Maxwell Attenborough’s current work involves translating
experiences of the real world into the hyper-real world of the miniature.
The small world provides an opportunity to have, to control and to
explore a situation and more importantly share it with the viewer. A
principle fascination with the process involves making a fleeting moment
permanent, allowing it to be analysed and become poetic in a cinematic
sense. The model removes us in scale but pulls us into an intimate jewel-
like situation. In recreating an event we take possession of it, and in
combination with the miniaturisation of it we are distanced from it and as
Gaston Bachelard states: “We possess from afar, and how peacefully.”
Recent projects have resulted in short digital films that borrow heavily
from cinema, but often show the model by itself. “When I show the model I
relinquish some of the control that I have over the viewer, instead of
dictating how the viewer approaches and experiences the model, they
are free to discover it for themselves.”
Boys Toys, 2006
still from DVD

Joanna the Mad, 2006

Christopher Davies' idiosyncratic work challenges
conventions of seeing. He looks out for strange, anthropological
scenarios witnessed in daily-life that stand out as extraordinary.
By sharing his observations of the world, Davies’ artworks
engage with the audience by presenting unexpected scenarios
that generate dialogues to perplex the viewer.  Recently depicted
incidents include a woman carrying a dead dog across a T-
junction and a suited man riding a child’s scooter decorated with
a Halloween mask. The works are realized through small wooden
carvings, paintings and life sized equivalents of these memories.

Richard Ducker explores the representation of obsolescence and
nostalgia through the monumental, and became interested in creating
artworks by which memory and the present collide. These works coalesce
around certain themes, which articulates a notion of loss: a sense of
displacement; narra¬tives imagined, remembered, or real; the body as
an absent presence; and a domestic disquiet. There is a muted quality,
where any sense of mobility is associated with instability, and the
insecurity of history. To this end, the use of materials combines the
weight of concrete with the disposability of the everyday, establishing a
dialogue between their formal presence, and associative past. They are
made by either covering objects in cement, or incorporating cement
within an ensemble of found materials.
Remember When, 2005

We Neither Confirm Nor Deny, 2006
Lee Holden has adopted the term "We Neither Confirm Nor
Deny" to refer to issues of power surrounding the definition of
the public's position towards the mainstream mass media and
other forms of technological control. Anyone who has witnessed
his installation and performance work knows the seriousness with
which this artist launches his critique of the dishonesty and the
ethical failure of humanity in western culture. In the introduction
to the exhibition catalogue EAST International 2005, Curator
Lynda Morris writes: "In his performance work Holden pushes
himself and his audiences to the extreme edge experienced by
the losers who are marginalized and alienated and pushed to the
edge of our cities. The connection of the abuse of drugs and
alcohol, violence and homelessness, poverty and unemployment
and the material celebration of glamour, advertising, speed,
success and winning wars are explored and made visible in
Holden's work."

Mat Humphrey's project features a series of cardboard portraits of
leading writers, musicians and artists who took their own lives, specifically
those who have had a positive effect on the world. Interested in the
process of subtraction rather than addition, and the transience of
cardboard as a material, Mat’s work is a tribute to the self-
destructiveness often associated with creative genius. The work throws
into light the flaw in the notion that fame and success are answers to the
search for happiness.
Famous Suicides, 2004

Mad, Bad & Dangerous to Know, 2006           Vanishing Haze, 2006    
Caroline List’s paintings are predominately landscapes, which
explore the physicality of painting in relation to memory, artifice
and the photographic trace.  They are neither grounded in
reality or fiction, but are fragmented somewhere between the
two. Whilst the fused nature of the images gives them a sense of
the authenticity of a memory of a place in time, the artifice of the
hand-painted, coupled with the trace of the photographic,
positions the work between fact and fiction.  The painterly
surface and heightened colour explore the visual pleasure of the
picturesque and beauty in nature whilst the imprint of the black
light sensitive paint signify the dark unknown mysteries within
landscape,  creating an uncanny mist, that hark back to places
of memory and time.  Our experience of landscape is often
formed through the collective memory of others, captured in
photographic reproductions and other visual sources. The
paintings are always set within perfect landscapes, un-peopled,
and like ‘Capability Brown’s’ gardens of the 18th century
perfectly composed for our viewpoint seamlessly disguising the
influences of man within the landscape. This part real, part
imagined quality creates journeys into the sublime, a desire for a
sense of place which hover between fact and fiction.

