Ancient Materials – Above and Below virtual residency: participants
Ancient Materials – Above and Below virtual residency: participantsadmin2021-10-12T14:32:10+00:00
I’m an illustrator, author and aspiring animator. I am inspired by space and our vast solar system that offers endless possibilities for the imagination. I create and write content about a character known as The Little Spaceman, whose denotation of existence is a deep connection to that of my autism. I also discuss mental health within my work, using space as a gateway to open visual communication on these topics. I am very excited about starting this residency, to further advance my knowledge of our solar system, and for the research within this residency to inform and develop my practice.
Use of beeswax , pigments, carved woodcut blocks and printing inks to describe geological themes, rocks, caves, sea and landscapes. I use beeswax + mineral pigments to create rocks and stones, mimicking the geological processes of heating, melting, cooling and sculpting. these forms. Carving woodblocks enable me to explore and sense the way land, caves and mountains might have emerged.
Rosalind Lowry is an artist from Northern Ireland who works with a range of media to create site specific land art, installations and sculpture. Through numerous solo and collaborative projects she has delivered works internationally and across Ireland and is currently Artist in Residence on the peatlands of County Tyrone for the UK Heritage Lottery and Lough Neagh Partnership, delivering a series of site specific sculptures and installations on the peatlands.
The main influence on her work is the disappearing landscape and green spaces in Northern Ireland, and beyond, and the accompanying endangered species list for the area. Her focus is with working in response to a site, place, and place-making, with a particular concentration on highlighting environmental destruction or preservation, depending on the site.
She is interested in working with the materials connected with the landscapes she works in, and craft processes, and experimenting with these formal processes is integral to the final outcome.
Scale is always an important feature of her work, used to deliver the message and push the materials used and although her work is created to highlight issues, she would always hope to deliver this as a poetic and beautiful conclusion, always paying tribute to the land, the heritage, and the resilience of nature.
I work mainly with textile, clay and watercolour. Researching the themes of destruction and transformation, I focus on non-traditional techniques of art-making such as burning, melting or dissolving. Besides exploring and understanding materials “potentiality”, I am interested in the elements of risk and chance inherent in my techniques. My inspiration often derives from material science, free associations and personal sensitivity, all merged in the abstract form, where colour and shape are strongly bound, influencing each other. In my new fabric sculpture series “Trees fell, waters blackened”, for example, I apply the earliest known pigments in human history, namely earth pigments (iron oxides) and charcoal (carbon blacks), on modern industrial polyester fabrics. My abstract textile sculptures are painted with handmade pigments and carved by fire, where the burnt textile hardens and transforms into a plastic lace, blurring the boundaries between painting and sculpture, natural and man-made, ancient time and the contemporary world. My artworks’ physicality lead to a particular sensorial experience, aestheticising the fragility of life. I invite the audience to reflect on whether this is the time when technological progress increases the cross-contamination of the environment with synthetic particles (pollution, micro-plastics in human tissues, coral bleaching); or wether this is a new age of adapting, gene changes and unknown life forms.
The Virtual Ziggurat is an XR project which will be built based on the Choghaznabil Ziggurat in my hometown, Shush, Iran. All around the ziggurat in the current site in Iran are bricks with Elamite cuneiform inscriptions on them. The name of the builder and the purpose of the construction of this ancient building is the subject that these brick inscriptions narrate. The inscriptions of thousands of bricks talk to the visitors in an unknown forgotten language. This worship had not yet been completed when it was destroyed along with other structures of Elamite civilization in the Assyrian army attack under the command of Banipal. Panipal narrates the great devastation he left behind: “I broke the ziggurat of Susa and razed the Elamite heritages to the ground. I turned Susa into ruin and the human voice and the cry of joy disappeared from this land.” The entire ziggurat will be reconstructed as a 3d model and then will be programmed as an interactive XR environment on the A-frame portal to create a forum for people to send their thoughts and speak to this semi-abandoned wire-shaped temple.
Painting is a language between science, heritage and aesthetic. I am interested to create a connection between science theories as well as in art. I decided to make my research about the Nebula Theory. Nebulas are important part of astronomy and the theories are revolutionary for astronomers. Furthermore, I am projecting the forms of my intellect on to diversity things for creating. I will recognize science theories and reflect to my work. Understanding of Universe: I want to demonstrate Space discoveries importance through science and reflect to the painting. The problem to find a way these researches to demonstrate in art. My exhibition will be the first signs in the world (primitive wall paintings) and Planet such as Mars. Mars is a specific planet of the astronomy and Mars is the fourth planet from the Sun, a dusty, cold, desert world with a very thin atmosphere. I am inspiring from Ingenuity, and Perseverance are examining atmosphere of the planet, examining rock simples and also they are a technology demonstration to test powered, controlled flight on another world for the first time. It hitched a ride to Mars on the Perseverance rover. The exhibition will show that the role of Science beyond our lives and to look science as art.
