Archive
Archive
Taught, 2012
Taught
Work
by
staff
teaching
on
the
BA
Honours
Fine
Art
course
at
Norwich
University
College
of
the
Arts
Wednesday
14th
November
–
Friday
23rd
November
09.30--17.00
Student
Gallery,
St
George’s
NUCA
Jo
Addison
Think--thing
(rainbow)
2012
MDF,
Wood,
Gouache
420x320x18mm
Think--thing
(Rainbow)
is
one
of
a
series
of
objects
in
which
familiar
things
are
interpreted
with
loose
figuration
and
provisional
materials.
The
name
Think--thing
is
derived
from
John
Wyndham's
novel
The
Chrysalids,
in
which
a
group
of
children
growing
up
in
a
post--apocalyptic
world
discover
their
ability
to
communicate
with
one
another
without
the
use
of
verbal
language.
Catherine
Baker
All
Composite
drawing
with
digichrome
finish
280mm
x
320mm
unframed
All
consists
of
six
layered
drawings
brought
together
to
act
as
one.
Individually
they
represent
traces
of
eye
movements
captured
when
drawing,
duration
is
reflected
through
the
size
of
the
marks
made.
Together
they
fuse
to
become
a
singular
moment
that
reflects
the
experience
of
making
all
of
the
drawings,
creating
new
events
where
the
layers
begin
to
correlate
to
create
an
essence
rather
than
an
representation.
Jenny
Dunseath
‘cones’
‘cones’
presents
us
with
a
scenario
comprised
of
seemingly
impaired
approximations
of
apparatus.
Sharply
rendered
but
dumb,
these
suggestions
of
semi--industrial
equipment,
lead
us
toward
a
negotiation
of
the
relationship
between
architecture
and
sculpture.
Utilitarian
materials
operate
ambiguously
as
their
original
behavioural
traits
are
reduced
to
mere
aesthetic.
The
sculptural
works
combine
an
interest
in
architecture
and
construction
with
an
investment
in
minimalist
sculpture.
Approached
as
discursive
structures,
they
serve
as
vehicles
for
critical
claims.
All
aspects
of
my
practice
are
permeated
with
the
sense
that
production
itself
is
the
product
and
not
a
past
process
to
be
hidden.
‘An
image,
I’m
pleased,
I’m
sad’
‘An
Image,
I’m
pleased,
I’m
sad’
is
an
epigrammatic
Gif
animation,
which
explores
the
pedagogic
framework
of
the
exhibition
in
relation
to
my
own
interests
in
building
sites
and
development.
Coalescent
images,
embedded
within
the
framework
of
the
VLE,
address
each
other
far
more
than
the
audience
to
maintain
an
internal
dialogue.
Tightly
choreographed
and
repetitive
‘An
image,
I’m
pleased,
I’m
sad’
has
a
kind
of
‘hyperlink’
logic;
one
link
following
another
and
the
next,
and
forming
a
narrative
that
makes
sense
only
according
to
its
specific
successions,
repetitions
and
changes
of
direction.
The
title
refers
directly
to
2
key
texts
by
Reyner
Banham
(New
Brutalism
1966
and
The
Great
Gizmo)
each
attempting
to
identify
new
methods
and
ideals
of
production
or
design.
As
Brutalist
philosophy
was
originally
intended
by
its
proponents
to
be
integrated
and
protective,
similarities
are
drawn
to
the
use
of
VLE
as
vehicle
for
modes
of
learning
and
the
democratic
sharing
of
information.
The
use
of
Gifs,
embrace
visual
immediacy
and
fast
pace;
using
basic
present--day
technology,
it
is
of
a
time,
trend
and
denotes
a
generation.
Paul
Fieldsend--Danks
Three
thousand
miles
Oil
and
pencil
on
panel
(diptych)
600mm
x
1200mm
2012
I
am
interested
in
the
interpretation
of
site
and
place,
as
memory
or
residue
of
a
lost
moment,
and
how
material
and
process
can
re--establish
a
physical
connection
with
a
nebulous
past.
Three
thousand
miles
is
one
of
a
series
of
abstract
paintings
inspired
by
a
remarkable
Scandinavian
road
trip
made
in
1958
by
my
father.
As
an
architecture
student,
he
was
fascinated
by
the
refined
purity
of
Swedish
farmhouse
vernacular
and
in
particular
the
symbiotic
relationship
between
buildings
and
landscape.
