Show #1 artists
Art has the power to provoke positive social change or awaken a shift in an audience’s perception. This assertion drives my practice.
I find the constructed complexities of our modern world fascinating.
My years spent growing up are exactly divided in half, in inner city London and half in a village in the West Country. I was brought up by my divorced parents and their new families. This consists of ten siblings and endless relations all leading very different lives. My experiences and growth were full of contrasts and a need to empathise with many very different people. This has inevitably shaped my work. The breath of difference within a given framework fascinates me. Representing contrasts seems to be a common theme in my artwork.
I am fascinated by people and endeavour to make my work as inclusive as possible. This is often achieved by working spontaneously, sometimes using an element of humour or the surreal.
I mostly use raw or found materials to make my work. Through a process of re appropriation and limited manufacture I transform these materials or objects into something with a social or political commentary.
Through an understanding of materiality and form I believe you are able to evoke a pure individual perception on a very base, instinctive level. I endeavor to achieve this by using the materials I work with to communicate. I enjoy the intricacies of visual language and its discourse and provoking discussion through this medium.
My recent work has been looking at the physical comparisons of durable and temporary constructions and man and natures ultimate fallibility.
For Sweet 'Art's Show #1 Alice is installing Suit Cubes - an installation made up of two parts: A collection of 20 cubes made from business suits alongside a recording of the naked artist building a series of different structures using the cubes as bricks.
Engaging in a creative process whereby an idea can emerge, be played with, lost sleep over and ultimately exist is essential to Ali. It is a process that is battled with and frustrates, that excites, consumes and at times provides a natural high. At times this process lies dormant the activity unseen until unearthed again. For Ali this exhibition marks a re-surfacing!
Ali achieved a BA Hons in Textile Design in 2001 and went on to train as an Art Psychotherapist completing the MA in 2005. She now works with children, young people and adults in mental health hospitals whilst continuing to develop her own visual art practice.
As a visual artist Ali has an obsessive curiosity about the ordinary within her environment. Inspired by what she observes her work incorporates these findings through detail, form, texture and repetition to articulate the personal and collective in sculpture and photography.
With a passion for fashion history and the highly structured world of historic corsetry, my sculptures are as skeletal reference not only to fashion, but to the ever changing bodies of women in the western world.
Shaped on antique tailors stands in modern day corsetry materials along with various wires and the occasional pheasant, the discipline of high society and the expectation of a woman visually are referenced in my work. While historic gowns in museums will eventually decay, my steel sculptures will remain for generations to view and enjoy. These are a celebration of the manipulation of the female form and are a personal respect to women of past centuries and how we can relate to them today
For Sweet 'Art's show#1 Angela will be showing some of her sculptural work.
Claire Rye studied Fine Art at Manchester Metropolitan University, graduating in 2001. Originally born in Kingston she is now living back in London and runs “Paint My Panda” a company which specialises in graffiti workshops and mural work.
Her style is heavily influenced by New York and UK graffiti artists, science fiction stories, skate and rave culture. She likes to use humour and fantasy in her work mixed up with psychedelic colour
My recent work explores Erotica, women’s sexuality and self image. Women are portrayed in a variety of provocative scenarios, where their sexuality is exposed. They are objects of desire, lust, titillation and vanity. Men are seen in a stereo typical way, as dominant .In doing this I am playing with ideas about role play and looking at how this can affect how women perceive themselves on a sub-conscious level.
The images are the result of construction and deconstruction of text and images taken from, popular media and pornography. After multiple iterations and revisions an image is gradually
built. What excites me is to find material that resonates with me and helps with the creative process. An image or text can determine the direction of a piece of work and can enable me
to tap into my own views, attitudes and conditioning towards sex,allowing me to question and push barriers.
The making of art has always been away of creating a retreat for myself, some where I can go to express myself and to digest events in my life.
For Sweet'Art's Show#1 Christine is presenting a series of six works exploring the ideas of erotica and self image.
