StArt Up: Top Arts 2014

This image aims to represent someone in a deep state of tranquility, giving a literal sense to the idea that one is “floating” or can’t feel their limbs due to extreme relaxation. The bag on the subject’s head depersonalises the subject making their position and the work more open to interpretation by the viewer.

This self-portrait represents the meaning of why photos are posted on social media. In my generation it seems essential to have your photos approved of by your peers, or ‘Facebook friends’. I used my face as I know I am also part of this phenomena and regardless of how critical I am of the idea, I am still preoccupied with how many likes, followers or friends I have on social media.

My work is a reflection of myself and how I have compromised my own identity for the sake of others. I was never true to myself and I was never genuinely happy, nobody knew who I really was. From this I have learned that everybody should embrace who they are, as we are all wonderfully constructed individuals. Be true to yourself, embrace your identity but most importantly be happy with who you are and love yourself.

I wanted to capture the beauty and the fierce nature of cars. Their highly polished painted bodies are symbolic of the reflection and purity of the natural elements that surround them. These inkjet print images emphasise the metallic paint and the reflective surfaces on cars. I took the images from different angles to highlight the fine detailing and streamline qualities of the cars.

Clouds will always swirl and billow and change and things will grow and die in the ever-moving moments in time. If the viewer should become detached from their own reality and lose themselves in my work, even for a moment, then I have succeeded in my intentions. This wordless story draws upon what it means to be both young and old, to be lost and find freedom, to end at the beginning, and that when considering life and death, nothing is permanent in this world. It is both joyous and sad that time will pass and nothing will last.

midnightRUN is a work of fiction presented as a black and white, 208 page graphic novel. It follows the character Jamie Matheson and the events surrounding a handful of street gangs made up of the homeless. This work was originally intended to explore human nature and to be a light-hearted short story but took on a much grimmer tone than originally intended.

The journey that I have pursued throughout the process of my work has been a challenging yet rewarding one. The subject matter is based around the concept of individuality and coming together as one in unity. It is evident that each tea bag has a distinctive uniqueness which highlights characteristics of individuality. With this being said, I have implemented the use of tea bags as a symbol of humanity, as each of us have the same ‘guts’ yet have completely different characteristics.

As an artist this work is important and of great value to me, as it reflects the cultural significance of Samoan mythology and culture. For the viewer I hope to achieve and portray fascinating interpretations through the use of an array of shapes, lines and detailed patterns.

What makes a person hold on to a certain place? Is it the people they meet there? The sights they see? How is it that experiences mould an individual’s identity, their perceptions of self and of the world?

This artwork, inspired by the rich and changing landscape of Japan, endeavours to depict my own journey of discovery through a six month exchange. It portrays the numerous layers within the society and how, through the eyes of a young adult, these aspects of life can be perceived as utterly divergent and captivating.

The drawings address the issue of gender identity in youth. The subjects have hair atypical of respective genders. They are composed so the distinction between each gender is subtle and blurred. Contrary to traditional portraiture depicting facial features the decision to draw the back of the head presented in a circular mount surround is intended to convey the idea of voyeurism, in which the viewer can see the subject but the subject is ignorant of the viewer.

The concept of this series was to explore my central theme of portraiture through using the human face as a canvas, focusing on the way texture and shadow can be created when using the facial features as a base. The simplistic usage of minimal colour in the images as well as the plain black frame and white mount board allow the image and presentation to complement each other without distracting from the subject matter and composition.

The intention of this work was to prompt the viewer to question their individuality and the formation of their identity within the context of a wider society. From this work the viewer can gain a perspective of themselves as an individual, but also as a member of a crowd. In this way they can consider how they define themselves as an individual and discover what makes them unique.

I chose to explore the theme ‘happiness’, and more specifically the way in which happiness is contagious. I can’t help but smile when I see someone with an expression of joy. I wanted people to smile at my work and briefly share the subject’s happiness. The large scale of the work creates visual impact, capturing the audience’s attention, and the loose lines of the work reflect the carefree nature associated with happiness.

This work aims to express strong feelings of anger and conflict within not only the subject of the photographs but within youth as a whole. Evolving out of my central theme of my generation getting lost in a world of technology and social media, I intended to demonstrate the hardship we face in creating our identities both online and in real life. Working in a triptych format, as inspired by Francis Bacon, allowed me to create a fluid piece with several depictions of emotion.