He
set
off
from
Birmingham
unaccompanied,
in
a
reconditioned
1934
Austin
Seven,
travelling
across
Europe
towards
the
sparsely
populated
wilderness
of
northern
Sweden.
He
spent
arduous
days
digging
squares
of
black
peat
in
the
central
wetlands,
to
fund
his
continued
passage
and
to
allow
essential
repairs
for
his
car.
The
title
alludes
to
both
the
physical
distance
and
endeavour
of
his
journey,
but
also
to
the
space
between
forgetting
and
remembering
events.
Krzysztof
Fijalkowski
Transit
Works
Collage
with
found
objects,
2012
Krzysztof
Fijalkowski
These
simple,
deliberately
lo--fi
pieces
try
to
deal
with
the
problem
of
how
to
pursue
a
practice
without
a
studio,
resources
or,
above
all,
time.
Small--scale,
made
intuitively
and
immediately
with
materials
found
in
the
street
whilst
walking
to
work
or
from
one
campus
building
to
another,
they
borrow
Marcel
Duchamp’s
‘infra--thin’
moments
between
one
kind
of
labour
so
as
to
smuggle
in
another,
more
underhand
occupation.
Since
these
little
objects
tend
to
make
themselves,
they
short--circuit
the
painstaking
reflection
and
craft
that
can
make
art
so
labour--intensive.
Simon
Granger
The
work
is
a
small
painting
on
canvas
30
x
24
cm,
comprising
a
constructed,
invented,
modelled
image
of
a
living
entity
featuring
animal
and
human
elements,
existing
within
a
depicted
space.
The
painting
is
absurd,
fragile
and
vulnerable
on
various
levels;
this
fragility
is
a
key
quality
that
the
image
serves
to
bring
about.
Sarah
Horton
References
to
both
the
office
and
to
domestic
environments
explore
the
complicated
relationships
between
work
and
home,
using
fabric
and
decoration
as
significant
components.
Fabric
is
a
ubiquitous
material
usually
associated
with
the
body
and
soft
furnishings
and
used
with
other
materials
prompts
a
number
of
possible
‘readings’
within
the
work.
Materials
and
objects
are
removed
from
their
usual
contexts
and
potential
functions
are
complicated
by
some
implausibility
or
contradiction
of
the
objects
making.
October
2012
Kelly
Large
The
Presence
2012
Charismatic
people,
an
exhibition
Dimensions
variable
Artist
Kelly
Large
has
invited
a
charismatic
person
to
visit
the
exhibition
today.
The
visitation
will
be
unannounced,
for
no
fixed
duration
and
can
take
place
at
any
time.
Victoria
Mitchell
Notational
Rambling
Slipping
between
and
across
boundaries,
office
systems
might
be
imagined
as
wilderness.
Notation
slips
darkly
into
notion
as
words
blur
into
graphic
dust.
Tentative
reminders
yet
alert
to
the
approaching
oblivion
of
lost
time.
The
loom
of
the
everyday
unravelling
to
reveal
that
which
we
do
not
yet
know.
Flora
Parrott
It
Separates
But
Merges
Back
into
the
Same
Field
This
is
the
new
beginning
of
something
that
I
am
working
on
in
the
studio.
It
comes
from
my
recent
Wysing
residency
and
links
various
other
strands
of
interest
together
for
me.
It
is
very
much
a
work
in
progress
or
a
sketch
for
things
to
come,
centred
upon
some
small
volcanic
rocks
and
a
steel
spike.
Carl
Rowe
Beautiful
Worms
Beautiful
Worms
is
an
arrangement
of
screenprinted
posters
pasted
directly
to
the
gallery
wall.
It
is
a
work
that
attempts
to
conflate
corporal
mechanics,
endless
desire
and
capitalism.
Crudely
half--toned
images
are
superimposed
with
the
words
Desire,
Flow,
Inhibit,
words
that
come
directly
from
Deleuze
and
Guattari’s
‘Desiring--Machines’.
In
reference
to
Deleuze
and
Guattari,
it
is
the
synthesis
of
desire
and
consumption
that
fuels
capitalism,
relying
on
a
flow
of
production
and
a
continuous,
varied,
enticing,
exotic
series
of
interruptions.
Below
the
posters
sit
tubes
of
meat
paste.
Andy
Weir
The
works
depart
from
a
play
on
taught
/
taut
/
tort
and
the
etymology
of
'tort'
as
involving
twisting,
turning,
wringing
and
distorting.
Taut
or
twisted
boundaries
become
a
connecting
spatial
dynamic
for
the
two
pieces.
