Hey I’m Josh and I’m a Fine Art Student living in London and studying at Goldsmiths. Having studied at Art school for a couple of years now, I’m used to taking my work seriously, but not myself. For me whether its art, fashion, music, books or film it has to be bold and it has to be brilliant. Through my own work I seek to challenge our perceptions of normality in modern life, from human behavior to the physical body. It’s this human aspect that’s interest me and I suppose us all. Living in Britain all of my life I can’t help but be inspired by its rich creative culture, drawing upon our tradition of ingenuity, quirk and heritage. I think that being a young person in the 21st century is such an exciting time to be part. That’s why I’m looking forward to discovering new talent and bringing it to Born in Britain.
Design and craft has vigorously changed and adapted to the attitudes of the now and for this reason it has seen a current resurgence. Xenia Moseley is a designer/maker trained at Brighton University, who uses British skills and material as a cornerstone of her artistry. Her current project is entitled “Journey Women”, citing its inspiration from the word “Journeyman”. Which literally means an apprentice who moves from one town to another, gaining an experience of different workshops. Considered an original way to learn a trade whilst developing character, experiencing community, life and travelling. Xenia has done just that, travelling down the River Ouse, East Sussex, in search of the traditions that are still being practised today.
It’s all very good embarking on a journey like this a few hundred years, but to start it now, explore and export it through the ways of today, is something else. It is not only poetic to yearn for the handmade but it was once essential.
Xenia’s trip was fruitful, she visited and studied the skills of a wool spinner, cobbler, boat builder, basket weaver and upholster. Thus Xenia was able to create a boat that celebrated the crafts she had learnt and symbolises an on-going journey. Its a manifestation of the materials and craft methods encountered, transformed into a useful object that’s also a metaphor of collaboration and learning that is alternate to our entrenched, modern systems.
Xenia’s trip raises questions about our attachment to the objects that populate our habitats. The manner of buying attractive objects in comparison to making them with our bare hands or knowing who did, makes life today a fountain of choices. Xenia’s work projects a yearning for a milder way of life and a merit on making it yourself.
Being a descendant of a family of filmmakers, Barnaby Sax grew up on and around films sets all of his life. All that exposure has without a doubt motivated his compositional and observational style. He starts by meticulously arranging and photographing scenes, which are then uploaded and extensively edited. Finally being perfected in several maquette stages of painting and coloration in preparation for the full size oil painted version, in all of its glory. His tendency to use valiant slabs of colour could also be traced back in much the same manner, to a life in Africa as a British kid. Although now, Barnaby is very much rooted in London, citing the city’s calculated and clinical personality as finding expression in quite a bit of his work.
As a collective Barnaby’s work could be considered inconsiderate, but upon further inspection there is an uncomfortable sensation derived from the inability to label or categorise what we see. This is particularly relevant in a current society where we seek to classify everything in order to deduce and comprehend it. A lot of his work has its foundations in the photo-realism of the late 20th century, yet here he deliberately skews the sense of realism to jar the viewer’s perception. Barnaby compares his own work in essence to an artistic elaboration on Sigmund Freud’s “The Uncanny”. Which for those of you who don’t know, details an instance of where something can be familiar yet foreign at the same time, resulting in a feeling of being uncomfortably strange.
His work is almost a wunderkammer (a cabernet of curiosities); you never quite know what’s going to pop up next. The motif of masking something tangible, plays with the idea of creating an additional exterior to something identifiable versus decoration as a craft, all of which Barnaby tests in his explorations of art.
Munich born Photographer Leon Eckert is studying design at Goldsmiths College London, a place where thought and intention is exalted over simple cosmetic. At sea on the east coast of Spain one moment, witnessing riots with fire bombers the next, wherever or whatever Leon always has his trusty camera on hand ready to capture. He has travelled through China, worked in advertising production in Barcelona, flown into Tokyo and strolled the harbour of Hong Kong to name but a few; It’s this awareness, an understanding of the culture he has experienced, that permeates the very purpose of his work. Leon believes that every time he puts his finger down to press the shutter, he is advancing his “eye” for imagery, whilst fulfilling his need to document his endeavours.
For one of his enquiries, Leon explored the notion of public transportation, questioning the experience gained in return for the price of a ticket. In this instance a day ticket was purchased, which enables the purchaser to a full 24 hours of transport, yet rarely is this ever fully exploited. Riding 60 different buses continuously over 1460 minutes, Leon nearing exhaustion managed to capture a couple embracing in front of the bus during the latter of his journey. This couples stolen moment of affection suddenly becomes a public event, much like the transport itself.
