GX Gallery is delighted to present its 2016 edition of FLOCK, the gallery’s annual graduate exhibition, showcasing the work of new graduates from London Universities and Colleges.
FLOCK promotes new talent and provides the opportunity for a selection of emerging artists to showcase their work often for the first time in a commercial exhibition. Works featured are from a number of different disclipines; from painting, drawing, etching, photography and printing.
MORE IMAGES COMING SOON
For more information, please contact email@example.com.
Diana Butement, Wimbledon College of Art, UAL. Diana is interested in mobile technologies and social media and their effects on society today. In her paintings, she plays with contrasting areas of impasto with thinner washes as well as careful detail. The partially depicted figures have a sense of being both present and absent, unfinished and uncertain in their lives.
Bea Campbell, Wimbledon College of Art, UAL. Her paintings aim to portray ideas and trips to be made; combining lucidity, fast moving brushstrokes and motifs of figuration. Her works start from a figurative viewpoint, but through her use of bright colours and gestural painting style, they become increasingly abstract, allowing for an ambiguity in composition.
Holly Delaney, Central Saint Martins, UAL. Holly seeks to challenge the opulent aesthetic in which we are all endlessly searching for. The concept of authentic value has shifted, then she questions where it is that we find luxury today. Through her paintings of gold leaf and oil paint, Holly attempts to address our understanding of real and unreal, and fabricate a Utopian harmony between the two.
Rachel Egan, Chelsea College of Arts, UAL. Rachel’s most recent work has focused on the liquidity of acrylic paint, canvas and the wooden stretcher. She often plays with the motifs of modernist painting – particularly the grid. At the core of her practice lays experimentation; reducing painting to its basic elements - wood, liquid, pigment and fabric - and reconstructing it into new forms.
Ndidi Emefiele, Slade School of Fine Art, UCL. Ndidi’s work engages with the dominant cultures of consumption and recycling in Nigeria and takes its material cues from discarded materials, such as tulle, fabric offcuts, scrap plastic and compact discs. In Ndidi’s words, a typical ‘Rainbow’ woman is, ‘A reflection of light…an illusion constantly changing. She is as beautiful as you think she is and as toxic as you think she is’.
Katie Fletcher, Wimbledon College of Art, UAL. Katie creates dream-like representations of reality where nature is encountered as an idealised environment. Her practice explores the notion of travel, passing through a landscape, which seems both familiar and foreign. Cinema is also a prominent influence in her practice; which helps her to explore the blurred line between reality and fantasy in landscape.
Mikela Henry-Lowe, Central Saint Martins UAL. Mikela focuses on the representation of black women in society and social media. She experiments with the placement of flatten areas against more painterly areas within the frame of a black woman. She also incorporates geometric shapes in the background as well as on the skin of the figure. Her vibrant colour palette is based on the head wraps that African women wear which represents their culture.
Kudzanai Violet Hwami, Wimbledon College of Art, UAL. The artist plays with the idea of an African utopia within her work, where space, place and borders do not exist, while also referencing established cultures and traditions. Through memory, she revisits places and spaces she encountered growing up in post-colonial Zimbabwe and utilizes those memories by recreating a parallel universe that centres on a futuristic narrative of Zimbabwe. Having lived in South-Africa, Zimbabwe and England; displacement and identity is a recurring theme in her work as she tries to understand her Zimbabwean identity within the African Diaspora.
Nicholas McLeod, Slade School of Fine Art, UCL. Ostensibly the subject matter of his paintings appears to consist of everyday objects and scenes that feel familiar. Interiors, still lives and landscape are presented not as they are directly but as they are experienced, felt or remembered. This approach allows an engagement with the medium that gives form to allusive and often fleeting sensations.
Tahmina Negmat, Wimbledon College of Art, UAL. Tahmina’spractice relies mostly on the nature of chance wherein her role remains passive. Imagery within her work is dictated by the medium: unpredictable surface textures created by sawdust, enamel paint, cooking oil and watercolours build fortuitous visions. Her latest series of paintings explore the single object composition, where a celebratory ‘body’ of extreme confection a cake represents the notions of desire and consumption.
Sarah Emily Porter, Chelsea College of Arts, UAL. Sarah’s work is born out of the language of painting, where she uses experimental processes to manipulate materials and structures associated with the traditions of painting to create modern and contemporary work. Rather than artificially aiming for permanence through painting, Sarah seeks to highlight the ephemeral and impermanent nature of life by creating works that adapts or transforms over time.
Hannah Puzzar, Wimbledon College of Art, UAL. Hannah’swork explores personal concepts of desire, sex, gender, identity and the human form. Hannah creates abstract forms by adopting her own distinctive marks and shapes, which are habitually reused in various works. A manifestation of obsession, Hannah’s often vibrantly colourful tones and shapes are psychologically charged and impulsively selected. She puts great emphasis on the role of intuition in the creative process, exercising aspects of ‘automatic drawing’ onto paper.
Genevieve Slater, Slade School of Fine Art, UCL. Using simplification as the crux of her creative process, Genevieve is interested in capturing human emotion in its purest form whilst trying to find humour in the complexity of doing so. In her work graphic and playful line is used in conjunction with formal abstract. A generous use of colour and an unobtrusive application of paint create the matching backdrop for the character.
Yasmine Taherbeigi, Goldsmiths, University of London. Yasmine works primarily in oil on canvas and gold leaf. Drawing on her English-Iranian heritage, her paintings explore tradition and culture in an ever expanding world; considering the exploitation of exoticism and Orient as ornament in a digital age, as well as the beauty of sincere sentimentality and respect for one’s culture.
Sofia Vannini, Central Saint Martins, UAL. Context and presence are key elements of her work as she addresses the viewer in the conscious and unconscious state of being a participant in, or an audience to, her work. Reflecting on institutional critique and social behaviour, her work aims to challenge the boundaries between virtual and actual space.
Philip Williams Central Saint Martins, UAL. Philip’s paintings combine processes of computer design and conception with a physical, hand-crafted manufacture exploring the relationship between the digital and material form in our visual domain. The expressive nature of painting, including its slippages and imperfections, evidences a manual presence in the work’s construction.
Yingqiao Zhao, Camberwell College of Arts, UAL. Yingqiaomerges imagination and mythical stories in her artwork. Taking inspiration from the Greek and Roman mythology as well as from the ancient Hebrew Bible, she envisions how they would look like today. Always interested in portraiture, her non-traditional portraits are rendered with dark colours, patterns and symbolic details.