One
takes
as
its
materials
the
taut
parameters
of
the
exhibition
and
the
other
records
the
twists
of
geotruama:
Threshold
Point
II:
staff
show
(masking
tape;
2012)
is
a
taut
line
keeping
the
outside
out
--
a
piece
of
tape
stretched
across
the
space
between
the
staff
and
student
shows.
It
is
part
of
a
series
of
works
that
take
the
format
of
the
exhibition
as
their
material.
In
this
case
it
uses
a
minimal
architectural
gesture
to
draw
attention
to
the
assumption,
spatially
enforced,
that
the
staff
and
student
exhibitions
should
be
separated
and
occupy
different
spaces.
[Note:
Unfortunately,
after
discussion,
it
has
been
agreed
to
remove
the
work
on
Health
and
Safety
grounds].
Katanoetic
Plungoform
(single
channel
HD
video
w/
sound;
3
minute
projected
loop;
2011)
is
a
video
piece
that
twists
the
outside
in
--
a
landscape
of
geometrically--patterned
dirty
modernist
blocks
in
Sao
Paolo,
Brazil,
dissolve
into
underground
oil
formations.
It
collapses
the
Motorik
beat,
cheaply
emotive
stock--music,
bass/base
materialism,
utopian
dreams
/
non--human
apocalyptic
fantasies,
Manon
de
Boer’s
film
on
the
schizoanalyst
Suely
Rolnik,
anthropophagy,
katabaticism
and
oil
as
a
sentient
creeping
plotting
entity.
Mark
Wilsher
Hegel
2012--
This
is
the
philosophy
of
Hegel
represented
as
a
high
school--style
cardboard
model.
Like
a
slightly
batty
teacher
attempting
to
get
the
basics
across,
concepts
are
linked
together
not
logically,
but
physically.
Shapes
suggest
movement
or
direction,
solids
and
planes
intersect
like
ideas.
After
all,
aren’t
ideas
said
to
be
“connected”,
to
“support
each
other”,
to
“lead
from
one
to
another”.
It
all
makes
sense
–
sort
of.
The
physical
world
intersects
with
the
mental
world
of
ideas
and
philosophy.
It
is
actually
possible
to
learn
the
philosophy
of
Hegel
from
this
slightly
wonky
cardboard
model.
Taught
Work
by
staff
teaching
on
the
BA
Honours
Fine
Art
course
at
Norwich
University
College
of
the
Arts
Wednesday
14th
November
–
Friday
23rd
November
09.30--17.00
Student
Gallery,
St
George’s
NUCA
Jo
Addison
Think--thing
(rainbow)
2012
MDF,
Wood,
Gouache
420x320x18mm
Think--thing
(Rainbow)
is
one
of
a
series
of
objects
in
which
familiar
things
are
interpreted
with
loose
figuration
and
provisional
materials.
The
name
Think--thing
is
derived
from
John
Wyndham's
novel
The
Chrysalids,
in
which
a
group
of
children
growing
up
in
a
post--apocalyptic
world
discover
their
ability
to
communicate
with
one
another
without
the
use
of
verbal
language.
Catherine
Baker
All
Composite
drawing
with
digichrome
finish
280mm
x
320mm
unframed
All
consists
of
six
layered
drawings
brought
together
to
act
as
one.
Individually
they
represent
traces
of
eye
movements
captured
when
drawing,
duration
is
reflected
through
the
size
of
the
marks
made.
Together
they
fuse
to
become
a
singular
moment
that
reflects
the
experience
of
making
all
of
the
drawings,
creating
new
events
where
the
layers
begin
to
correlate
to
create
an
essence
rather
than
an
representation.
Jenny
Dunseath
‘cones’
‘cones’
presents
us
with
a
scenario
comprised
of
seemingly
impaired
approximations
of
apparatus.
Sharply
rendered
but
dumb,
these
suggestions
of
semi--industrial
equipment,
lead
us
toward
a
negotiation
of
the
relationship
between
architecture
and
sculpture.
Utilitarian
materials
operate
ambiguously
as
their
original
behavioural
traits
are
reduced
to
mere
aesthetic.
The
sculptural
works
combine
an
interest
in
architecture
and
construction
with
an
investment
in
minimalist
sculpture.
Approached
as
discursive
structures,
they
serve
as
vehicles
for
critical
claims.
All
aspects
of
my
practice
are
permeated
with
the
sense
that
production
itself
is
the
product
and
not
a
past
process
to
be
hidden.