Nevo is a mixed media portrait series which focuses on gender and its performative nature. Using ballpoint pen and watercolour paint the series aims to present the ways in which Nevo, who is currently undergoing a gender transition, ‘performs’ to communicate his preferred pronouns, minimise his dysphoria, and navigate the gendered society we live in.

Masking is often by choice, however others do not have a say. We come across masking in our everyday life, in some cases it is obvious and others it is hidden. Masking can range from something depicted on the surface to something obscured inside, behind a shield. It can be something emotional, psychological, physical or cultural. In this work, the human face is shown as entrapped and compressed, using the ribbon as a tool to wrap the face and squeeze it; showing what this feeling looks like physically. I hoped to produce a captivating, inspiring work, which displays the natural, emotional, and disguised aspects of masking, and highlights the ways in which people in our current world mask themselves.

I am often away from most of my family and this experience inspired me to want to portray a family member close to me from my perspective. These prints are to remind myself of how loving, caring, funny and great my Dad is and to express my appreciation and love for him and my family.

Initially, I was drawn to the excitement and energy of circus performers and the bright bold colours of circus costumes. As I explored this subject further, I discovered a sombre truth behind the elaborate masks. My work aims to expose the harshness and real impact of spending a lifetime in the circus.

Our world is inhabited by a vast number of different types of people and this year, I was particularly interested in capturing men in their work environments. The men depicted in my photos seem to have been engaged in their jobs for many years, so much so that they themselves have become part of their surroundings. The photographs capture a lone, older man in his place of work, whereby his body language, facial expressions and overall setting all play a significant role in communicating the idea of people, in particular, men at work.

My folio dealt with exploring the intrinsic connection we have to nature and our recurrent relationship with the natural world around us. For example, the way the mind flows with its thoughts, is much like the vast sea constantly moving with its ebb and flow. Or the way　dreams allow us endless freedom to explore and experience our senses. I have tried to communicate the relationships between the human condition and nature by exploring certain aspects of nature — the sea, the sky, the swan and the butterfly.

My art seeks to explore the human condition, how people grapple with their own interpretations of reality and how evolution drives man’s underlying ‘animal’. It is my passion for these concepts, and exploring their raw, sexual, dark and physical nature which underpins my work. I use photo-manipulated male figures to create visual representations of these ideas; in this case, male evolution and genesis re-imagined in a modern biological context.

My piece is a 595 can circular pyramid, with the theme of consumerism. The tower is supposed to overwhelm the viewer with the thought of greed and the unnecessary consumption of products. The television show Mad Men inspired the 50s theme to the piece, and my artistic style of appropriation influenced my use of the Campbell’s soup can theme, as well as the fact that the Campbell’s soup motif has been influential in the art world.

Agenda is a series that examines the constraints of sexual category, the complex relationship between masculinity and femininity and the portrayal of aesthetics in personal identity. Questioning the beauty, sensitivity, aggression, confidence, disconnection and passion that lie within both the sexes, viewers are inevitably and immediately drawn to wonder about the ‘real’ or ‘true’ gender of each subject. This immediate reaction highlights our entrenched ideals that we must be one gender or the other and that the social expectations of gender defines both our internal and external self. As viewers continue to try to ‘solve’ the gender puzzle presented within each image, the series attempts to lead them to consider the masculine and feminine aspects of their own identity, to solve their own puzzle about the qualities, attributes and behaviour they disguise or celebrate because of social expectations, gender ‘norms’ and institutionalized ideals.

I appear missing is the first of four panels in this work. The panel shown here is the incomplete 27-layer version that is inspired by the idea that people have different levels of vulnerability and each person responds differently to pain and sorrow. Kalie Garrett’s use of expression and honesty in her photos heavily influenced my art, as did the song I Appear Missing (Queens of the Stone Age)

It was my aim to create aesthetically-pleasing art, with a focus on installation. Although a work focusing on aesthetics may seem superficial, I believe that the aesthetic quality of art satisfies the desire for beauty within the human soul. These post-modern origami forms create completely interpretive shapes through their textured ridges and layering and an overall rounded nature, thus seeming somewhat industrial or man-made with a sense of the organic. Their neutral shades of white emit a sense of aesthetic pleasure through utter simplicity.

