The surface below the sea hosts enchanting worlds. Acting as a space for the unknown and the mysterious, the depths of the sea offers endless possibilities when it comes to exploration and the association with the unconscious part of our psyche.

Seemingly hostile to human presence, the underwater worlds are actually strongly influenced by human activity, hosting large quantities of forgotten artificial materials and objects. Forlane 6 is a duo project of two artists, Hortense Le Calvez and Mathieu Goussin,that intends to question and imagine how organic shapes cohabit when transformed and positioned in the context of a foreign space inaccessible to human life.

Objects are metamorphosed into artificial natures before being installed under the current of air or water, after which their buoyancy can be explored and re-imagined. Eerie and weirdly soothing and satisfying, the almost science fiction mise en scène is rendered effective through the contrast between fantastic worlds and familiar materials.

Forlane 6 Studio freezes aerial movements through photography and videos, blurring the edge between reality and fantasy. Referring to the post-human age and the frozen time frame of the deep sea, the Forlane 6 project gives an autonomous voice to the inanimate.

The man-made installations’ discourse mimics living creatures in a setting free from it, thus rendering the dichotomy between autonomous life and still life effective and challenging.

Mathieu and Hortense currently live and work on their forty years old sailing boat, Forlane 6, currently based in the Aegean Sea.

You can visit Forlane 6 website here:


Phoebe Baines

In an artworld that has never had more money, it is unsurprising that it is being drowned by art work being bought, sold and shipped worldwide for the masses to admire and pay homage to.  The costs are exponential; the impact to the public, very little. In true reverence to the ideology of the dematerialisation of art [with an environmental and humble twist] Phoebe Baines is doing something different.

Having recently been funded by UAL’s Mead Scholarship, Baines has been able to take her temporary artworks on a tour of some of the UK’s remote rural landscapes far from the commercial grasps of the artworld hub.

Her works is simple but with high impact and only existing for a short amount of time. Overcoming the practical issues of being a working artist and incorporating it into her practice Baines has created some stunning and exciting work.

Sat down with some jerk chicken and corn on the cob [not your typical interview setting] we talked life, art and the issues facing young artists today.

What made you decide to make temporary work?

The idea for making temporary works came from a placement with a practicing artist. I had a first hand experience in the difficulties of storing old work, transporting pieces to be exhibited and the prices of shipping. I felt as though temporary work that were easy and fast to install and take down would side step these issues as well as speeding up my turnover of ideas. I found that this change also allowed me to expand the scale of work a lot more simply.

Who/What inspires you?

I’m inspired by all kinds of things mostly visual materials I see on the street, buildings and natural places. Artists who inspire me to push forward with my ideas and to be ambitious with my work are Ernesto Neto and Tomas Saraceno who both create the most immersive ethereal installations. Richard Serra has been an important influence for me in his approach to space and the way we occupy and engage with the spaces in our lives.

Do you see yourself as a land artist?

I find the best work comes from an interesting space and the outside world is a far better site for me than a clean white square. Because of my materials I wouldn’t classify myself as a land artist but in terms of the importance of the landscape / site in the work, there is an element of land art there; especially in recent works where the pieces have been made in natural surroundings. Whether it’s natural or urban it’s the ‘site’ that comes first and often defines the form.

What environmental concerns are expressed in your work?

I wouldn’t say my work has and overtly environmental message but i aim to bring up questions about humans in space. Although the materials are mostly man made and synthetic the setting is often natural and organic. The tension between the two is particularly interesting to me and I suppose that hints and mans relationship with nature.

Are you rebelling against the art world?

Rather than rebelling I would say I’m challenging the art world and it’s boundaries. I hope to integrate everyday life into the art world through using domestic / real life spaces rather than spaces created and cornered off for art. I see art and my work as a part of life not a separate entity.

What do you love about being an artist?