‘An
image,
I’m
pleased,
I’m
sad’
‘An
Image,
I’m
pleased,
I’m
sad’
is
an
epigrammatic
Gif
animation,
which
explores
the
pedagogic
framework
of
the
exhibition
in
relation
to
my
own
interests
in
building
sites
and
development.
Coalescent
images,
embedded
within
the
framework
of
the
VLE,
address
each
other
far
more
than
the
audience
to
maintain
an
internal
dialogue.
Tightly
choreographed
and
repetitive
‘An
image,
I’m
pleased,
I’m
sad’
has
a
kind
of
‘hyperlink’
logic;
one
link
following
another
and
the
next,
and
forming
a
narrative
that
makes
sense
only
according
to
its
specific
successions,
repetitions
and
changes
of
direction.
The
title
refers
directly
to
2
key
texts
by
Reyner
Banham
(New
Brutalism
1966
and
The
Great
Gizmo)
each
attempting
to
identify
new
methods
and
ideals
of
production
or
design.
As
Brutalist
philosophy
was
originally
intended
by
its
proponents
to
be
integrated
and
protective,
similarities
are
drawn
to
the
use
of
VLE
as
vehicle
for
modes
of
learning
and
the
democratic
sharing
of
information.
The
use
of
Gifs,
embrace
visual
immediacy
and
fast
pace;
using
basic
present--day
technology,
it
is
of
a
time,
trend
and
denotes
a
generation.
Paul
Fieldsend--Danks
Three
thousand
miles
Oil
and
pencil
on
panel
(diptych)
600mm
x
1200mm
2012
I
am
interested
in
the
interpretation
of
site
and
place,
as
memory
or
residue
of
a
lost
moment,
and
how
material
and
process
can
re--establish
a
physical
connection
with
a
nebulous
past.
Three
thousand
miles
is
one
of
a
series
of
abstract
paintings
inspired
by
a
remarkable
Scandinavian
road
trip
made
in
1958
by
my
father.
As
an
architecture
student,
he
was
fascinated
by
the
refined
purity
of
Swedish
farmhouse
vernacular
and
in
particular
the
symbiotic
relationship
between
buildings
and
landscape.
He
set
off
from
Birmingham
unaccompanied,
in
a
reconditioned
1934
Austin
Seven,
travelling
across
Europe
towards
the
sparsely
populated
wilderness
of
northern
Sweden.
He
spent
arduous
days
digging
squares
of
black
peat
in
the
central
wetlands,
to
fund
his
continued
passage
and
to
allow
essential
repairs
for
his
car.
The
title
alludes
to
both
the
physical
distance
and
endeavour
of
his
journey,
but
also
to
the
space
between
forgetting
and
remembering
events.
Krzysztof
Fijalkowski
Transit
Works
Collage
with
found
objects,
2012
Krzysztof
Fijalkowski
These
simple,
deliberately
lo--fi
pieces
try
to
deal
with
the
problem
of
how
to
pursue
a
practice
without
a
studio,
resources
or,
above
all,
time.
Small--scale,
made
intuitively
and
immediately
with
materials
found
in
the
street
whilst
walking
to
work
or
from
one
campus
building
to
another,
they
borrow
Marcel
Duchamp’s
‘infra--thin’
moments
between
one
kind
of
labour
so
as
to
smuggle
in
another,
more
underhand
occupation.
Since
these
little
objects
tend
to
make
themselves,
they
short--circuit
the
painstaking
reflection
and
craft
that
can
make
art
so
labour--intensive.
Simon
Granger
The
work
is
a
small
painting
on
canvas
30
x
24
cm,
comprising
a
constructed,
invented,
modelled
image
of
a
living
entity
featuring
animal
and
human
elements,
existing
within
a
depicted
space.
The
painting
is
absurd,
fragile
and
vulnerable
on
various
levels;
this
fragility
is
a
key
quality
that
the
image
serves
to
bring
about.
Sarah
Horton
References
to
both
the
office
and
to
domestic
environments
explore
the
complicated
relationships
between
work
and
home,
using
fabric
and
decoration
as
significant
components.
Fabric
is
a
ubiquitous
material
usually
associated
with
the
body
and
soft
furnishings
and
used
with
other
materials
prompts
a
number
of
possible
‘readings’
within
the
work.
Materials
and
objects
are
removed
from
their
usual
contexts
and
potential
functions
are
complicated
by
some
implausibility
or
contradiction
of
the
objects
making.
