WIMBLEDON ROUGHLINKS ARTISTS CAMPS 2018
13-18 August & 20-25 August
They're back for a fourth year - and this time there are MORE of them! Cajoled, coralled and inspired by Wimbledon School of Art MFA graduate and long-time friend of the Trust, Liz Morison, TWO Wimbledon camps will pop up on site this August. Participant and activity information will follow here soon.
"As a city dweller and artist I try to make sense of the complex relationship we have with our built urban environment. Primarily through sculpture I try to unpick the elements that give these places their identity and reflect on the impact they have had on our social history. Central to the generation of my work has always been the use of walking as a means of research and to generate ideas. Recently I have turned my attention to trying to understand why I find this element of my practice so fundamental and am using film as an artistic medium to explore this." www.timalexanderartist.com
I create my own mythology using paint, clay, collage and plywood shapes. I am interested in bringing together the natural world and its ancient mysteries, with humble everyday objects. Discarded detritus become props for shapeshifting oddballs expressing grand battements and jazz hands.
Through a process of painting and collaging body parts and anthropomorphic shapes; eyes peep shyly, mouths grimace and legs perform high kicks and saucy shamanic shuffles. Misfits and weirdos emerge from a world of esoteric delicacies of natural highs, magic, dreams, dance, folklore and shamanic journeying.
Obscured outsiders and peek-a-boo eccentrics loom and reoccur. I search for the primal self and the other; an antidote to this frenetic, fast paced, overly connected....AND.....disconnected planet. I seek to transport and transform the viewer by presenting a soothing snapshot of a surreal dream or uncanny ritual. I am the puppet master of an unearthly and absurd play!
My current work explores the relationship between human beings, technology and the environment. I examine the relationship by creating a dialogue between the physical landscape, landscape interpreted digitally on screen and the viewer. Through recognizing and making this three-way conversation visible, rather than conveying a message, I pose questions. I am primarily working with film and installation to generate a debate on how our relationship to technology and digital representation has changed how we relate to the enviroment.
Andrea Coltman's practice interrogates transitional moments, places and spaces. Her paintings reflect and question both the physical and psychological passages through a place or environment.
As an artist, educator and trainee therapist, I communicate in different voices for varied audiences. As a storyteller, I aim to create narratives that comment on socio-political discourse. I work in whichever medium is relevant to the concept. My work is informed by heritage and environment. My work is thematic and features recurring imagery.
Cara Jean Flynn is a mixed medium artist based in Lewes, in East Sussex. Most recently her work has been exploring our relationship with nature and the complexities we have with the environments we inhabit. She graduated in 2017 from Wimbledon School of Art with an MFA in Fine Art. Alongside her gallery based practice, Cara also has an established public art portfolio, creating permanent sculptures for regeneration projects across the UK and abroad.
Mark Goldby makes work that looks at the overlaps in mind and body, perceiving them as separate entities that are intent on becoming one. Using sculpture, installation and film he investigates the bodily and likes to use materials that look or feel like skin. His objects represent states of mind that he returns to through interaction and documents as films. His current project investigates the colour pink, looking at a particular shade of pale pink that is still coded as a female colour, and how it interacts with the male body in the context of gender fluidity. He is a graduate of the Wimbledon MFA and works from a studio space in Croydon.
Using sculpture and photography, I communicate notions of my own lived environment informed by my socio-ethical concerns and the work I do with marginalised groups residing in Croydon.
At the core of my art practice is a need to investigate ideas surrounding identity. This is explored using a multimedia approach to art making and often highlights subjects such as gender, childhood and obsession. Collaboration with other artists is a key part of my practice and often leads me to work in unusual environments and in different mediums.
I make films about objects and installations which have a performative or interactive element. Responding to site and materials are often the starting point for a piece of work, the ideas which flow then will often return to my main themes of the body and my relationship with it, or others. This piece is a film of the river at the Rodd, made by another artist projected onto stripped willow sticks that I hung from a long piece of twisted burnt wire found at the Rodd on a walk. After finishing my MFA at Wimbledon 2 years ago, it took me a long time to find my creative energy again, being at the Rodd helped me to renew that.
In my work I create paintings and collages of disrupted landscapes, using the family album. The photograph acts as a trigger for recollection, a record of lived experience and an autobiographical clue.
Process is key to my work. I select, photocopy, splice and amalgamate pairs of images and from these I paint onto aluminium plates, redolent of the material history and objectness of the photograph. I work on a small scale as this references the photographic source material and creates a more intimate viewing experience.
By the elision of images and the simplifying of visual information, gaps emerge, allowing for the slippage between history and memory. This affords space for reflexivity, the creation of new narratives and bringing the imagination into play. The paintings, like film-stills, encapsulate the suspended moment while the ancestors address their audience across the divide of time.
Our present is experienced as a simultaneous, complex, multiplicity of individual memories and collective memories and knowledge.
My work explores how we can relate to the impact of events, global or personal, by the re-experiencing of emotions, especially of loss and hope; presence and absence.