My art has been heavily influenced by the recent loss of two beloved grandfathers. Family history resonates throughout my work, as well as inspiration from contemporary artists, in particular William Kentridge and Regina Pessoa.

I am fascinated by the way film has multiple dimensions and ability to explore time, motion, sequence and sound in various capacities. My primary intention was to take the viewer on an emotional journey.

Tea Time at the Edge of Madness reflects the inexplicable nature of insanity and nonsense, the idea of external presence versus internal deliberation and the interplay between the light-hearted exterior and the underlying conflict that lies beneath. The characters are juxtaposed against both one another and their environment. Each element simultaneously at home amid the absurdity and yet all at once out of place. What’s really going on? You decide.

My work consists of a recessed wooden frame containing a radial design of swarming bamboo cicadas carved using a laser-cutter. The bugs are held in place with thin nails to project shadows on the ply board. This work was an exploration of the details intricacies in nature which often go unnoticed and unappreciated.

The ideas behind Buddhist meditation inspired me to paint 4D7. The painting consists of a continuous flow of layered imagery forming a stream of consciousness, where the past, present and future co-exist at the same moment. The compositional technique is like writing, moving from left to right, and the images primarily overlap this way. This overlapping fashion is due to the order in which I painted this artwork, where my train of thought started in the red and developed progressively through black over to the blue. These transformations are, to me, reminiscent of the slow fades in cinema, which always tend to signify transition in time. Also the linearity of the piece is like the strip of film.

This work focuses upon the repetitive cycle of life and death, and the inevitability that, where life is, death will eventually follow. The series traces a progression from the beginning of life through to the acceptance of death together with concepts related to the infinity and reoccurrence of this universal certainty.

This work explores introversion and imagination and how these two qualities are linked. The first drawing depicts a girl submerged in water signifying her isolation. The white on black components of the image represent her imaginary world. The realm of the imagination is key to the drawing. What links my three introverted characters is the compensating world of the imagination which provides a “world elsewhere” into which they can escape.

Vertical blinds are a standard household item; I re-interpreted this everyday article when I applied an unrelated image to the blades. The choice of showing aged skin is central to this work, I enlarged stretched and physically manipulated an image of my grandmother’s skin. The skin has a very detailed texture which only comes with age and represents the long personal history of the subject. The skin sags and stretches in ways which are not often on display in public, and I have orientated the image contrary to gravity. I want people to wonder which part of the body they are viewing, if it’s an appropriate image of the body and for the viewer to be momentarily uncomfortable.　 I believe the image is honest, intimate and possibly confronting. The blind must be viewed from both sides and at all intermittent positions during rotation, there are discoveries to be made.

Perhaps villains, such as Medusa, are simply misunderstood. Through Medusa’s transition depicted on these canvases, one can observe the Menace of the curse, the Malice of Medusa’s rage, and the Mania experienced by her at the end as she decides to take revenge. One witnesses the villain turning into the victim.

Who is to say what you see in front of you is not real? Believe it if you choose. This is a homage to my great grandfather Thomas Murphy. A proud Dubliner, an Able Seaman, a man recognised only to the British Mercantile Navy as 45816. There is always more to a face then meets the eye. Look into his eyes and believe his story.

This is not a narrative. Figures twist, tumble, appear and disappear; dense forms grow and shrink in fluid scenes that conjure a surreal world. I wanted to explore the idiosyncrasies and contradictions of my indecisive character, with the medium being intrinsic to the meaning of the work: the unpredictability of the animation parallels my uncertain sense of self. Musicians Annie Leung and Anna Xue composed the accompanying music.

My series of sculptures represents my ideas about the interesting things that can be invented by the mind. I have focused on complex abstract shapes, each built from hundreds of layers of acrylic. This forms the smooth exterior of the shapes, and visually contrasts with the hard edges within the form. The aim of this collection is to demonstrate my ability to present my ideas in the most original and unique way.

I wanted to evoke a sense of awe and appreciation of the intricate and exacting of animal markings, features and coats that are often overlooked by the viewer. Exploring and immersing myself in the meticulous and magnified characteristics of animal features I aimed to portray and highlight the animal’s liveliness, curiosity, wonder and beauty. Through linocut technique and process I was able to display a realistic and parallel connection between an animal’s beauty and the human eye.