My work explores themes of fable and fairy tale, subverting traditional roles and characters in ways to make these speak to a new audience and reflect modern day life. I attempt to juxtapose elements of the domestic or mundane with the odd and fantastical, to add an element of outlandishness. My work is also strongly influenced by the environment in which it is created, aiming to emerge into the perspective suddenly and catch the viewer
For Sweet 'Art's Show #1 Charlotte will be showing some of her sculptural work.
Connie Sides is a graduate of Chelsea College of Art and Design. Recent shows include PRIME: 10 Contemporary Painters at the Bussey Building, Peckham, which she co-curated. Winner of the Brenda Landon Pye Prize in 2009 (blpye.org.uk). She lives and works in London.
The world of my paintings exists in its own self-contained reality, populated by strange characters. My primary interest is the interaction of people with each other and their environments. Recent paintings have sought to explore the concept of consent and willing participation in the self-exposure of women’s bodies by presenting images in which joyful exhibitionism is uncut with
feelings of voyeurism.
For Sweet'Art's Show #1 Connie is presenting her humorous and playful portraits.
Touching on the visceral often in an exploration of issues surrounding identity, trauma and healing, Corrina’s works of abstracted representations of physical and emotional scars, the healing process, and the way in which we view such trauma, has for many years examined the ambiguous nature of the impact of experience. Most recently the personal and the internal are explored along side what can be seen as a socially constructed notion of the feminine.
Corrina Eastwood has been a practicing artist for 12 years working as a painter and more recently in film. Following completion of her BA hons in Fine Art Painting in 2000 Corrina went on to complete her MA in Art Psychotherapy and now works with both children and adults in a range of private and community settings.
For Sweet'Art's Show #1 Corrina is making a wedding dress from thousands of interlaced pieces of paper.
'The Deconstruction of Passion' was finished in October 2012. It is related to our modern world where life is getting faster, has more colors and contains less feelings.Sex turns into a business and/or a quick “harmless” activity between conferences or flights. If you have a look at dating platforms on the internet you find mostly men,who only want their satisfaction, - nice, quick, clean, non personal, women as a plastic sex toy, auto-erotic and non-passionate.
In my non artistic, but scientific life I deal with sign processes, symbols, cultural and gender relations. These aspects appear in my art works as well. This work represents desire in a world of vague sexuality that seems to be the ultimate kick in modern internet relationships.
For Sweet 'Art's Show #1 Dagmar is showing 'The Deconstruction Of Passion'
"Realising that I can't hide from life - I embrace it.
So then it is not what my work is about that is of importance - as that changes with circumstance, and circumstance is predominately influential. What is important to me is the origin of my creation:
Heart and my soul.
My work is merely the expression that needs expressing, the feeling that needs relieving or the words that I can not say. The processes of change and conditioning are omnipresent in my work. Fascinated by how my world is dictated to and how I dictate to it, both the giver and the receiver, I constantly question my transitory role as a human.
Even when I doodle I am sub consciously reacting to my environment. Abstract at first doodles are formed out of a single thread of automatic line and within those lines my minds content is revealed.
Like I said, I can't hide."
For Sweet 'Art's Show #1 Dannielle is presenting 'Civil War 1' an etching exploring an internal war with herself of what she wants to do and what she has to do...
Brightness of Healing is the image I created for the cover of my book called “The Brightness of Healing: A Handbook on Healing a Painful Bladder and Maintaining a Healthy Body”,which I published earlier in the year. The book is about my recovery from a painful illness called interstitial cystitis, also known as painful bladder syndrome (IC/PBS for short) where the bladder wall has become damaged leading to chronic inflammation. An estimated 400,000 people in the UK suffer from this illness, 12 million people worldwide, of whom 90% are women and 10% men. People of any age can be affected, including children, but two thirds of sufferers are thought to be between the ages of 20-50. Interstitial cystitis has been documented since the late 19th Century but the cause is still unknown as it is believed there may be several causes, but there are increasing numbers of people suffering from it.
There is currently no cure through conventional medicine, so I used a variety of remedies,treatments and changes to lifestyle to get myself better. When I told the hospital consultant a few years later that I was better, he said that I had gone into remission, but I have never returned to the same situation I was in and I got my life back.
