Fine Art
Audrey Bertie Yvonne Corrigan Sarah Jane Coxon Ellen Duffy Áine Farelly Emma Griffin Charlotte Hunt Inguna Mainule Thomas McCarthy Rachael Melvin Leah Millar Kate Murphy Magda Oleksiewicz Sean Prendergast Julie Ray Larkin Nicole Reddin Rozalia Relea Katie Staniford Lucy Tevlin Paul WhiteSean Prendergast
A to B
In my artwork, I like to capture the beauty in mundane objects and places. My work is based on combined materials such as car steel through what I understand to be of the Male Vernacular.
By dismantling car panels and using this as the making process to describe concepts such as Fordism, men sheds, race tracks, and freedom. This exhibition includes automobile panels, expanding my technique by cutting, welding and painting the metal, finding what bits will fit into others making a series of spatial abstractions that extended beyond sleek transformative interventions into screen-print, telling a story to the viewer about fragments of a journey that did or did not take place within a dreamlike state. A snippet of what could be.
Screen-print is important within my work because it is where the work started off. Screen-print allows me to reference car culture and nostalgia, as well as the sense of a journey. It allows me to make the illusion of movement on paper, whilst distorting the image. I used bright colours to reference to a sense of play and the advertisements that appeared on big billboards and newspapers within the 80s and 90s. My screen-prints include elements of automobile language, vinyl, spray paint, glass, photography, metal, maps, air fix and structural parts, all being a direct reference to the car industry as a whole. This adds up to much more than the simple process of getting to A to B. It evokes prospects of escape from the weight of collective and material responsibilities.
In my artwork, I like to capture the beauty in mundane objects and places. My work is based on combined materials such as car steel through what I understand to be of the Male Vernacular.
By dismantling car panels and using this as the making process to describe concepts such as Fordism, men sheds, race tracks, and freedom. This exhibition includes automobile panels, expanding my technique by cutting, welding and painting the metal, finding what bits will fit into others making a series of spatial abstractions that extended beyond sleek transformative interventions into screen-print, telling a story to the viewer about fragments of a journey that did or did not take place within a dreamlike state. A snippet of what could be.
Screen-print is important within my work because it is where the work started off. Screen-print allows me to reference car culture and nostalgia, as well as the sense of a journey. It allows me to make the illusion of movement on paper, whilst distorting the image. I used bright colours to reference to a sense of play and the advertisements that appeared on big billboards and newspapers within the 80s and 90s. My screen-prints include elements of automobile language, vinyl, spray paint, glass, photography, metal, maps, air fix and structural parts, all being a direct reference to the car industry as a whole. This adds up to much more than the simple process of getting to A to B. It evokes prospects of escape from the weight of collective and material responsibilities.