My key message is the awareness that, as a society, we stereotype and label both ourselves and each other by what we wear. I see this happen constantly and it disgusts me. Each individual’s personality should be considered before their appearance. Through the use and consistent application of grey lead pencils and multiple figures, representing different age groups and attire, the work depicts the persistence of stereotyping and labelling of individuals.

Movement focuses on three concepts: energy, time and space. Being interested in the power and force an action can exert, how humans have the ability to slow down and quicken actions, and the capturing of humans completing mundane activities in an “unlimited three-dimensional expanse” (Collins), this artwork was created. It is intriguing to consider how humans live on the basis of time and how without it humans would be extremely disoriented. Following this I was particularly interested in the expansion of human movement, which is clearly portrayed in my work.

The three photographs of a cropped arm are printed on separate layers of sheer fabric so that when the images are assembled 15cm apart, both depth and movement are achieved. This work aims to portray a soft and natural aesthetic through the tone and colour scheme, which is minimal. This way the movement is dominant and the viewer is able to clearly focus on the motion of the arm.

I feel that this work, and the ideas that support it, effectively explore and portray movement through the overlay of images to create motion and the presentation of the three layers, creating depth.

This series of photos aims to communicate key aspects of the relationship between humans and animals. Each of the five photos is intended to represent a different aspect of our interactions. In order to display the depth of this complex relationship, in a simple way, the text on each photo sums up this relationship in a simple and blunt manner. The presentation of the photos on wood is significant, as the wood is a natural material and as such, can symbolise the link between humans and animals.

Fashion, personal appearance and lifestyle choices influence your thoughts, confidence and behaviour; without these, individuality wouldn’t exist. My photos portray the uniqueness of Muska in different contexts focussing on the way he presents himself to give insight to him both physically, and emotionally. This links back to my main idea of ‘The Colourless Chameleon.’ A chameleon changes and adapts itself to suit their environment or emotional state at that time.

Humankind’s evolution into a race that uses death, destruction and oppression to satisfy our selfish desires, has been softened by religion’s peaceful guidelines. Yet our violent traits are amplified in this all powerful God, who has committed heinous action before, and vowed to do again. The Four Horsemen represent His capability to torture and destroy through Conquest, War, Famine and Death; elements we as humans, are all but too familiar with.

Liquid Form captures the behaviour of paint as it disperses in water; an insight into a complex, fleeting form which we rarely get a chance to see. The dynamic, moving forms become four-dimensional; dependent also on time, and can be viewed in their entirety, or their detail can be examined as small nuances and complexities, allowing to gain a new perspective on form in all aspects of the world around us.

My multimedia work of Shivering Human was a documentation of my performance. Each element of the performance is a representation of the journey to reaching limitless possibilities. The act of pulling represents the struggles and challenges required to go beyond others. The box represents our restraints and the burning represents us fighting against our restraints to reach beyond our boundaries.

The idea behind my work was to create a surreal idyllic landscape of a field of flowers that is made up from using repeated images of the female human form. Through studying pictures of fields of flowers for inspiration, I created a series of different types of flowers that are each unique in terms of shape, size and colour. I wanted to produce a piece that is more than what meets the eye whilst trying to illustrate my ongoing theme of pattern and repetition.

A love and passion for music was my initial inspiration for the theme in my works. I was told to choose something that I could put my heart into, as that was the way to great art, so music was the obvious choice. Made using colour pastels, these works are intended to illustrate how the age of the instrument does not alter the quality and beauty of the music it creates.

Music. At times, it may seem like a grand explosion of chords from a team of instruments, and at other times it may just be a simple progression of solo notes. But nevertheless, they each will somehow combine to create something slightly magical to the listener. It’s a perfect balance of emotion, spontaneity and precision. And that’s what I anticipate to recreate. In “Symphony Series”, I intend to recapture the essence of such classical music through variety of lines, colour and texture working together to bring alive the impression of music.

My work depicts some of the scenery I came across while travelling through Cambodia. There I saw the resilience and warmth of a people, in spite of their recent distressing history that has resulted in extreme poverty and indifference. I was impressed by their people and their continuous efforts to preserve their culture.

My almost life-sized linocut ‘αυτοπροσωπογραφία’ (Greek for self-portrait) pushes the boundaries of what is possible. Being a single piece of linoleum made it awkward to cut, and when it came to printing, there were times when it just seemed impossible. However I pushed through and created this appropriated work of Thomas Eakin’s The Thinker: Portrait of Louis N. Kenton.