Leon’s photographs are determinedly direct; a gritty state that comes from examining the root of a situation. They’re hearty intention is tied with a vastness and stillness that becomes vibrant in its celebration. The focus on the events impact over their visual state is beauteous in design and admirable in content. Leon’s work emphasises the relevance of communal experience in the advent of social media living.
You can also check out Leon’s Website, Blog and Facebook page at the links below!
Camila Sadler has previously been chosen for the highly esteemed Threadneedle Prize 2012, showcased her work at various locations in Bath and held exhibitions at the British Inspiration Awards. Which is a set of industry awards celebrating achievement in the creative industries.
It is all around us, it fills all those empty spaces, it’s pure yet lacking at the same time. For Camilla this is what preoccupies her, the effect of white on white. It’s when you really have to look to see. Her intentions are to awaken an interest into the lives of one another, not through malice or surveillance but by opening our thoughts to the variation of life around us. Working in primary education, as a special need support, life and its variations must be all around her. Children are the ones who are less damaged and consequently more open. Does her approach to art employ the innocence of the young?
Existing materials, found object and locations all act as a stimulus for Camila’s practise. Her walls of feathers are ethereal and delicate. Although the translucent creation interrupts the eye, the way the light flows and is blocked, seems natural and soft. There is a definite feeling of intimacy, which explores the boundaries of personal space. In nature feathers are a skin to the elements and combined with a house like frame, “Notions of Home” provides a symbolic protection. Yet in physical terms the shell would provide little salvation from the real world. It is the conflict between the symbolic and physicality of Camila’s work that creates a tension between our instincts and our mind.
James Lomax is first and foremost a maker, describing his practise as an intense investigation of places and materials.Gaining a Bachelor of Fine Arts at the Ruskin School of Drawing and Fine Art, Paul’s degree show was staged at The Old Power Station earlier this year. He has gained invaluable experience from working behind the scenes of gallery exhibitions and as a technician for professional artists.Paul has had the privilege to install shows for the likes of Shezad Dawood and Jenny Saville and exhibited pieces at galleries such as the Saatchi. Armed with the expertise of his experience, Paul is moving to London to continue his studio practise and part time gallery work.
Site reactive not specific, there is a definite sense that a change has taken place. Whether it is a physical or conceptual one, it is not always obvious but this adds to the intrigue surrounding the work. There is a certain freedom achieved from the abstract objects that are neither definite nor seemingly functional. This lends his work to multiple interpretations, depending on a viewer’s familiarity or association with the items presented. Each work locks into a situation, from which an instrument is constructed and a complex identity is tuned. James’s method is achieved through his obsession with the idea of craftsmen. The system of producing perfection for perfections sake, which has lead James to reject his own skills and introduce an element of chance into his work.
Working with his hands has always been important to James and this has become his own method to map, reactions to site. By viewing James’s art we attain a greater awareness of the impact of site, and feel as if we have learnt something along the way.
In the world of super advanced technology, black and white photography has gained a new appreciation for its back to basics approach. This happens to be method that Paul Cooklin chooses to exploit and you can see why from his collection of glassy perfected images. Growing up with his dad’s passion for visual arts, Paul was influenced by and ultimately inspired years later to change careers. Encouraged by his awe of cinematography in the Star Wars films, Paul dived into the professional world of capturing pictures. His works have illustrated the pages of Time Magazine and been crafted into a Published Book, Entitled “Cuba on Film”. The Cuba collections are populated with lustrous images of the Caribbean and curated by City Pulse.
The crystal clear realms presented in Paul’s photographs traps the viewer into a sublime location, where harmony is celebrated in the absence of multi colour. Only by taking these scenes to the basics of hue does their impact of size and existence fully hit us. Paul has a knack for glorifying locations in print and on screen, that in reality fall short of his creations; It is not the capturing of a moment but rather a snap shot of a vision. Shunning LCD screens and post digital tweaking, Paul attempts to capture his own concept by developing and hand printing each negative in his own darkroom. Although his work is limited to the mechanics of analogue, the results are equal to that of its photoshoped counterparts. This generates a greater appreciation for how such art is made in a culture where fakery is the norm.It is not so much a documentary of places on the earth but rather a documentary on how Paul see’s or wants us to see the world around us. You could easily imagine his stylised photographs being a coffee table book you go back to time again.
Being born in the UK but having grown up overseas, Adam Wozniak is a 23 year old up and coming artist. His work draws upon human empiricism, the theory that knowledge comes primarily from sensory experience. Completing his degree at The Ruskin School of Fine Art and Drawing this summer, he has gained experience from places such as the New York Film Academy to internships at the Chisenhale Gallery London. On top of his pursuit of contemporary art, Adam is interested in politics having interned at The House of Commons.