I wanted to use the colours pink and green in the image for the cover of the book, as these are often associated with healing, and the orange for strength and vitality. The woman appears light and free, emerging from the centre offering a sense of hope and courage. The hand is used in the image since the book is a ‘handbook’ and my aim was to write something that was accessible and easy to read, but the hand can also be an expressive symbol, perhaps in this case being a sign of protection and healing.
For Sweet 'Art's Show #1 Elspeth is showing 'The Brightness Of Healing'
Fiona Wylie’s paintings present an evocative combination of detached ethereal characters, desolate landscapes and arresting still lifes. The quiet scenarios composed by Wylie in her pictures, which are frequently small format and intimate, are reminiscent of positions from art history as well as the pictorial languages of photography and cinema.
Her years working as a Graphic Designer, Illustrator and Art Director are not lost. These paintings are beautifully composed stills. Stills from films yet to be made. They offer a multitude of possible interpretations. Themes such as identity, isolation and loss repeatedly present themselves. The surface of things - benign objects: a vase, a shuttlecock; unpopulated landscapes; the human form in repose - are filtered through a sense of displacement. Though the subjects themselves appear seemingly arbitrary, it is Wylie’s keen graphical eye, restricted use of palette and subtle capturing of atmosphere in light and shade that unify the paintings as a coherent and intriguing whole.
Fiona Wylie was born in Oxford in 1977 and studied Graphic Design at Leeds Metropolitan University. Since then she has worked as a freelance Designer, Illustrator and Art Director in a variety of media for clients that include The BBC, Adobe and MTV.
For Sweet 'Art's Show #1 Fiona is presenting her delicate and poetic portraits.
Following the completion of a degree in Fine Art in 2001, where he specialised in audio / video installation, Gavin Round has worked in the film industry for over 10 years in various capacities. 2012 also saw the completion of Gavin's first animated short film "Lines In The Sand" (as co-director, editor and animator) which was screened at the Cannes Film Festival in 2013 and again as part of the Raindance Film Festival. It was also screened at London's Protein Gallery as part of an installation containing each individual hand drawn frame.
Lines is a traditional animation consisting purely of hand drawn images in pencil on paper. It was during the animation process, a process that took around 6 years, that Gavin once again became interested in drawing and the actual process of drawing itself as an exercise in repetition. Taking inspiration from his work as a storyboard artist and as an animator in his recent body of work Gavin explores the act of drawing and through the simple process of repetition seeks to deconstruct how movement can be conveyed through still images and translated by the viewer.
For Sweet 'Art's Show #1 Gavin is going back his roots to develop this interest through a series of drawings depicting bolivian female wrestlers. Exploring the relationship and contrast between what is generally regarded as a masculine profession yet involving women in traditionally feminine clothing, the work also aims to address issues surrounding gender and notions of femininity.
Helen Gorrill's work is held in private collections worldwide and now included in New York Brooklyn Museum's Elizabeth A Sackler Center for Feminist Art archive, alongside feminist icons The Guerrilla Girls, Tracey Emin, Annie Sprinkle, Miriam Schapiro, Judy Chicago and Pipilotti Rist. Gorrill has exhibited nationally and internationally, and had her feminist and gender work featured in many publications. Her major solo show Deicide was a showcase of four years of feminist research, and she is currently working towards further forthcoming solo shows. Last year, Gorrill was shortlisted for the Cartazini Award in Paris, and this year has been shortlisted for the fourth international Passion for Freedom award, taking place in November 2012 at Unit 24 Gallery adjacent to Tate Modern.
For Sweet 'Art's Show #1 Helen is showcasing a series of female form collages.
Jess De Wahls
My art is exploring strong female characters of today and yesteryear. Their influence on myself as a modern woman, feminist and artist, on feminism as a whole and on their position as role models to young girls growing up in a society that has, no doubt, come a long way in liberating its women but has yet a great length ahead of it. Not to mention the work that needs to be done in other parts of our planet, where women are to date still oppressed, belittled and generally treated as second class humans.
I am using the medium of sewing, characteristically a female trade.
For Sweet 'Art's Show #1 Jess is presenting 'Viva La Vida' a sewn portrait of one of arts most famous female faces; Frida Kahlo.
