Life on pause, by Rose Sambrook

This work specifically explores Roses own experience with her surroundings, with a focus on looking outwards on to nature while being stuck inside. The image explores the feelings of being solitary, and stuck in a period of four months of almost complete isolation. The layering of over 130 images of the singular view to the outside world, becomes a documentation and archive of a fixed perspective, a continuum showing time and movement. In a way the images become a form of memory, replacing each other as time goes by, the final image is not one singular photograph, time stamp or view, but a collection of all previous possibilities, combined to create a new reality. The new reality removes all previous confines such as the window pane, the wall and glass separating her from the outside world, instead focusing on the chaotic but inviting, aesthetic of the outside world.

Artist statement
Rose seeks to create a sustainable practice that aligns itself with her interest in environmentalism and ultimately looks to invite viewers to reconnect themselves with what has been forgotten or unrealised. Through documentation there’s an exploration of the fluidity and instability of nature seen through the fixed, container of the urban living environment.

The work looks to share experience through the exploration of space and immediate/surrounding nature. By doing so Rose hopes to start a discourse surrounding the positive changes that can be made to create a better symbiotic relationship for man and the natural world.

How to find love in Love 19 by Butterythrone

How to find love in Love 19 is about the possibility of falling in love during Covid 19 in a fictional setting, which is partly inspired by personal experiences of meeting my current partner online when I was 19 and love in this sense is representing a disease as love is infectious like Covid 19. Due to the pandemic online communication is encouraged and more people will be using online dating. My poem ends with the communications of a possible virtual portal failing which is a very common occurrence of technology but far more than ever we need it and that most people are suffering and in need of some affection in which technology is the only way of achieving this in the most extreme circumstances of the pandemic.

Artist statement
My art practise focuses on sex and reproduction represented through creatures and fantastical identities reflecting my personal relationships and sexual experiences growing up, exploring manipulation of men and the idea of worshipping males and there sperm for instinctual urges to breed. My work in presented as sculptural installations and 2d practice mainly of mixed media, poetry and photography.

instagram: buttery_throne35

Like a Broken Record by Catherine Grainge

Materials: monoprint/embossment (black, charcoal drawing black and gold inks).
‘Like a broken record’ is a phrase used to describe unwanted repetition and as we pass our 300th day of lockdown at the time of writing this, I am reminded of this saying.

Everyday has become a blur with how frighteningly similar each day is to each other, my daily schedule unchanged from checking social media and browsing videos, and this motion is akin to the broken, coverless record I found lying discarded on the pavement. Through printmaking, I capture the records delicate grooves containing a songs vibrations in a contrasting static form, a literal visual of the saying. This is movement captured in stasis.

Artist statement
My art practice draws upon my reactions to the world around us and this has recently focused on the repeated lockdowns. Left to my thoughts, I question the everyday and explore this through my use of familiar objects and imagery, emotionally resonating with others. I utilise these materials primarily into creating 3D sculptures and installations that transform the atmospheres of the spaces they occupy but video and printmaking also interest me as we enter a more digital world. With these materials, I intend to visualise my experiences and share these concepts.

Instagram @cathsartstuff

Rainbow – This too will pass by Nicky Scott-Francis

A digital artwork created during lockdown focusing on the Covid-19 pandemic and the rainbow theme. The digital artwork is a message of hope for the future inherent in the title ‘This Too Will Pass’ symbolised in the fleeting, dissolving characteristics of a rainbow.

Artist statement
I work using a range of materials, media in the fields of drawing & painting, 3D artworks and sculpture, photography, and digital artworks. In my submission statement, I focus on my digital artwork. I work with Photoshop and Illustrator in a symbiotic relationship, a marriage between myself and my computer as I experiment with various filters and effects, allowing the computer to transform and enhance my initial drawings and shapes. Never knowing what the computer will produce for me, the digital experiments are always full of wonder, awe, and excitement and trepidation as the unknown transformations are revealed to me – an adventure in creative experimentation.

Using The Letter ‘x’ & Untitled by Tyler Wilson

The pandemic has turned to us all communicating online. I was interested in a recurring sentence but then using certain words in bold to reveal a hidden narrative. The text is based on the relationship between me and my father who I am not close with. The only extent of our relationship as a space is on What’s App. I tried to create a piece that would explain how love is communicated through a social media platform. While we are in this pandemic unable to express this physically, so how can our words both written and verbal express this love and humanity.

Artist statement
My practice focuses on the actions, interactions and behaviours of people and society. Along with the timeless, mundane, and repetitious occurrences that we passively overlook. Looking at S P A C E S whether they be digital or physical modify the way we exist in them. I attempt to co-operate with the already existing infrastructure navigating my position ( physically and figuratively) to question the functionality of a particular space in relation to me. Being a homosexual man, as a stimulant, has its advantages and disadvantages in the way I act in spaces and converse with people. ( Which is the case for many people regarding aspects of their identity ). Treating myself as an object I better understand the space around me and how I co-exist with it.
I create work that aims to question viewers perceptions of what happens within the superficial reality of different spaces along with our individual complexities which cause disruptions to overall functionality. Which is (re)imagined in a (hyper)reality.
Instagram @theunenrolledwilson

How Connected Can We Be by Eva Wang

HOW CONNECTED CAN WE BE reveals the conflict between the attempts of experiencing complete connection and its effect of destroying it instead, indicated by the action of kissing the face till it get eaten, holding the hand till it melts and hugging the body till it disappears.

Taking Covid into consideration, it’s a conflict of the desire for physical interaction and the force of separation/rejection that one cannot control. It’s a lack/craving nothing else can feed. There’s nothing to do but repress, accept or let go of it.

Artist statement

I consider myself a photographer using emotions to connect with the world. Common themes are emotions or situations we cannot fully control. Most work is staged conceptual photography which can involve installation and sculpture. I try to recreate and capture abstract emotions by exploring their connections and interactions with physical objects and the environment, then projecting the meanings onto staged scenes.

Specifically, my work explores interpersonal relationships and desire. I interpret these concepts through photographing a variety of subjects: from objects such as dummies and iron powder to people. My choice of objects is dependent on the information they could carry. I draw from works of Francesca Woodman and Bernard Faucon. Woodman’s subject of her naked body inspires me of using myself in photos as I am also expressing my personal feelings. Faucon’s capture of sunlight in small simple rooms in his series ROOMS OF LOVE triggers my thoughts about its relation to emptiness.

My work is also intended to invite viewers to associate themselves with its topic, relate their stories, and generate their thoughts and feelings. For example, I have a series of photographs exploring conscious struggle due to social pressures. This complex psychological activity is usually hidden and easily overlooked. Living in a society in China focusing on rapid economic development, individuals’ emotional expression can be limited, which can lead to mental disconnection to their living environment. By making people aware of the emotions, my work helps to create an outlet that connects the inner and outer world, generating energy that comforts viewers to build a stronger existence in the society by knowing their emotional weakness is shared and understood.

Ideas rather than technical skills are the motivations and core. As I always tell the key story by the changing object through interactions or in different settings or moments, I tend to produce a sequential series of photographs to record and present. To support transformation, I have experimented with various materials, water, fire and magnets. I use digital cameras mainly for their efficient and effective functionality. Temporality and tableau emphasize the concepts behind the photographs instead of simply moments of beauty.

My goal is to address emotions we have difficulty dealing with, in order to help ourselves understand those issues better and create a stronger connection in the society.