a place through repeated visits, and by collecting treasures, thoughts, interviews, photographs, drawings and experimenting with natural elements.

Carole is interested in the heritage of a place and its unique geological and biological footprint and explores layering in many areas of her research using this in her physical work, from geological layering, to the layers within books, prints, text and the layers of themes and concepts. She researches both the physical and emotional environment and how elements such as geology, botany, ecology, the Anthropocene contribute to making the stories and histories of a place accessible to audiences.

Carole collaborates with both natural and man-made elements of a site by burying & submerging paper and prints within the landscape to imitate or leave traces of found textures. She obsessively collects ‘treasures’ – rocks, foliage, test-tube samples and is interested in their ‘stories’ and the intimate sense of time and place they evoke.

Scale and repetition are important to Carole – both in the repetition of walking the same route on numerous occasions and in the outputs, which have included creating 3500 miniature prints made directly from meadow grass and multiple large-scale charcoal & ink drawings that are at least 153 cm x 122cm.

The end results are generally site-specific multi-media installations using drawing, printmaking, digital, found objects, focussing on unnoticed elements of remote sites.

 

Ashokkumar Mistry | ashokdmistry.com

Every Artwork Ashokkumar Mistry has created has started with some form of writing – usually a poem. The writing locates the intention of his work and plays like a mantra in his mind. “My neurology and creative approach generates a myriad of creative outputs in a range of media that perhaps appear disconnected”. Mistry’s work is interdisciplinary – primarily visual and sculptural works using many media, writing as a critical tool, and performance as a convergence and an enacting of the many processes.

“In the same way as a scientist would use different processes or tools to find evidence of particular physical properties, I use a range of media and processes to unearth different emotional properties”. The media used in any given piece needs to be fit for purpose. He experiments with media in unconventional ways by pushing them to their limits or mixing them with other media to evoke new emotional realities. Mistry is constantly experimenting and prefers to allow the idea (formed through a poem) to lead, rather than forcing a particular medium onto the idea.

“My practice is always evolving and moving into new directions because, for me, the medium is a vehicle to somewhere”. Mistry’s method involves using a variety of mediums in ways that explode their traditional
uses. Drawing is a big part of his work, however, it is much more than pencil and paper, for him, drawing is about asking a series of questions using a range of different processes. All of the artworks Mistry create start with a series of core questions which guide the medium used and the process followed.

Working both with physical and digital media, Mistry’s central discourse deals with how we as human beings make sense of the world around us and the dichotomous nature of humanity. In particular he study how people living in different contexts form “truths” from direct and indirect encounters and the proliferation of these “truths” through online and offline means to form patterns, memes and dreams.

Mistry’s work is nourished by actively engaging people to feed a work from different perspectives with source data or actively being part of the work. “Looking beyond the surface traits such as identity I try to draw out both the rational and irrational that makes us who we are”. Using play, metaphor, repetition, ritual and reflection Mistry trys to create artworks (or situations that lead to the creation of artworks) that sit as a mirror to contemporary human insecurities.

 

Kelly M O’Brien | kellyobrien.art

Kelly M O’Brien’s practice focuses on themes of precarity, resilience, repair & hope through the creation of sculptural works. She is interested in the fragile & precious nature of our world, highlighting the importance of our actions & responsibility for repair in our hands.

Over the last year Kelly has used materials from her wildflower meadow to create small mixed media works. This project provided an important structure during lockdowns when access to materials, workshops & studio space was limited. The pieces act as maquettes and ideas for future works, highlighting her interest in Britain’s grassland and meadow regeneration and learning about their role in carbon capture and climate change.

Recent opportunities & achievements include: PADA Lisbon Residency ’21; The Exchange @Spike Island ’21; MA Fine Art (Distinction) Bath Spa Uni ’19; Harbutt Grant Bath Spa Uni ’19; shortlisted Hauser & Wirth CalArts Residency ’20, HIX Award ’19, John Ruskin Award ’19. Exhibited regionally at Wells Contemporary, Holburne Museum, Trowbridge Arts, Black Swan, plus exhibitions in Frankfurt (Germany) 2014-20, prior to moving to the UK. She has led workshops at: Bath Spa Uni, Spike Island & Holburne.

In 2019 Kelly co-curated ‘A Gathering of Unasked Possibility’, an exhibition & public programming at Centrespace Gallery, Bristol. This was the first time in which she collaborated with a cross-section of practitioners, working together to help instill a sense of hope & regenerative thinking to her audiences.

