Carla Armour is a visual artist who lives and works in the British seaside city of Brighton & Hove. After graduating from Parsons School of Design (NYC) in the 80s she returned to her Caribbean Island, Dominica delivering her message through abstract symbolism in mixed media paintings, fashion, Conceptual and Installation art, poetry and spoken word performances. Carla is known for her Lifelines series; employing tribal symbols and prehistoric glyph images and markings, her current work ‘Resonance’, explores the use of ritual elements and sacred spaces and abstracted objects to imbed messages into her paintings and installations pieces.
She has participated in shows and exhibitions over the years in the Caribbean, US, Europe and Namibia, some of which included the International Art Project ‘Women of the World, a Global Collection of Art’, submissions and readings for Literary Festivals, an International Artist Exchange, ‘Carambolage’ with eight artists from Austria and Dominica, a solo exhibition at the National Art Gallery of Namibia and recently participated in the UK-based project ‘Wheel 'n' Come Again’, a dynamic Film & Arts program managed by Legacy Film UK for which exhibitions and events venues included Onca Gallery, Hastings Arts Forum and a two-day program at Fabrica, Brighton in December 2016. She will also show at the Caribbean Arts Festival in Barbados in early March 2017.
"Generally, my work is meditative. I want it to be emotive."
"I love the actual act of creation, playing with the material and the effects I can produce. Using acrylics, oils and mixed media, collage etc, I play with colour and their meanings, with automatic writing and drawing inspired by interactions and experiences as one source of inspiration for my work. When I am painting or writing it is purely about the medium… the message reveals itself. I enjoy manipulating the shapes, textures, words and the rhythm, finding the imagery and tempting the senses to see, taste or feel the patterns. I love the freeness of the initial abstract expression while at the same time reducing it down to lines and shapes and layered combinations that resonate with each other to draw the audience inward. I want others to also feel the intimacy of that liberation I feel from my first markings to my last."
Ratna Jan Bibi
Ratna Jan Bibi graduated from Winchester School of Art in 2003 with a BA in Fine Art Painting, following which she worked at the John Hansard Gallery, Southampton for five years undertaking various roles including Education Officer.
During 2009, Ratna Jan moved to Brighton and worked as a freelance Artist Educator until her post at Photoworks. Alongside her work at Photoworks, Ratna Jan is currently developing her studio practice with the aim of developing her career as an artist as well as an arts professional.
As Permeate Fellow, Ratna Jan works closely with Head of Projects, Celia Davies, as well as all other Photoworks’ staff, to fully realise the potential of each project. The projects portfolio includes supporting the creation of new work and commissions, exhibitions, online digital projects and special events, including the educational programme, talks and specifically devised audience development projects.
There is energy and spirit in Lara's work. She is primarily influenced by the colours and shapes of botanical nature which take the form of still-life compositions or intimate, semi abstract landscapes.
Often cuttings are brought into the studio and then married to a suitable vessel. Here begins a limited time in which their relationship can be recorded and preserved; albeit in impression as opposed to photographically. Recently Lara has been exploring the more immediate sensation of being among the growing.
"I find inspiration in textiles, paint charts, music and all manner of things. Then begins the application of materials to a surface. Playing with colour, composition and marks, my aim is to somehow recreate sensations such as personality, energy, presence and joy."
Lara studied at Hastings and Oxford and now works from her studio in Hove.
I specialise in designing and making hand-made ceramics, tiles and mosaics for public art commissions in indoor and outdoor settings. My work is suitable for entrance areas, gardens, murals, swimming pools, bathrooms and kitchens, in fact anywhere a durable, tactile and colourful surface is required. I usually work to commission, mainly for healthcare trusts and local authorities, but also for commercial and private clients and community projects. I often work as a lead artist as part of a team with other professionals such as architects, landscape designers, building contractors.
I am committed to creating art that is fit for its purpose, relates well to its location, and is seen as an asset by the people for whom it is created.
When I walk within nature I collect sense impressions which manifest into paintings. Direct representation cannot compete with the perfection that is displayed in the natural world. I am interested in micro and macrocosmic; from our knowledge of cells to the outer universe; the endlessly variable patterns within the bark of a tree; the paint peeling on a bus stop; the sense of myself as witness to the visual sensory inflow.
I am a multimedia artist based in Brighton. Through the use of a wide range of materials, I want to give familiar surroundings and activities an unfamiliar face. Whether that is filming commuters or welding a four metre ladder. I am infinitely curious about how we, as humans, tick – with our infinite rituals and inventions, from weekly shops to satellite TV. At the moment, my current focus is to try see with fresh eyes British culture and society, and how bizarre it all is.