Jerome Beresford uses cutting edge technology with traditional architectural drafting techniques to create procedural patterns, the detail and texture of which are obscured by over-painting or stripping the drawing surface. The resulting work seeks to explore the tension between digital geometric precision and human fallibility.
Jerome Beresford is currently completing his professional qualification in Architecture and has worked in various architectural practices over the last 10 years. He is currently his practice's new technology champion and is managing its transition to Building Information Modelling, a new method of virtually constructing buildings during the design stage. He is currently working on projects for London Underground and Crossrail.
For Sweet 'Art's Show #1 Jerome is presenting drawings that reinterpret and synthesize data to create new methods of articulating the information within.
Graduated from Goldsmiths College London in 2002. Selected exhibitions include Art Licks Annual 2012 at The ICA, London; Sight Insight at ASYLUM 2011 curated by Avis Underwood and Kate Grooby; Stardust Boogie Woogie at the Monica Bobinska Gallery 2010; Spartacus Chetwynd’s Helmut Newton Ladies Night; The Royal Academy of Arts, curated by Temporarycontemporary in 2009; NOAC juried group exhibition selected by Gavin Turk in 2008 and 2009; Obstacle at The Spectacle Gallery in Birmingham 2007; and Solo Show at The Prenelle Gallery in London 2006.
In 2010 I co-founded an arts organisation in a derelict Chapel in Peckham called ASYLUM. We curate exhibitions with local and international artists, facilitate theatrical performances and support other art professionals to use our space.
Since 2010 I have been presenting “Deadly Art” for the BBC. This is a children’s television program in which I make art inspired by wild animals.
For Sweet 'Art's Show #1 Jo is showing her portrait 'Sparkle Face'
I paint to explore mark making and the action of the trace. Working fast and instinctively my first mark informs my last – both often visible in the final surface of the canvas. My work explores surface as a skin of identity –through paint, pencil and mixed media.
Through portraiture I try to capture the gesture or the look that epitomises the human. In the play of process and portrait I work to create a surface that is both beautiful and unsettling. And in the play of light I want to challenge the viewer to pause and look just below the surface of the canvas.
I am currently working on preliminary pieces for a four-month trip through China and South East Asia. I will exhibit these studies of preconception with the work created on the journey – in 2013 – inviting the viewer to question their own understanding of the female narrative of migration.
For Sweet 'Art's Show #1 Joanna is presenting her delicate and dreamlike portraits.
Juni Ross is a photographer, ceramicist and designer.
"Studying human nature and our Interactions through the lens of a camera. Subconsciously emotions are captured through the lens allowing the viewer to see a story of a thousand thoughts and feelings. Watching the exchange of energies, stories and cultures travelling round the world continues to be a rich source of inspiration."
"The beauty of working with clay is turning a lump of mud, formless and malleable into a priceless entity. As a medium its how I found my voice.The unpredictability of clay keeps it an exciting material to work with."
For Sweet 'Art's Show #1 Juni will be showcasing her photographic portraits and latest sculptural work.
Laura Jean Healey
Laura Jean Healey is a BA (Hons) Fine Arts graduate from Central St. Martins College of Art and Design, who uses the medium of film to explore the nature of the cinematic experience. Her films mimic the effect of the cinema in order to manipulate her audience by subverting clichéd techniques, to demystify and ‘pull back the curtain’ to reveal the hidden mechanics of the cinema screen. Laura’s work strives to retain a sense of romanticism whilst revealing the unconsummated nature of these seemingly fulfilling images.
Since completing a successful mentorship with Cinematographer Seamus McGarvey BSC, she has been working in the film and television industry including feature films such as ‘Gulliver’s Travels’, ‘World War Z’ and ‘Gravity’, as well as her own projects including ‘The Siren’ and ‘Smoke & Mirrors: Act II, The Swan’ and ‘Act III, The Magician’. Laura has collaborated with Musion Systems – often as a Director of Photography – on many international projects, such as the Yota after show party holographic exhibition for the premiere of Mikhailovsky’s ‘Swan Lake’ (London, 2010) and the Burberry Body perfume campaign.
