ALICE ANDERSON

Alice Anderson’s little stories take shape in video or in space.

Her practice is to create a perpetual novel. Each of its episodes is a personal adventure in itself, both poetic and absurd.

Every chapter of her novel explores the imaginary world of childhood, and can be read as a Freudian fable.

PHYLLIDA BARLOW

For the last four decades, Phyllida Barlow's work has consisted predominantly of large three-dimensional installations in which the use of space – and our relationship to it – plays an important role. The identity of the materials she uses (wood, cloth, plaster, paper and house paint) remains visible in the completed work. Structures and forms, both rudimentary in construction and densely built, explore ideas of mass and volume. Containing references to architecture, such as staircases, platforms, walls and barriers her work provokes recognition and narratives but also demands that they be read as abstract form. Phyllida Barlow’s sculptural installations function somewhere between the autonomous and the associative. By shifting scale and composition her structures and objects play with the familiar and seem to take command of a space whilst appearing temporary and incomplete. Her work references painterly abstraction both through the deployment of colour and the materials she uses. Barlow’s daubed application of paint amplifies the use of pattern and repetition in her constructions. Scale and materials are used to bring about a sense of place where pieces are to be walked around and through. The built structures dwell in the space implying some kind of contingent purpose.

ANGELA BARTRAM

Canine and human exist and relate through socially inscribed patterns to do with correct behavior. Reservations regarding contamination, pollution, and breed anxiety can often become established when actions are performed between companion species. Working with a German Shepherd dog, symbolic boundaries and etiquette can be dissolved through how the human and non-human interact. And with the added focus of the mouth, ‘Fur Kiss’ aims to deal with the potential disruption of the polite and the decent that this exchange may bring.

JUAN BOLIVAR

 Since graduating in 2003 Juan Bolivar has curated several exhibitions (www.trailerart.net), including TRAILER's tenth show,

'Yabadabadoo' at Cell Project Space, London and 'Eau Savage' at the Lucy Mackintosh Gallery in Lausanne, Switzerland. (www.lucymackintosh.ch)  Bolivar's paintings deal with formalism and abstraction as a language reconfigured into fantasy, tragi-comical visions.

GILES CORBY

When asked to comment or explain the basis for my work, there is never one single concept or philosophy but rather lots of different elements which make up my practice. For example scenes of desolated cities from films like Planet of the apes, Logan’s run, as well as the cinematography of Fritz Lang most notably metropolis. “An Implied History” In one way or other this obsession has fed the majority of my work, deliberately post apocalyptic, not quite the statue of liberty, but with a similar ethos. 

RICHARD DUCKER

Richard Ducker covers every-day objects in concrete. Narratives are set up through the introduction of found materials within the work, and the way the work is presented. As personal associations are projected onto these standardised, mass-produced objects, they became alive, as sites of symbolic exchange. Out of this representation of obsolescence and nostalgia, he uses the language of the monumental to create artworks where memory and the present collide. The works coalesces around certain themes of loss and a domestic disquiet. There is often a sense of displacement, narratives are either imagined or remembered, and the body remains an absent presence.

NADINE FEINSON

There is an area of mediaeval thought called Teratology which concerns the study of monsters. The monster being seen as multiple and paradoxical: it is what it is not. It sits on the edge of what can logically be known and understood. The monster becomes a way of exploring the systems and processes which operate on matter and create form in the natural world, particularly within the states of opposition and simultaneity. These are spaces where opposing elements can inhabit the same space, fused and yet separate, formed and yet formless.

PETER FILLINGHAM

ORIANA FOX

Ventriloquism, lip-synching, and appropriation all play subversive roles in the post- feminist cocktail of Oriana Fox's videography. Tackling television and film's role as a myth-maker she finds beauty in her own perceived reflection in popular culture. But unlike Narcissus, her mini-movies beget sequels rather than tragic ends. The result is a subdued laugh track that leaves the viewer numb with joy.