His work explores a very great number of persons or things. It is really an investigation into the study of being, existence and reality. You could describe his work as questioning the innumerable and the indefinite, using whichever medium is appropriate to a specific idea. Adam is not limited to the materials he uses. His work demonstrates a hybrid of painting and installation. Intended to capture the decisive elegance of mark making alongside the strong physicality of objects in narrative. The sculptural elements of his chosen objects have a strong presence against the white backdrop of the work. Making you reexamine mundane shapes and hues by juxtaposing and isolating them.
The focus between figurative and conceptual work is a typical problem for modern day artists. Adam does not necessarily agree with a center point but more of a focused entry point for his work. That allows a viewer to feel resonance with a core idea whilst gaining a sense of space for imagination and opinion. His art raises questions but is not overclouded by the rhetoric. Initiating a base for a viewer to recognize universal emotions- insecurity, elation, fear and resentment…
The works chosen are exhibited inside and are enclosed by neutral surroundings. The environment is so sterile, that it creates a feeling of being enclosed. Removed from a natural environment so much so that through the questioning of the objects existence, we question are own. There is a link between the man-made and aspects of human existence being a performative activity, which is emulated in Adam’s process and ideas. There is something unforgiving about his installations, they don’t try blending in or jumping out. Their physical existence is proof enough. His performances alter our perceptions in a similar way his installations do, but they have an added awareness of human force and time. That human reality on some level is purposeful at the very least.
Based at the heart of the sunny city, Iossie Ng le is a young and promising graphic designer. Studying at the University of Brighton, she is surrounded by a buzz of creativity and culture. As a visual communicator, Iossie has a pivotal role to play in the world of graphic design, a market where art meets functionality. Iossie not only has flair for editorial design and branding but an affection for illustration and painting. Her dedication to her craft takes her from a foundation at the UCA to an exchange in America this September. This goes some way to achieving her goal of reading reality, being able to represent and actually complete it.
Iossie’s catalogue of work is full of sleek designs and beautiful fonts. Elevating what you might consider informative graphics into clean and imaginative visuals. They are clever as they are witty, with a take on minimalism that has a lot to say for itself. Slick and hardy Iossie’s images radiate the vogue of today’s media. She exploits the language of the public service and information for the purposes of irony. The combination of random dolls and animals create a part fantasy feel, which is diluted by matter-of-fact information. It is this overlapping, building up of images that leads to a slightly off center destination. Keeping a strong emphasis on hierarchy of text, cool layouts, and use of her own tailored imagery. The act of analyzing a daily subject and making it a focus of her study is something that fascinates this young graphic designer. Iossie relies on a subject’s history, texture and symbolism to compose and process new ways of reasoning.
Evie Kitt is a 21-year-old artist studying at the Ruskin School of Drawing and Fine Art at Oxford. Being one of the most esteemed Art Schools in the country, the course allows its students to follow their own art practice alongside immersive academia. Her dedication began by focusing on figurative drawing until she could accurately recreate her visual surroundings. Branching out into figurative drawing and then progressing into abstraction, Evie also partakes in illustrative drawing independent from her abstract creations.
One of the most striking things when first laying eyes on Evie’s paintings is the exploration of vivid colour and immersive landscapes. The depth of pigment and contrasts of light and dark complement the abstract visuals. Incredibly impactful yet beautiful without being shallow. Indulging the artist’s fascination with space, nebula, land and waterscape, balancing the organic and the natural world around us. Achieved through the medium of paint, which is underlined by intensity and luminosity. The paintings are designed to entice the viewer’s attention, to stimulate the eye and feed the visual appetite. It is clear Evie produces work that a viewer wants to look at whilst expressing her own creative enjoyment and physical process of painting.
Achieving these paintings by working on the floor, Evie uses a mix of professional and household materials. Making art with a hands on approach that sandwiches unique skill with igneous method. There is an understated charm about working on the floor and using a mix of materials to create something that is reminiscent of an otherworldly universe. Maybe this alternative visual is reflective of the process of painting, if you consider painting an attempt to control the uncontrollable. Often abstract art tries to obliterate some form of reality, which the works do, but they also succeed at creating a new center to focus on. With many focal points littering the painted canvases. There is a sense of creating an alternative visual within the physical boundaries of a canvas, referencing the old traditions of making art. Evoking a sense of freedom and movement, indicate how the paintings are formed. Evie’s creations rely on the tensions of knowing how to play with the materials to produce her vision versus the chance happenings that occur on the canvas. The success of her work should be measured by the stunning visuals she creates and the impact upon her viewers.