I am looking in the Modern Art to surface materiality theories. I am interested in textural surfaces, colour theories and natural materials in processes of art. I am using linen ropes, tree barks and soil in my paintings. I am using these substances – materials from nature for creating a connection space to the Earth. Communicate with painting and material on canvas.
I am a proud Wiradjuri woman, multi-disciplinary artist, curator and First Nations artsworker. I create work including installation and sculptural pieces using a variety of materials including natural and found objects to give voice to First Nations peoples. My work is a vehicle for intergenerational cultural transmission and a tool which allows the audience to view the world through a First Nations lens. With a strong grounding in Culture and Country my works are influenced by the past, present and future experiences of First Nations Peoples with a particular focus on social, cultural, political and environmental issues. Examples of my work can be found at https://www.aleshialonsdale.com/gallery
Wearable sculptures, navigation talismans that contain hidden maps of the stars & other galaxies.
Melissa Jane Hampson-Smith is a contemporary Artist inspired by environments. A survivor of the 2004 Tsunami, Melissa’s work explores extreme weathers, medical intervention & discarded man-made materials, along side, maps, deep time & Space exploration. Inspiration comes from Space travel, mining asteroids, our search for water on other celestial bodies in our galaxy & others & the not so distant future colonisation of planets & moons. Alongside immediate & urgent need to rewild & protect areas of Planet Earth. Currently working in St Ives, & the wider Cornwall & often out in the landscape she hammers metals with beach stones, uses found things, raw & cut gems & sets resins to create wearable sculptures. Melissa also paints Landscapes & Portraits & makes environmental artworks. Her practice also includes film & performance.
I use multiple media: producing installations using recycled packaging; weaving with salvaged fabrics; overlaying digital drawing on my photographs; plus performance, collage, and digital and video including all of the above. For me, what I’m trying to explore or say is much more important than the specific media. In general, though, I’m keen to re-use media — even if I don’t always have access to ancient materials.
I create abstract paintings and drawings inspired by the coast and geology. My coast series of paintings feature landscapes from Yorkshire and Norway, with atmospheric colour effects in acrylic painting with half-obscured mark making to hint at land structures. In contrast my geology drawings on plywood are explorations of stratigraphy and pure patterns inspired by local Jurassic geology. Recent work has featured the introduction of collage and conceptual use of materials to express time – the destruction or changing of drawing layers to build a landscape.
I am a part-function/part-fiction artist/sound hunter. I work with *tangible precious debris*, to create installations, digital animations and soundscapes that are playful, memorable, and often absurd. As an Archaeologist from this reality, I investigate the possibility of dialect that emerged from Mining processes of the Durham Coal fields. Coal dug from Dawdon Colliery becomes a story of gesture, voice, and possibilities.
Drawn to edges of rivers, excavating mud and other elemental materials, my recent work focuses on the River Wear and the geology of Sunderland. Inspired by my grandparents’ homes, cultural history, and roots in mining communities of North-East England, I create an alternative reality where fossilised sound exists and objects speak, materials sing, merging lived experience with sounds of heritage and inheritance. Work is often site-specific; installation based and combines material experimentation with poetic imagination. *Orhan Pamuk
I work primarily in the medium of painting although both photography & printmaking are also important in my art practice. My subject matter in recent years has focused on the edges of islands. Of primary importance has been an exploration into the collision of the liquid world with the stone of the shorelines & the movements within the intertidal zone. I am continuing these explorations with new islands, remembered shores & my own home island. Erosion has been a long interest of mine. Beginning win 1999 my series “Skin of the Earth ” focused on Etruscan stone vessels. On my website paintings on panel from “And the Stones Remain”, “Carriers of the Past” & “The Veil Between ” all feature eroding stone structures & objects.
Lewis Andrews is a Fine Artist based in Leeds, United Kingdom. His work specialises in dealing with complex thoughts, ideas and facts within nature and science. Some explore those in which we seem to be overshadowed and overpowered in comparison by the vast distances, size or quantities. Others investigate moments of extreme power, creation and rebirth on a molecular scale or on a scale comparable to that of the universe. Questioning our relationships, place and role within the universe, environment and natural spaces.
For me human presence is the starting point of art. My paintings and collographic prints are about the landscape. They consider the narrative between humanity and the environment by recording the impact of industry in my area. Recently in Lockdown I have become aware of these scars in the landscape left from the Industrial Revolution. Further research has connected this work with the aerial photography of the massive open cast mines in Australia and the Anthropocene project. As a result my work is becoming more abstract and critically engaged moving away from a representational approach. These colourful vibrant textured surfaces resonate with the land evoking the deep geological memories ingrained in the rocks and hills of the Pennines.