 

Deirdre Porter-Hanson | Instagram: @deirdreporterhanson

Deirdre Porter-Hanson is a visual artist based in Bedfordshire. She uses formal conventions of painting and sculpture alongside more expressive drawing and collage-making to consider and investigate relationships and life experience.

Deirdre is interested in the complexities of identity over time. In particular the changing identities of women, their roles within society but also in relation to physical environment and specific locations. The boundaries, limitations and expectations that are implicitly and explicitly placed upon us are examined through painting, collage and sculpture.

By using discarded or disintegrating materials her work reiterates the fragile, pieced together complexity of our lives and the often hidden narratives which surround us all. Through these materials she acknowledges and celebrates the stuff of everyday life, the often overlooked subtlety of day to day relationships, fragility and temporality of our lives.

 

Steph Shipley | www.stephyshipley.co.uk

Steph Shipley’s practice has evolved through a series of research-driven projects that embrace the temporal narrative, embodied encounter and performance of place; those that hold a personal or collective memory or intrigue or attachment and those that are familiar but estranged or transitory. She is interested in what remains and calls her back, the palimpsest of present and missing spaces, and how those encounters are felt and expressed through still and moving image and print-making; the dialogue between analogue and digital reflecting past and present, obsolescence and the contemporary. Layers, texts and fragments gathered from personal and public archives, and visual imagery, remnants and sounds from the historical sites of origin are re-arranged, installed, transformed or performed to convey, by association, another place or space.

 

Katrien Van Liefferinge

1/2 Belgian, 1/2 Canadian, Katrien Van Liefferinge can always been found astride borders and boundaries – growing up with different languages, cultures and world views she doesn’t question the “different”, the differences but prefers to value and appreciate them…

Originally trained as a designer, Katrien’s focus has shifted from ‘solving problems’ to observation and questioning; in unraveling connections; in drawing attention to the ‘little things’…
…in making invisible things (often those things we take so for granted we stop noticing them) ‘visible’ again in small ways by reflecting them back at the viewer…

Exploring places and spaces, Katrien immerses herself and responds intuitively to the ‘spirit of the place’, the Genius Loci:

The people The traces The histories The memories

asking herself “What if?…”

The resulting outcomes most often take the form of temporary or ephemeral interventions an installations which reflect concerns and questions around social responsibility, citizenship, identity, rootedness, boundaries and materiality.

Katrien Van Liefferinge lives and works in Glasgow, UK and Amsterdam, Netherlands.

 

Catriona Whiteford | www.catrionawhiteford.com

Catriona Whiteford (b.1985) lives and works in London and received her B.A. Honours Fine Art and Master of Fine Art from Duncan of Jordanstone College of Art and Design, Scotland. She is an artist, curator, writer and educator, and was previously part of Learning and Research at Tate Britain and Tate Modern.

As an artist Catriona continues to produce work and exhibit internationally. Working across disciplines in sculpture, photography, installation, audio and writing she is interested in how the dichotomy of works at the intersection between image, installation and sound establish multiple narratives. By creating structures reminiscent of active conflicts through notions of comfort and discomfort, her work attempts to suggest moments of vacancy, relief, absence, presence and the contortion of objects from their original intentions. The expansion of her work into new audio experimentation has led her practice into new directions in the past year.

Having completed a new soundscape Fathom in July 2020 this has formed the central work in a new series in production which will be exhibited at D’Clininc in Hungry in August 2021 as part of a solo show. The work reinforces sound, music and gesture as an extension of self. In doing so, it is both an affirmation of vulnerability and of the constellations of care that underpin unspoken intimacies. The work was finally completed after receiving Arts Council England financial support and the recording has been produced to allow two voices to automatically play from separate speakers in a converted soundscape using raw midi notes.

In addition to progressing her practice from traditional sculptural forms, she has developed her use of text through a new collection of new poetry due to be published later in 2021. Writing has always been fundamental to her practice, previously a hidden part of the production process it has become more prominent in recent years and has led to publications such as Urze Branca, a limited-edition press of 50, which was published as a result of her artist in residence at Zaratan – Arte Contemporanea, Lisbon, 2019.

Having maintained an artistic practice consistently since graduating in 2007 notable exhibitions, grants and creative partnerships include A-n Artists Bursary 2019, O Nought Zero, Taigh Chearsabagh exhibition and grant selected by Matthew Dalziel and Louise Scullion, 2009, solo exhibition Tumult, 11 Avenue Studios, London, 2019, Edinburgh Sculpture Workshop Night Shift; Zaratan Arte Contemporanea AIR 2019, Combing A Rhythm, 2019.

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