‘Yota’ won the MAMA’s Corporate 2010 Award and ‘The Siren’ won The MAMA’s Corporate 2012 Award for the most innovative design/concept for working with the Musion System.
For Sweet 'Art's Show #1 Laura is showcasing her mesmerizing interactive film - The Siren.
Laura is a contemporary artist concentrating on portraiture and figurative painting, working largely in acrylics.
Her work is diverse in tone, ranging from the intimate and tender to more witty and playful pieces. Current themes include reinterpreting postcards of popular contemporary works and the use of a rainbow palette.
Laura is interested in getting people to actively participate in their own portraits, through volunteering to sit for a portrait or selecting and submitting an image of themselves. The final work represents a collaboration between sitter and painter, raising questions about how informative portraiture can be and what we take from it.
If you are interested in taking part please see ‘Portrait Project' at:
For Sweet 'Art's Show #1 Laura is presenting her vivid and amusing 'Angelina Mustache’.
Leoncia Flynn is a practicing art psychotherapist, artist and musician living in London. She has a background in art & anthropology and works with different mediums.
In response to the Sweet 'Art breif Leoncia has constructed the red tent as an alternative space or shelter for women & men within a modern Capitalist economy, free from the pressures of production, consumption of goods and services, reproduction and trade. A place for thinking and being, where the relentless drive to make time productive and profitable is halted. This unproductive time or ‘time off’ is given physical shape, represented by the red tent wherein visitors can shelter and relax and play with what is available inside.
For Sweet 'Art's Show #1 Leoncia is constructing her red tent as a site specific installation at The Crypt - An alternative space for visitors to enjoy.
Lucy Sparrow is more known for her light-hearted cynical tapestries and soft sculptures which
humorously comment on the darker taboos of society. For this special exhibition, she has taken on one of the biggest killer of any psychological illness as her subject matter. Having suffered with Anorexia for 13 years, she finally decided to tackle the subject that has plagued her for over half her life. 'The Art Of Falling Apart' is a series of ethereal and often mystical tapestries that convey the feeling of isolation and complete separation that the disease puts upon the sufferer. Whilst freezing out all those who they love around them, inside the anger, rage and fight inside still burns away, hotter and more ferocious than ever.
A still mostly misunderstood illness, it becomes almost impossible to translate the reality of it without touching on the superficial side that so often becomes the main association with an illness where the sufferer is obsessed with losing weight. This obsession is not with looking good however, it is a need to disappear, it is slow suicide and the aim to make oneself as small and insignificant as humanly possible. It is punishment for imaginary sins that have never been committed. It's a need to be clean on the inside as well as the outside and no matter how vigilant one can be, you will never scrub off the dirt and bad feeling that comes with this eternal shame.
The tapestries are raw, biological, stripped of emotion. The eyes are dead and they show only specimens, no longer worthy of the title of human because to admit to being human means admitting to being needy, weak and dependent.
For Sweet 'Art's Show #1 Lucy is tackling a subject close to her heart and presenting three works that look to explore and understand anorexia.
Fundamentally, I am interested in exploring the female sense of erotic and how women choose to express their own erotic identity. Throughout art history, women have been portrayed (largely by men) as the object intended for the ‘male gaze’. I want to know how a woman chooses to portray herself sexually, using the traditional language of portraiture – oil painting.
My inspiration starts with the sitter. I choose to collaborate with my model; the painting is an expression of both the artist and the subject. I ask her to explore and express her own sense of erotic, whether that is through the choice of clothes she wears, the props she chooses or the pose she strikes. The process prompts many questions – how much of a woman’s erotic identity is influenced or conditioned by the erotic imagery created by men for men? What makes a woman feel erotic and how does she choose to represent that part of her identity? How does an erotic portrait differ to any other portrait?
I want the model to be in control of the dialogue with the viewer, turning the observer into the observed. We become the objects of her gaze.