I love the feeling of satisfaction from growing an idea from the first thought right up until it’s physically in front of you. Having the freedom to test your imagination and challenge yourself to keep moving forward. The innate emotional connection with my work is what keeps me going when it’s all going a bit wrong!

Phoebe Baines’ lives and works in London, to keep up to date with her exhibitions and new works follow




Mimi Winsor

Mimi Winsor graduated from Chelsea after what was a marathon show of twice-daily performances of her piece ‘Squeeze, pinch, stretch, roll, dollop and extrude’. The work consisted of large welded-iron structures which made up a sort of playdough sausage factory. White-clad and hatted factory workers kneaded, slapped and heaved 1 tonne of dough through Mimi’s contraptions over the course of the show. It twirled, plopped and mashed through machines in an often hilarious manner before the workers rushed it to the ‘extruder’ where it was finally processed, forming long pink sausages.

It looks like hard work and results in an ambitious, sensory and playful performance-piece which, rather than being simply sculptural, actually churns out art itself! Sculptures/sausages were for sale per lb.- a tickling nod towards the tricky conventions of selling degree show work. This constant, haphazard growth ended in a sea of extruded dough, the workers struggling, everything pink and mushy.

After completing various exciting builds such as a gigantic sea anemone for the Discovery Channel HQ, Mimi’s degree show also won her a commission on the giant Rootstein Hopkins Parade Ground at Chelsea. In similarly dramatic style, she is creating a prison complete with prisoners to function in the open square. The piece called ‘Grinding the Wind’ references the history of the site which used to house MiIlbank Prison and involves Mimi’s own ‘correctional labour device’, inspired by the victorian Treadwheel Fan. The prisoners will operate the contraption in performances that nod to not only the ideas of process in art but also often absurd and pointless labour.

Catch a performance outside Chelsea (next to Tate Britain) from Thursday 17th October to Sunday 3rd November with performances on Tuesdays, Thursdays, Saturdays and Sundays at 11:30am and 2pm. Rootstein Hopkins Parade Ground, Chelsea College of Art and Design, SW1P 4JU.


All images copyright Mimi Winsor,

Alice Jacobs

Alice Jacobs graduated from Glasgow School of Art with BA in Fine Art: Sculpture and Environmental Art in 2012. She creates mesmerizing installations, changing perception of space and constructing new environments using light. She works with spatial transformations, altering surrounding architecture, objects and atmosphere.

Alice’s artworks convey important religious and philosophical questions. Her project “the body of light” relates specifically to Buddhist meditations, yet connecting to other religions through the idea of “inner light”. This sculpture, made of light and reflective qualities of water, is an attempt to materialize  inner intangible light into a visible presence.

“Separated from any image, natural light or gauge of the actual depth or length of the space, the audience is left looking at something that is there, yet without any perception of what it is that they are looking at. Something, but almost nothing at all.”

This artwork resonates with everyone on different levels. The purity of the message is so powerful, it almost pulls you in a meditative state. It connects with the deeper levels of consciousness, urging the viewer to look within himself.

Her past exhibitions include yours is a body light, The Beresford Gallery; The Art of Tea, Harry Barnes Building and RSA New Contemporaries 2013.

Alice is also a  co-founder of Flux Laser Studio, along with fellow GSA graduate, Philip Longstaff.

To see more of her works, visit

Georgina Bolton

Georgina Bolton graduated from the University of Edinburgh in 2012 with BA Fine Art specializing in Sculpture. She was awarded the John Kinross Travel Scolarship to Florence and received the Barns-Graham Trust Dissertation Research Grant.

Her inspiration lies in the geometries of the urban surroundings. She transforms two-dimensional geometry into spacial forms, creating a sense of energy and motion in still imagery.  Color contrasts and effective use of black against bright neon colors make her works look very vibrant and fresh.

