Wednesday, 7 October 2009

PLACE Projects - NWSP Curation - The Artists

About the Artists....

Rachel Maclean

Bio - Rachel Maclean is a recent graduate of The Edinburgh College of Art. She is based in Edinburgh and works with digital composite video, installation and sculpture, performance, painting and costume.

Artist's Statement - Slipping inside and outside of history and into imagined futures, my work presents a hyper-glowing, artificially saturated surface that is both nauseatingly positive and cheerfully grotesque.

In recent videos such as ‘Tae Think Again’ (2008) and ‘I Dreamed a Dream' (2009), I create synthetic visceral spaces in which Mary Queen of Scots dines with the 'it' girls of 'Sex and the City', 'Neds' dance around a sausage Stonehenge, and a ghoulish Susan Boyle plays the blow up guitar.

Stylistically I unify the aesthetic of The Edinburgh Bargain Store, Hieronymus Bosch and High Renaissance painting through MTV style green-screen and channel changing cuts. Often working with multi-media installation, I use my own body as a platform for constructing alternative personas that can be cloned, mutated, objectified, worshiped and murdered at will.

Inspired by the Britney Spears head shaving, I am interested in the moment at which unified, constructed identity throws it's self up and tips into it's opposite. The instant of self-consumption, when the signature white smile of the teen pop sensation begins to hungrily gnaw at it's own image.

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Simon Gowing

Bio - Born in London, Gowing graduated from The Glasgow School of Art and now lives and works as a curator and artist in Glasgow.

Artist's Statement - Simon Gowing is interests in dialogue and language. His work is based in the elements of dialogue that are lost in translation between artist and viewer - the fictions created by discrepancy.

Often taking place in public, his pieces are created in the interaction between the artist, audience and the object. He takes the role of facilitator, creating a situation and allowing those involved to determine the outcome through their responses. However, when it comes to work to be exhibited in a gallery he becomes an editor, gathering together the objects and images gleaned from these interactions to create new pieces, which retain only a hint of the context in which they were originally found.

The objective of these quasi-retrospectives is to represent the interventions as an abstract, drawing the work away from its original site and opening it up to new interpretations.

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Ric Warren

Bio - Born in Barnsley (Yorkshire) 1986, Ric Warren is based in Glasgow. He graduated from Environmental Art at The Glasgow School of Art in 2008 and has exhibited across the UK and within Europe.

Artist's Statement - My work is an exploration of the structures and materials that compose our manmade surroundings and I am particularly interested in architecture. I believe that urban structures have effects beyond their basic functions and I try to explore the symbolic meanings of these materials and forms. In addition to investigating conditions of contemporary urbanism, I am interested in the historical and hypothetical changes of our human habitat (physically, politically, culturally, socially and environmentally) as well as the everyday maintenance and progress of our built surroundings.

Spaces that are visually concealed or made physically inaccessible intrigue me and I try to explore these concerns within my work. Often exploring themes of exclusion, I am interested in structures that effect to conceal, edit, remove, obstruct, imprison, or deny access. Similar to my intentionally flawed ‘faux architectural’ drawings, my structures and models attempt to mimic the language of architecture, or intervene with it, to create structures that hold space but do not offer it.

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Katherine Gallacher

Bio - A recent graduate from the painting / printmaking department of Glasgow School of Art Gallacher’s practice extends across the mediums of painting, video and sculpture.

Artist's Statement - My work investigates the unfulfilled utopian aspirations of the twentieth century avant-garde. This, however, is not an attempt at mere homage or appropriation; it is instead a re-enactment of intention and mode of construction. In revisiting the past I hope to explore the tension between the possible, potential and limitation of such works to move the viewer. The works are a place to test out the past’s desires for the future, creating a point of collision between historical aspiration and an expectancy of failure afforded by hindsight.

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