For Sweet 'Art's Show #1 Leena is showcasing her series of portraits of Ms Ruby May
Lyndsay Martin is a freelance artist living and working in London. Edge of Love explores the physical and emotional consequences of human relationships, employing a mixture of photography, collage, found objects and digital media. The mixed media pieces often portray frayed and faceless figures as they collide with idyllic tableaux, patterns and textures in order to articulate their intimate narratives of loss and abandonment. This work touches upon themes prevalent in much of Martin's work, such as female identity, the aspects of human relationships that go unspoken, and the corrosive power of repression (both sexual and emotional). Juxtaposing antique objects and environments that have an existing history with the emotions lying latent within these situations is a fascination of mine.
Artists that inspire my own practice include David Lynch, Sarah Lucas, Jenny Saville, Jon Stezaker, Polly Morgan and the sculptures of Berlinde De
Bruykere.www.lyndsaymartin.wordpress.comFor Sweet 'Art's Show #1 Lyndsay is presenting her visually poetic series entitled 'Edge Of Love'
KMRL is the collaborative partnership between visionary stylist and make-up artist Keely Mangham and award winning portrait photographer Rory Lindsay.
‘Gauze’ is a study of light and shadow, colour and texture, featuring a mysteriously gauzed and heavily made-up face, expressionlessly emerging from deep shadow, suggesting a deliberately ambiguous sexuality. Inspired by the images of high fashion beauty images.
For Sweet 'Art's Show #1 KMRL are presenting 'Gauze' the first in a series of theatrical facial studies.
Maya Wild is an artist and illustrator based in london. She has exhibited her work in London, Paris, San Francisco, New York, Glasgow and Tokyo.
Clients include Adidas, EMI, The Rolling Stones, Penguin Books, Channel 4, Thrill Jockey Records, SLY, Beams T, Burton Snowboards and Topshop.Magazines include Fader, Dazed & Confused, AnOther, Nylon, Grafik, Spin, Yen and Flaunt.
For Sweet 'Art's Show #1 Maya is showcasing her amazing portrait work.
“...and when the unreal has been accepted and made real new realities will present themselves...” (Janet Frame, “living in the maniototo”)
Mourl Ferryman believes her work to be an external manifestation of an internal process, a subjective view of reality that intends to probe beneath the surface in order to uncover the meanings behind appearance [image] whilst concomitantly accepting a contemporary societal adoption of seduction as an annulment of any such meaning this ‘seduction’ is neither presence nor absence but a process whereby absence eclipses presence, a rule that overpowers identity and renders it secret, hidden from view.
For Sweet 'Art's Show #1 Mourl is presenting 'The Transit Of Afrodeity'.
On the Ides of March, a creature with a fiery afro was born. Small in stature and withdrawn in nature, she led a reclusive life on the green highlands of Kenya, overlooking the savannah seas.
Receiving her primary education under the instruction of Catholic nuns, she left her home to experience the Century’s Super Power. She later passed many moons, prancing in the Queen’s country, nibbling on crumpets and searching through the dense fog.Today she can be found armed with a pressure sensitive stylus, and a macro lens. She spends her time between Nairobi and Tsavo, animating little children, photographing dung beetles, and running away from scorpions.
For Sweet 'Art's Show #1 Ng'endo is presenting 'Yellow Fever' a short animation. Ng'endo explains; "It's an exploration of ‘feeling a little bit uncomfortable.’ I am interested in the concept of skin and race, and what they imply; in the ideas and theories sown into our flesh that change with the arc of time. I focus on African women’s self-image, through memories and interviews; using mixed media to describe our almost schizophrenic pursuit of globalised beauty."
Here's the trailer for Yellow Fever
Nicholas Brown completed his Fine Art MA at The Slade School of Art in 2004. Since then he has exhibited extensively at galleries such as Flowers Central, The Signal Gallery and The Whitechapel Galley.
His work is in private collections in Europe, the USA and Israel, including that of Florence de Botton, International Director of Contemporary Art at Christies.
For Sweet 'Art's Show #1 Nicholas will be exhibiting his painting 'Hair'.
My images are from a series of photographs on the theme of domestic boredom. These represent the drudgery women have experienced through the ages which has imprisoned them within the home.
My work is influenced by early Victorian photography and physic phenomenon that evolved in this period of history. Surrealism is also a major influence and I enjoy mixed images together and the results being unpredictable. Over the decades women's roles in Western culture has changed dramatically and has somewhat released them from the confines put on them by society. This great leap forward has meant that females can have it all, go out to work, raise a family and still do the majority of domestic tasks as well as the cooking!