Her drawings and prints remind me of an abstract map. I see this as an endeavor to translate the everyday experiences into abstract forms. Surface visuals of surrounding objects are simplified and transformed into indefinite shapes, where their value is replaced by the motion and dynamics of the urban experiences. An illusion that confuses the viewer and reveals a new aspect of successful geometrical manipulation.

Working in photography, print and sculptural installation, she also experiments in variety of mediums  including  jewellery designs and bookbinding.

Georgina’s portfolio is a journey between mediums and dimensions. She combines different techniques, blurs boundaries between art disciplines and transforms traditional mediums into highly contemporary artworks.

To see more of her work check out this website and visit the RSA: New Contemporaries 2013 exhibition in Edinburgh.

Ashley Nieuwenhuizen

Original ideas, questioning mind, touch of mystical atmosphere and collaboration between materials and means of expression are qualities that made me interested in this artist.

Ashley Nieuwenhuizen was born in South Africa, but moved to Scotland in 1988, and is now working in Dundee. She combines experiences of different cultures and environments in provoking and psychological art works. Investigating the merge between human made urban surroundings and mysterious animal environment, she makes a statement on connections between animal and human worlds. Her work is an amalgamation of natural and synthetic, beautiful and grotesque, animal and man.

She graduated from Duncan of Jordanstone with a Master in Fine Art in 2010 and has participated in several group exhibitions internationally and in the United Kingdom. She was awarded the William Sangster Phillips Fund, Dundee Visual Artists Award and the Sir William Gillies Bequest Award.

Ashley Nieuwenhuizen uses video, sculpture, printmaking and performance to explore the similarities between man and animal, then transform them into fantastical creatures. This is a wondrous metamorphosis that addresses the viewer’s psychological experiences and affinity between a man and a beast.

In her works nature is almost adapted to human environment, animals are altered and transformed to such an extent that they become unnatural. This atmosphere of abnormality and unreality questions today’s environment and is a reflection on our culture and mankind.

To view more of her works, visit this website

Lorenzo Belenguer: Drawings

Lorenzo Belenguer’s work straddles the realms of sculpture, painting and drawing. In one area of his practice, he transforms metal objects into sculptures that evolve from the visual rhetoric of Minimalism and double as ‘canvases’.

Belenguer is like a hunter who trawls the city for found objects, sometimes sourced as locally as the back garden of the studios’ church. The work is then dictated by his discoveries, which include steel grids, a mattress reduced to its mesh of springs, and blacksmiths’ tools. These he reads as masculine objects. He intervenes with these structures by oxidising the metal elements in salt water or acids and dabbing them with paint of primary colours. This transforms how the objects are read, emphasising the points at which layers of meaning converge. For example, the artist paints the cone of an old anvil a vivid yellow, thereby morphing it into phallic form. In “Homage to Pollock” a spring mattress becomes a three-dimensional, and strangely fluid, abstract canvas.

Belenguer’s work also encompasses drawing, which he interprets as the more “feminine” side of his practice. For an installation he made at the Florence Trust, he drew repeated simple portraits of a female face, which he distressed by placing the sheets of paper into water contaminated with rusted iron. These drawings fill the walls of a niche space he has built, no bigger than a telephone kiosk, from floor to ceiling. A layer of chicken wire covers them, so the niche resembles a cage, perhaps a prison cell. Alongside the niche, a metal basket holds a stack of additional, still-to-be-used, drawings.

The artist describes his female figure as a generic everywoman wearing a head covering. She might be read as being Muslim or the Virgin Mary, as a woman of the Renaissance, the Victorian age or of post-war Britain. Belenguer says she is emblematic of society’s increasingly conservative, and coercive, policies toward women.

These drawings were selected for a group show at the Tate Modern in May 2010.



Agnetha Sjögren Lets The Dogs Out

London based Swedish designer Agnetha Sjögren has been creating one-off art dog sculptures for the past few years. They have received extensive coverage from fashion and home fashion magazines in the UK and Europe to design week, as well as being shortlisted for the Royal Academy Summer Show.