Alan Montgomery—Artist Narrative The inspiration for the Bog Cycle series began back in 1994 in graduate school reading the late Irish poet Seamus Heaney. Heaney’s seminal pieces on the Irish peat bog is a journey through time and space and a signiﬁer of the Irish culture. I spent the early part of
my life in Belfast, Northern Ireland, during the period known as the troubles. Heaney wrote a number of bog poems during this time and they reﬂect that period, but they also answer to the metaphysical, the ancient, and the richness of the Irish language and landscape. The patterns and rhythm of Heaney’s writing struck a chord in me. I see something in the writing that is profound and immense. I am not illustrating his poems, but rather I am interpreting the written text through the visual
language of design and art in an eﬀort to better understand how meaning occurs in my own work and how I can move forward with the Bog Cycle series. In my Bog Cycle series, I use rhythm, undulating curved horizontal waves, and value gradations, to create what essentially come across as high contrast, multidimensional landscapes. My calligraphic, lively brushstrokes and marks evoke organic root-like forms. Vertical space reveals reﬂections and patterns. This space, with its staccato, atonal, and aerial orientations, brings to mind both microcosm and macrocosm simultaneously. An unexpected and interesting innovation is the existence of independent rhythms found in each work. Diagonal thrusts create opposing tensions and asymmetrical design, rather than an evenly spaced, overall “tempo.” Stippling, patterned lines and use of a dry brush, often suggest volumetric architectural forms; arches, water, fences, sky, earth, mountains. The materials themselves suggest the form…creating a family of shapes and gestures through hatching, wet on wet and transposed
ﬁgure ground relationships. The excitement of the process is clearly reﬂected in the ﬁnal work. For me a work of art is a process. That process is a series of formal decisions that accumulate over the duration of time spent on one or more pieces in the studio. I begin with my materials. In the Bog Cycle work I chose ink because it is a ﬂuid medium, which behaves in ways they are both unexpected and predictable. I believe the inherent qualities of ink and paint are thus ﬂexible enough for experiment and for precise control. I am attracted to work that does not attempt to cover up the process of making. As an artist my yielding to the qualities of a particular set of variables is tempered by my search for unity and the gestalt of the work. The series of decisions that result in a ﬁnished piece should be visible through the medium and in the context of unifying elements of the work i.e line, shape, value, texture and space. The organization of those elements is how the content or emotive impact of the piece resolves itself. Content is the consequence of the work’s design. I believe that to bring about a meaningful work, it has to be ﬁrst and foremost a record of the artist’s process in creating the piece. Content is too diﬃcult on its own terms. It is too abstract and cannot be revealed in any other way but though the medium and through the artists handling of his or her materials. The resolution of my Bog Cycle work is grounded in the belief that the process of making must communicate all other references; philosophical, emotive, and narrative. My desire to reach Heaney’s text in its abstract elemental form, is embodied in my ongoing Bog Cycle series. I would like to spend the funds on extending my aesthetic reach into experiments in ﬁlm. The medium of ﬁlm is rich in its ability to contain and expand visual language. Film oﬀers another way of thinking and seeing the process of creation with sound and motion. I envision a multi-media installation that would include
ﬁlm and paintings. The funding is important in order to proceed but I am at a point in this work where the next step will be truly challenging in terms of personal investment and time spent learning and adapting to new media and processes. Material costs are deﬁnitely included in terms of supplies and travel expenses. I would like to use some of the funding for traveling to site-speciﬁc destinations that are important to the production of the work and to future exhibition venues. To date, I have been included in two group exhibitions in Matera, Italy in which two of my Bog Cycle pieces were shown. A catalog accompanied these exhibitions. A fellowship at this point would have an immediate positive eﬀect on my goals for new work and on my career as a professional artist in South Dakota. I want to thank you for your time and professionalism as you evaluate my work and my submission.
I am an award winning artist, scientist, consulting futurologist and engineer with a cross-disciplinary interest in planetary science, the early evolution of planetary atmospheres, AI, electronics for the arts and social justice. I am a member of The Long Now Foundation in San Francisco and The Singularity University in London. I work mostly in the medium of film, surround sound, programming and electronics to create thought provoking visions of the ancient past, present and future. I work from my dedicated art space in Old Bakery Studios Cornwall, UK.
My most recent work is paper based using earth pigments (some collected in Cornwall and an ochre from a Sheffield colliery), charcoal and graphite. I take inspiration from rocky landscapes and in particular gritstone and granite outcrops, but also from how humanity has shaped and used stone to help us make sense of the universe. I try and depict a nebulous landscape with humanity staring into the void. I have previously worked with Hindu Sadhus and mystics (who daub themselves in pigments as living representations of Hindu gods), and I make small primitive sculptures with wood, stone and clay.