October
2012
Kelly
Large
The
Presence
2012
Charismatic
people,
an
exhibition
Dimensions
variable
Artist
Kelly
Large
has
invited
a
charismatic
person
to
visit
the
exhibition
today.
The
visitation
will
be
unannounced,
for
no
fixed
duration
and
can
take
place
at
any
time.
Victoria
Mitchell
Notational
Rambling
Slipping
between
and
across
boundaries,
office
systems
might
be
imagined
as
wilderness.
Notation
slips
darkly
into
notion
as
words
blur
into
graphic
dust.
Tentative
reminders
yet
alert
to
the
approaching
oblivion
of
lost
time.
The
loom
of
the
everyday
unravelling
to
reveal
that
which
we
do
not
yet
know.
Flora
Parrott
It
Separates
But
Merges
Back
into
the
Same
Field
This
is
the
new
beginning
of
something
that
I
am
working
on
in
the
studio.
It
comes
from
my
recent
Wysing
residency
and
links
various
other
strands
of
interest
together
for
me.
It
is
very
much
a
work
in
progress
or
a
sketch
for
things
to
come,
centred
upon
some
small
volcanic
rocks
and
a
steel
spike.
Carl
Rowe
Beautiful
Worms
Beautiful
Worms
is
an
arrangement
of
screenprinted
posters
pasted
directly
to
the
gallery
wall.
It
is
a
work
that
attempts
to
conflate
corporal
mechanics,
endless
desire
and
capitalism.
Crudely
half--toned
images
are
superimposed
with
the
words
Desire,
Flow,
Inhibit,
words
that
come
directly
from
Deleuze
and
Guattari’s
‘Desiring--Machines’.
In
reference
to
Deleuze
and
Guattari,
it
is
the
synthesis
of
desire
and
consumption
that
fuels
capitalism,
relying
on
a
flow
of
production
and
a
continuous,
varied,
enticing,
exotic
series
of
interruptions.
Below
the
posters
sit
tubes
of
meat
paste.
Andy
Weir
The
works
depart
from
a
play
on
taught
/
taut
/
tort
and
the
etymology
of
'tort'
as
involving
twisting,
turning,
wringing
and
distorting.
Taut
or
twisted
boundaries
become
a
connecting
spatial
dynamic
for
the
two
pieces.
One
takes
as
its
materials
the
taut
parameters
of
the
exhibition
and
the
other
records
the
twists
of
geotruama:
Threshold
Point
II:
staff
show
(masking
tape;
2012)
is
a
taut
line
keeping
the
outside
out
--
a
piece
of
tape
stretched
across
the
space
between
the
staff
and
student
shows.
It
is
part
of
a
series
of
works
that
take
the
format
of
the
exhibition
as
their
material.
In
this
case
it
uses
a
minimal
architectural
gesture
to
draw
attention
to
the
assumption,
spatially
enforced,
that
the
staff
and
student
exhibitions
should
be
separated
and
occupy
different
spaces.
[Note:
Unfortunately,
after
discussion,
it
has
been
agreed
to
remove
the
work
on
Health
and
Safety
grounds].
Katanoetic
Plungoform
(single
channel
HD
video
w/
sound;
3
minute
projected
loop;
2011)
is
a
video
piece
that
twists
the
outside
in
--
a
landscape
of
geometrically--patterned
dirty
modernist
blocks
in
Sao
Paolo,
Brazil,
dissolve
into
underground
oil
formations.
It
collapses
the
Motorik
beat,
cheaply
emotive
stock--music,
bass/base
materialism,
utopian
dreams
/
non--human
apocalyptic
fantasies,
Manon
de
Boer’s
film
on
the
schizoanalyst
Suely
Rolnik,
anthropophagy,
katabaticism
and
oil
as
a
sentient
creeping
plotting
entity.
Mark
Wilsher
Hegel
2012--
This
is
the
philosophy
of
Hegel
represented
as
a
high
school--style
cardboard
model.
Like
a
slightly
batty
teacher
attempting
to
get
the
basics
across,
concepts
are
linked
together
not
logically,
but
physically.
Shapes
suggest
movement
or
direction,
solids
and
planes
intersect
like
ideas.
After
all,
aren’t
ideas
said
to
be
“connected”,
to
“support
each
other”,
to
“lead
from
one
to
another”.
It
all
makes
sense
–
sort
of.
The
physical
world
intersects
with
the
mental
world
of
ideas
and
philosophy.
It
is
actually
possible
to
learn
the
philosophy
of
Hegel
from
this
slightly
wonky
cardboard
model.