Gretta Sarfaty Marchant says about her work: 'As a result of my
fascination for digital imagery and following my studies and experiments
on the subject I have created a new series entitled The Myth of
Woman¬hood, the title itself is provocative enough in relation to the
‘Female versus Feminism’ issue and how the use and abuse of this
subject has become a cliché.’ The series comprises digital photographic
images which are duplicated several times, to be then assembled
together to form a stim¬u¬lating kaleidoscopic final picture.  The Myth of
Womanhood shows Gretta’s return to perfor¬mance art, but here the
performance is for the camera alone. For example, the starting point is
an image of Gretta standing with her back to the mirror; her arms
outspread. For the black and white version, she paints out her head and
body leaving the arms to create patterns. Other details are painted out in
succeeding prints until we are left with Crossarms which is made up of
the reflected images of just one of her arms, repeated to resemble a
slightly surreal cross-stitch pattern on black ground.
Crossarms and cut arms against mirror, 2006

White Light, White Heat, 2006

Gavin Nolan's disparate elements within his paintings combine
resolutely to form freakish portraits. The various characters
develop personalities and traits. Seemingly demanding of their
creator ("make me look beautiful") to the point that Nolan’s
seems bizarrely to have gone easy on his nightmarish subjects.
As in so many portraits of course, true personality cannot help
but caustically seep through. His dialogue is appropriately
diverse. The delicate brushwork is at odds with brutally applied
splashes, swathes and scumbles.  Despite this contradictory
language, the rigorous glazing and twisted compositional tricks
combine to harmonious effect. The paintings are discordant,
disquieting and beautiful.

Terry Smith’s central concern is the process of experimentation.  Not
aligned to any particular medium, he works in what ever material is to
hand or which seems the most appropriate.  Early interventions in
houses in the East End of London were made illegally breaking into
buildings and just making the work.  Terry sees the fact of showing work
as a chance to communicate and show the things that intrigue and is
curious about. For Smith, exhibitions are a set of propositions, rather
than an end game.  His practice involves a lot of improvisation, changes
of mind, redirection, the working process is open and fluid and it as
always seemed quite at odds with his practice, that he walked out of the
space just as the audience walked in.
Pallets, 1998

Hector II (1542 – 1556) Ambassador of Brazil, 2006
Isabel Young’s work surfaces from a fascination with the
underwater world and the animal kingdom since they are
separate and remote to our own environment and our
experience as humans.  The work exhibited in Half-Life presents
a series of miniature portraits of animals mounted in antique
frames. Limnings flourished in Britain for almost 400 years and
played an important role in society. This intimate and intense
genre, traditionally given as symbols of loyalty, love, or power,
have almost always been used to attribute the sitter with some
degree of status, importance, wealth power or authority. Young’s
portraits likewise give her sitters status, and significantly grant
them personhood. The plaques that are exhibited with the
miniatures add a fictional chronicle to each individual and link
each sitter to powerful and often ruthless figures in history.
Reference to the historical use of animals in the human world,
and the sometimes clumsy integration of them into society, is
inherent in the work. They act as memorials to past times and to
forgotten individuals from non-human species.  The work in Half-
Life continues Young’s long term exploration of the nature and
behaviour of animals, and the staged (or controlled) meetings
between civilisation and nature so intrinsic to contemporary life.
Above all the work seeks to emphasize the importance of animals
and to promote an enriched relationship and communication
between humankind and animals.