Although most women in the Victorian era were subjected to domestic drudgery, women today with all their advantages of technology are also slaves to their own era and the lives are far from simplified.
For Sweet 'Art's Show #1 Raine will be exhibiting some of her beautifully surreal works.
"During the development of my paintings I was exploring Goddesses and their roles in ancient
societies. How the attributes individual Goddesses possessed is still relevant and applicable to women in society today. The title Goddess refers to specific deities linked to a particular culture and often to specific attributes and powers. But all depictions are in celebration of empowerment of women. Regardless of the various countries and cultures these female deities were derived from they are all represented in positive interpretations.
I wanted to explore why they were heralded as these strong yet feminine women. And how these
ostensibly contradicting traits could be represented in a painting of one individual. It was imperative I researched thoroughly the specific Goddesses I chose. So, each one embodied different aspects of potential female characteristics. Whilst also respecting the cultures of which each individual Goddess represented in terms of significant symbols or amulet representation. From Ancient Egypt’s Goddess Maat, representing truth and justice, to Aphrodite, the Greek goddess of love, beauty, pleasure, and procreation. They are the archetypal women over centuries that are both worshiped and idolised. This is what I wanted to celebrate through my series of paintings."
For Sweet 'Art's Show #1 Roseanne is presenting her series of goddesses.
Salit Krac is a multidisciplinary artist engaged in: drawing, photography, graphic design and animation. Regardless of the medium through which she chooses to create, a macabre atmosphere always emerges – and alongside it, a wink at a world of innocence and youth; distinguishing her art.
In her work Salit explores the thin line drawn between youth and feminine maturity without giving up any side of the mirror: Through her characters she presents on one hand the inner child - wishful, playful and naive. On the other hand the inner strength and wisdom, it is this continuing dialogue between naivety and wisdom that allows Salit to explore the ever present independence, and direction of her characters.
For Sweet 'Art's Show #1 Salit is presenting her recent works exploring the private world of her characters.
Sara Abbott explores portraiture, renowned for her images of both animal and human sitters, Sara is showcasing at show#1 a vast canvas of a well known unlikely body builder. Sara explains:
"Female body building; on a physical level you either love or hate it, are turned off or turned on. And that's where it gets interesting... I guess it depends where you're looking from. Me, I absolutely love the physical mass that can be "produced" from shear mental determination. But most importantly it goes above and beyond hard work in the gym and is rooted in the mind. Not just women but all of us should and can believe that we have the power to fulfill our dreams, to battle our demons and make as perfect as we can our one, wild and precious life."
For Sweet 'Art's Show #1 Sara will be exhibiting 'Achieve and Believe, from Boudicca to Jodie Marsh'.
1907 - 1987
Stella Steyn (1907 - 1987) was an Irish artist, born in Dublin to dentist William Steyn and Bertha Jaffe, who met and married in Limerick, having moved to Ireland from the town of Akmene on the borders of Latvia and Lithuania.
Stella Steyn studied at Alexandra College and the Dublin Metropolitan School of Art. In 1926, in the company of her mother and fellow artist Hilda Roberts, she went to Paris to study at the Académie Scandinave and at La Grande Chaumière. She enrolled at the Bauhaus in Germany in 1931. While in Paris she met Samuel Beckett, as well as James Joyce, who later asked her to provide illustrations for Finnegans Wake.
In 1928 she was awarded the Tailteann Silver Medal at the Metropolitan in Dublin. In 1938 she married David Ross, a Professor of French at the University of London, whom she had met while in Germany in 1933. They lived in England, where Ross worked as an academic in a number of Universities. Stella Steyn was a prolific artist. One of her paintings, Still Life - Flowers, is displayed in the British Prime Minister's residence.
Thank you to Anna Ross, niece of Stella Steyn for sharing a piece from her private collection.
For Sweet 'Art's Show #1 Anna has chosen a figurative study in pencil.