Buy a good pair of boots and a good bed, for if you’re not in one you’re in the other
My art practice operates using different visual constructions and ideas to address quite a general study around internet culture. As a millennial living in a world growing every deeper into the automatic, technological and robotic way of living, my work uses painting to make sense of the online world as a network that I have grown up with and witnessed develop. I began as a witness and contributor around the time of a shift in style of the internet from the more naïve un accessible network to the masses, to Web 2.0. This describes the increase of centralized services and social networks that permeate our lives and the increase of content added by everyday folk. I am interested in ideas proposed by writing on the relationship between digital technologies and art. Sci-fci fiction and dystopian visions of writers like Phillip K Dick and William Gibson provide a semi credible but fantasy account of the future in a high-tech/ low life society and their cyberpunk character constructs can be mirrored the reality of today’s human beings.
The paintings draw upon an awareness of an art form separate to the method associated with the gallery system that presents physical art objects. ‘Post-Internet art’ like that of Petra Cortright and championed by writers like Gene McHugh takes place solely online and in a sense doesn’t exist at all. Artwork within todays art world is often created and received within a milieu that often takes everything from the physical bits to the social ramifications of the internet as fodder. The early considered definitions for the ‘post’ refers not to a ‘time after the internet’, but rather a state of mind – to think in the fashion of the internet or create in response to it. I am interested in the internet as a resource bank due to its scarily infinite nature, and its effect on human communication.
I use the internet to collect digital detritus and recombine them into paintings using collage to help compositionally. As such, this employs a visual rhetoric of, advertising, graphic design, stock imagery, screensavers, produced a sickly sweet kitsch look at times. The visual texture of the paintings stress towards an unnatural, and synthetically colored aesthetic. Recently, I have begun a new project using the cold curved shapes of IPhone and Apple hardware in paintings, using them as the descriptive framework and aesthetic structure of the images.
Despite the paradoxical nature of producing physical paintings in response to almost entirely computer and screen based content, in a world where art is considered by some to be pluralist in nature, a lot of contemporary painting appears to tackle its relationship to technology too. It seems to stand as an omnipotent theme through which many other chances for visual inquiry come from. To re-appropriate content from the internet and photographs warrants ample possibilities for painting. The slowed pace of creation and consumption of the material, painted or sculpted artwork recharges the images that clutter the internet as a kind of landfill, where low-rez JPG’s and BMP’s become sediments for future internet archaeologists to dig up.
I was born into and have always flourished in a creative environment. No matter what the medium, I have constantly created and engrossed myself in art. It seems only natural to turn what is second nature to me into a way of life and a career. Working as a full time life model provides opportunities for observation, reflection on my own practice and collaboration with other artists, as well as helping me develop a critical framework.
Creating with both paint and literature enables me to bring my ideas into form. Whatever the medium is, it is the act of creation that is paramount to me. This act fuels me every day and when a creation begins to grow it takes on a life of its own.
I use clay to make designs and artworks out of everyday objects, textures or scenery. My pieces are about the surface of things, of displaced objects, their shapes and textures, origins and stories. I like my work to be both familiar and surprising.
Some artists that inspire me are: Helen Maurer, Richard Slee and Christina Iglesias.
Working in clay is an absorbing process. It is a slow moving material that inspires patience and delicacy to bring it to its final state. The processes used are slip casting from plaster moulds and hand building with slabs with pressed textures. Glazes are applied by dipping or painting and some are layered onto other glazes to create unique results. The glazes can be subtle and seek to express the shapes and textures of the fired clay, or painterly and expressive in themselves.
Christopher McHugh trained as a painter at Bath Academy of Art and Manchester Metropolitan University (later completing MA studies at the University of Sussex).
He has pursued painting as his central practice ever since, while building a portfolio of other art activities including teaching, writing and artist-led projects.
He was a founding member of Manchester Artists' Studio Association (1982), Red Herring (1984 – artists' cooperative establishing studios and galleries in Brighton), Artonic (1990 – temporary public art projects), Video Virus (1992 – AIDS video art collective), and Fabrica (1995 – contemporary art gallery in central Brighton). He was an initial advisor and later a board member of eta (Empowering the Artist).
He is currently Senior Lecturer in Fine Art at the University of Chichester and Convenor of Art at the Centre for Community Engagement, University of Sussex.
Erez Solo Rimon (b 1984) is an Israeli-born artist and a textile designer living in the UK.