“I started creating my art dogs after everybody telling me that their dog was ‘nice’. I’m afraid of most dogs and wanted to show the world what a nice dog is. My dogs don’t need to be fed, watered or walked”.

The dogs come with signed authentication by the artist, dog collar and name tag. They also come with a personalised mini passport. Limited edition prints of 25 have also been created for a small number of sculptures. Agnetha is currently working on a series of recycled chairs called ‘sit’ and a series of flag wall hangings.




David Sinnott

The gift of being able to create stunning 3D art with every day objects doesn’t come round often, David Sinnott is a student at the university of Leeds who has that gift, from bold quirky statements to the beautiful his work portrays charm and elegance that will keep you coming back for more.

Tell us a little about yourself?

I am currently a Fine Art student at Leeds Metropolitan University, just entering my third and final year. Although I live in Leeds during term time, I’m originally from a small village called Goosnargh in Lancashire. One thing most people know me for is that I have a pet parrot called Stephen, who only has one wing, but I still love him nonetheless.

Do you prefer painting or creating 3D art?

Originally I started off as a painter, usually figurative and quite analytical in style. But when I became more independent and started creating a practice for myself I realized painting wasn’t for me. Over the last two years I made the transition from 2D to 3D, creating more sculptural based pieces.

What materials do you like to work with?

Well, being a student I rarely have money, certainly not enough money to buy enough art supplies or materials. So I started asking people I knew to give me anything they were throwing out and in turn I would create art out of these ‘donated’ materials. I was once given a bag of about forty Beanie Babies (popular stuffed animals of the 90’s) and turned them into taxidermy and mounted their heads on small wooden plaques. I’m always been given a range of different objects such as clothing, fabric, utensils and toys. Because of the vast differences in objects I’m given, each sculpture is different. I’ve made a hare out of a chord jacket, and a humming bird created entirely out of a leather handbag.

Who inspires your work?

I think it’s more a question of ‘what’ inspires my work. Animals have always featured in my art, I’m not entirely sure why I just seem to be drawn to them and I think people have a certain connection with animals when they are viewed as art. A common theme is for me to fashion an animal form out of fabric and old pieces of clothing, so sometimes it’s the material I use that inspires me to create a certain piece. Sculptor Sally Matthews has always inspired me as her life sized animal figures are breathtaking and she is undeniably one of the reasons why animals play a heavy part in my own work. In particular is American artist Tara Donovan, who creates visually stunning installation pieces and sculptures out of everyday objects such as paper plates and pencils. I can really relate to her practice of making the mundane into the imaginative. Another American artist is Mark Jenkins, known for his street installations made out of sellotape, again playing with that idea of using ordinary objects and materials to create art.

Whats your favourite peice of art you’ve created and why?

In my first year of university I got the opportunity to take part in an exhibition held at Leeds Broadcasting Place. I created a sculpture of a larger than life peacock fashioned from individual strips of blue velvet fabric. The fabric was wrapped and pleated in a way to suggest that the structure of the peacock was folded into shape. I sooner adopted this style with my latter sculptures and became a common motif of my work. The peacock was meant to stand on a plinth but it wasn’t made in time so it ended up standing on an upside down recycling bin. This wouldn’t have been my first choice but it really worked and the bin became a permanent feature. The tail of my peacock was overly exaggerated in length, spanning ten meters of blue velvet, which trailed down to the floor and circled the room. The peacock was a real turning point for me, and that’s way it’s my favorite. I see this sculpture as a signature piece that has shaped my practice, and without it I don’t think I would have done half the work I’ve made since.

Whats next for you?

I would love to be a practicing artist but realistically I probably won’t be able to support myself doing this. I’ve always wanted a career in the creative industries and to work for an art department or designer on film and television sets, or even theatre productions. But art will always be a huge part of my life and I will continue with it alongside any job I do in the future.

Thanks for reading!

Rebecca Roslyn