Shara Hayz is a digital fashion designer who has recently completed her masters at london college of fashion in 2012. She mainly uses leather throughout the collection, combined with digitally printed and iridescent jerseys producing one-off garments stagewear, aimed at alternative performers, including singers through to dancers and DJs.
All outfits include an element of shine, with embellishments that reflect or radiate light. certain outfits experiment with electroluminescence creating a new angle on illumiating the performer.This is combined with her signature kitsch futuristic style. Shara has created a unique look for the style curious!
Her debut collection titled 'The Annunaki' is a range of individual garments taking on the idea of the second coming / end of the world on the 21st december 2012, with research originating from the gods of ancient civilisations to create her own future tribe. Her fun, bold and colourful oufits take inspiration from alternative pop culture, 1950s sci-fi, ancient eygptian heirarchies, sun worshipping, symbolism and geometry.
Collaborating with the infamous shoemaker terry de haviland has helped create the over all look.
Check out Shara's amazing video for Li Grand Zombi:
For Sweet 'Art's Show #1 Shara is creating a digital voodoo shrine.
Tales of Transience is a work in progress, it depicts the story of a woman's life. It's difficult to state where the journey begins or to say whether or not it is fact or fiction. Time alters perception, which alters memory, the boundaries and lines between events blur and the mind fills in gaps which are either no longer palatable or have been forgotten and erased. New truths are always being rendered, ones more suitably fitting with the current vision of self and environment.
Behind the Veil forms a chapter, a series of images and writings produced from behind various mosquito nets over a period of several months, periods of time where I could do nothing other than observe the world from a constantly shifting perspective, a perspective that was being re-shaped by the Indian philosophy that I had come to study. Trying to capture the ephemeral, the camera became not only the essential divide between me and the environment, the space to make sense of all that self is or is not, it became the catalyst, forcing the never ending questions to knock even harder on the door of mind, 'who is the author of this narrative?' and 'The Knower, what is it that she knows?'.
Ecriture Feminine particularly the writings of Helene Cixous have been influential in the
development of my work since 2005. She writes "Censor the body and you censor the speech at the same time. Write yourself. Your body must be heard". Behind the Veil is the story I tell of a woman who once existed yet no longer is, an expression of femininity, exploring boundaries, flux, loss and embracing difference, essentially it's the non-censoring of voice and experience of woman.
For Sweet 'Art's Show #1 Victoria is showcasing tales of transience a series of photographic works.
My creative journey is a quiet and contemplative one where I am both the child at play and the artist at work. I am a maker, a poet and a story teller with my intuition always a step ahead of logic and reasoning. During my long solitary walks, I scan the grounds for relics of abandoned objects. Exposed to sporadic climate for months, sometimes years, these humble fragments emerge as a new generation of hybrids, carrying some unique traits of both natural and man-made worlds. My many years of nomadic life enable me to deeply relate to the loss of their identity and sense of belonging.
I collect and bring home to my creative womb thousands of these injured treasures, deemed by all worthless and untouchable. My work is an attempt to lift the blindfold of prejudice and reveal the delicate beauty and disarming elegance that I see.
For Sweet 'Art's Show #1 Yannick is presenting 'Petite Cherie' a dolls torso cast in bronze that tells the sad story of stolen innocence.
Zahava Hanan is an artist and poet from Canada. She grew up there but also lived in the US before moving to London in the 1990s. Now in her 80s Zahava has been writing books and poetry for many years and has used this to express herself and a life devoted to the natural environment and ecological concerns.
The poem exhibited is one taken from her published book 'Lost Words' (1997) and is a poignant and elegant telling of how one woman's determination and courage can overcome adversity and stifling odds when confronting a predominately white, male, middle class corporate world.
An extract from her book...
I bought a ranch from the Kendals
Their father came from America
With a dream.
One of the first with fore vision
To put down roots
About half a century before me.
He bought this beautiful ranch in a valley
With many acres part deeded,
and part government grazing land
And seven miles of Three Point Creek.
He arrived in a grand car – of Rolls Royce vein –
and with twelve hired men to help.
With the best intent for the land
Why did so much ill manifest itself,
Why did he falter from what befell him,
That his body and mind suffered.