Rimon examines the tensions between artistry and art, the boundaries between design and craft; and the importance of hand work in the art world. He follows the relationships between the ideas, the material and the technique – examining which one precede the other – and how they influence the work itself. His analytic starting point is that there is a difference between the artistic production processes, where the concept is leading to the choice of the material; and between craftwork productions, where the material or the technique are leading to the concept. Rimon focus on the benefits of the craftsmen – the Maker – over the Machine. On the artisan that is an expert in his field and has a personal creative fingerprint that cannot be reproduced.
Rimon’s main craft and way of artistic expression is hand knitting. His textiles and objects are using a unique technique he developed of layering and piling knits. The technique includes maneuvering amongst the different attributes of the layers to create shapes and images. Playing with the layer’s density, thickness, shades and materials. Creating abstract images that revealed only after the pile is completed.
Nick Sayers is an artist and graphic designer based in Hove. His sculptural and photographic work explores the beauty of science and the creative potential of recycling. He has delivered educational talks and workshops, exhibited his interactive art at science events, and produced public art sculpture commissions. He has exhibited internationally in Azerbaijan, Canada, Hungary, Netherlands, Portugal, United Arab Emirates and Uzbekistan.
Maggie makes contemporary sculpture objects which are highly idiosyncratic. They often communicate ideas about incongruity and absurdity within difficult and uncomfortable areas, such as consumerism, medicine, life and death. The objects are constructed and assembled from low-tech materials, found and chosen objects. Through being partly representational and partly abstract, the objects and materials invoke ambiguous psychological associations and invite the viewer to make their own readings. The work is often suggestive of organic or anthropomorphic forms which can sometimes be sinister or disturbing but often are humorous and playful.
Threadneedle Prize finalist David Storey is a British figurative painter. His psychologically charged paintings are about memory, with half-remembered people and places emerging from complex layers of texture and colour. He is represented in the UK by Panter and Hall, London.
David says, 'Personally, I find working with memory very therapeutic as well as creatively invaluable. I become haunted by the image I'm developing and it's tremendously satisfying when I manage to get the milky idea from the back of my mind onto the canvas.'
"My paintings are an exploration of memory. They offer glimpsed or half-remembered figures and faces – 're-imagined ancestors' recovered from a personal archive of the forgotten.
I come from West Cumbria, which is a bleak coastal plain, welded onto the side of the Lake District. The municipal buildings and churches are mainly Victorian and built of sand stone that turns black when it rains... and it rains an awful lot there. This melancholy and primordial environment in which I grew up, of black buildings, sea, lakes and mountains, is the world that I paint.
Wherever possible I paint using my fingers, palette knives and rags instead of brushes, I achieve a much more expressive result and find I can create a fuller range of tones, colours, textures and lines working this way."
Richard Unwin writing about David's work:
"Sharing in their fragility, the characters Storey depicts are aware they stand on the edge, but they are aware too that we who look on them are also fragile. The blurred faces gaze out as if to ask if we who exist now have forgotten those who went before and if we believe our experiences today are really unique; the couples trapped in tension stand as a mirror to all relationships, while the most haunting characters come as associates of Ebenezer's ghosts, ready to awaken us to who we truly are."
I am a full-time freelance illustrator based in Brighton on the south coast of England. I predominantly work in editorial and design but in various other markets as well, and regularly exhibit my work both here in Brighton and further afield.
Clients include: Time Magazine, Campaign Magazine, Times Higher Education, Pearlfisher Design, United Design, IPC Media, Liquid Records, Wonkay Records, MBR Magazine, Ransom Publishing, Legion Of Dub, Cookchick Design, Cycling Active, The London Magazine, Plan B Magazine, International Academy of Colour Therapeutics, DC Storm, Dubmission Records, Goodone, Matter, Brighton & Hove Food Partnership.
I create works of art which are visually rich and capture the life and character of each beast I create. The detail within my work aims to draw the viewer in ever deeper between the dense layers of sculpted metal objects that form the final piece.
Most of the materials I use are sourced from the scrap bins of mechanics, bicycle repair shops and car boot sales. These range from retired tools, cutlery, bicycle, motorbike and motor parts, with the occasional gem like an old broken typewriter. Using traditional techniques of blacksmithing I forge, shape and contort each component into the desired shape and then weld it in place, transforming everyday objects into wild and mythical creatures. Each piece can take from a week up to several months to create.
I have created several public artworks, architectural installations and exhibited and sold work in the UK and overseas.