Friday, 24 October 2008







A group show by London based Chelsea graduates concerned with the hidden, transient and often unspoken meanings we give to our everyday lives. The artists work transcends traditional boundaries, and, although each artist has a clear identity in their own right, their works can be seen as one large piece, with the constituent parts sometimes complementing, sometimes questioning one another.

Found objects and sculptures evoke a magical sense of ‘The Other’, the subjectivity of our memories and perceptions, and the inability to know for sure calls to mind Helen Cixous’s statement: ‘Our dialogues are often mute. This does not prevent them from taking place’. The artists accept the uncertainty of meaning and present work that can draw the viewer in, developing a symbiotic dialogue between artistic intention and audience perception. Their works operate in the dialectical spaces between presence and absence, perception and understanding, where a thousand individuals’ internal narratives bloom.

These artists explore the margins of identity, highlighting the transient, ever-changing nature of the Self, focussing on the fragmented identities and personas we impose on ourselves and eachother. They seek to make conscious the ordinarily hidden pathways that lead us from perception through cognition to action, creating an immersed and embodied spectatorship.

These artists dream aloud.

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My art often engages with found objects. I use them as new beginnings, and they turn into a life of their own. Themes which inspire and fascinate me are about love, sex , relationships and people. Sometimes my interests originate from a very simple idea. My latest sculpture depicts the last drop of paint squeezed out of a tube, but that could be a metaphor for something else. My work is opening up to an expanding universe of interests, and it is exciting to have the freedom to use different materials including metal, silicone and paint, as well as photography. By being open to possibilities and taking risks, we allow new things to happen which can surprise us. This is part of the fun - it’s like waking up fresh and new, taking an idea of an old twisted tube of paint, playing with different materials that evoke that object - and then something magical happens when it easily fits into place like a jigsaw puzzle. I love seeing other artists reinvent things and ending up with a work that is universally true to everybody. I hope that the fun I have is reflected in my work and that other people will enjoy it too.

Monday, 13 October 2008


I work predominately in video and installation but also with text, photography and objects.

The focus of my investigations is time and temporality questioning ideas of narrative, feminism, memory and subjectivity.

I am continually drawn to the fragmented, formless, anti-narrative that encourages some level of spontaneous, unplanned narrative construction on the part of the viewer. I look at how far the structural elements can be taken out of narrative, how elements such as the nuance of expression, light and atmosphere can evoke a story. What I aim for, is that the viewer not be forced to pay attention by the hook of a plot but to be seduced, or not, by the work and slowly be drawn into a relationship between it and his or her own narrative templates. Helen Cixious puts it very clearly saying that :

“ Our dialogues are often mute. This does not prevent them form taking place”

Sunday, 12 October 2008


Victoria Petherbridge uses printmaking to explore the hidden and forgotten within transient spaces. She produces work with minimal artistic intervention, paring things down to their most basic elements and allowing the processes and materials to speak for themselves.

Monday, 29 September 2008


My digital collages are about dreams and fairy tales.
My fairy tales are intercultural compilations of famous stories.
My ‘dreams’ are more of a daydream type - happy, pleasant thoughts which take me to places and enable me to be a creator of my own blissful, joyful and perfect world…


My practice employs performance, text, objects, installation and Interactive social-based works with which I reflect on the body as a phenomenon in transformation, as an unfinished entity, a location of becoming, change and renewal.

Frequently the work is created in the public realm, and develops directly out of relationships built between the audience and myself. I have previously invited strangers to take part in my projects on a one to one basis in order to gain and explore this relationship further. These events are created to respond or to comment on how we relate to one another in vulnerable situations and in absence of language.

Visually the work brings the attention to the manipulation of everyday objects, daring to present an alternative physical reality, shifting the image of an elite culture by means of subtle interventions. 


My work is bound up with a preoccupation and fascination with the lost, the transient, the fleeting and the obscure. On the whole, the works evidence a wide range of materials and methods. However, there can be a tendency to use out-of-favour elements such as old photo-sensitive chemicals in relatively unorthodox ways. Works may also register notions of presence and absence, inclusion and exclusion.


Her work focuses on her perspective, as she invites the viewer to 'come into her world' where she communicates through imagery rather than words. As a dyslexic who is also ambidextrous, Sandra's inspiration for her imaginative artwork focuses on her experiences and surroundings which portray how she sees everyday life.
Sandra’s artworks are abstract, sometimes pixelated, futuristic, and can be seen as a bridge between fine art and photography.


In my practice I operate in the spaces, the dialectical spaces; object / thing; time / space; object / representation; perception / cognition – the final gap between seeing and understanding and the narrative that fills that gap to generate understanding.
I attempt to generate spaces through time that allow the viewer to enter and presents an opportunity to recognise the process of entrance and to become aware that that is what they are doing. I create narrative-free "films", using small alterations or processes or rhythms or loops or stasis or palindromes to create a process of object; film of object; viewing of film of object. But this is not, nor could it be a closed loop as narrative construction begins to fill the gaps.
So I focus on the everyday, not the overlooked but the unconsciously seen, the perceived, that cumulatively added to the self, generates cognition. But in that space are the processes, structure, social constructs that allow us to move from perception to cognition with little or no awareness of its occurrence. I attempt to make that process more conscious, an embodied process, a phenomenological process, an immersed and embodied spectatorship.