AMY HURST

Archetypal objects and the generic associations of such things are a key area of interest for Amy Hurst. They are often welcomed as part of sculptures that have functioned with transient movement and can resonate as systems in themselves. Paradoxes, play and the poetic are also important elements that have been present – sometimes expressed through ridiculousness, or a sense of childishness in the work. As a result of materialistic associations these odd and beguiling sculptural objects are volatile, yet manage to hold their own space. There is some sort of play-off in these works that veers between the pathetic and something more claustrophobic.

MAX HYMES

Much of Max Hymes's work suggests a use but this is ritualistic or shamanistic rather than domestic. A mixture of materials and painstaking precision decoration implies an obsessive glorification of that which the object represents or celebrates. Familiar motifs taken from nature seek to consider our understanding of how we represent other living things in relation to ourselves.

PETER LAMB

The random and chaotic nature of Peter Lamb’s works suggest an over turning of the established order, not only socially and politically, but also creatively, they are tangible physical reminders of a past, a past that can be revaluated, misinterpreted, altered, distorted and even denied.

RICHARD LIVINGSTON

Richard Livingston makes paintings of pleasure and tragedy using as source material images from archives and the media, which are selected for their emotional resonance. All references to a particular time or place are erased to isolate and accentuate the posture, gesture or fragment. By blurring an anguished or sensual moment and erasing its specificity, another dimension such as colour or tenderness may be revealed, presenting an oscillation between suffering and pleasure, coexistence and separation, remembering and forgetting. Many of the current works are exploring human emotions, perceived through images of animals - in the laboratory, the home or wildlife films. We use animal metaphors to picture desire, affection, cruelty and the movement between visceral animal and rational human.

CHARLOTTE MOTH

GILES PERRY

Giles Perry was born in London. He studied BA Fine Art at Central St. Martins, and completed an MA at Goldsmiths College in 2004. He has shown in Bloomberg New Contemporaries 2005, the 2004 Yugoslav Biennial of Young Artists, and 'Video London', a showcase of UK video work curated by Keith Patrick & Jen Thatcher, at LOOP 05 in Barcelona. His work 'Duende' was commissioned to appear in the summer 2003 edition of the art journal ‘UNTITLED.’ He lives and works in London.

HELENA POMFORD

The cover was the beginning of an attempt to make everybody the same, an effort to escape a judging society. However the iconography of the balaclava past and current poses the question of the potential terrorist in us all.

JAMIE ROBINSON

From a series of works in hospitals and science sections of museums begun in 2000. I work on a number of series over a number of years simultaneously. I like to get close using wide lenses and be involved with the subjects. Work has been published in Dazed and Confused, Icon, Miser and Now, The Independent and other publications. Work in PYMCA and Getty. First book Aishiteru, I Love you published my Imprint 2001. Past shows have included a one man show at 1000,000mph in March 2006, Apt Draschan Vienna 2005, Erotic Award finalist Trolley gallery London September 2005, Prussian Blue, Carter Presents 2004, and Domestocity Cell Projects 2003.

JOHN STARK

I am interested in the construction of things, film, literature, painting… For example; during the filming of Rosemary’s Baby Mia Farrow had a nervous breakdown. She then turned up on set one day with her hair cut short and the directors had to somehow incorporate this into the film only adding to its surprising narrative. Recent paintings are made to order from an imaginary patron, Mr Karts. Graduated from Royal Academy Schools 2004, Artist in Residence at Loughborough University 2004/05. Recent shows include ‘New Figurative Realism’ (Clapham art gallery), ‘Eau Sauvage’ (Lucy Macintosh, Switzerland).

CHRISTOPHER STEVENS

Christopher Stevens has shown widely in the UK and overseas, winning prizes in competitions including the John Moores and Nat West exhibitions. The animation presented in this exhibition represents a new departure for him as an artist, his practice until this year situated solely within painting. Another in the series: Café Delight was recently screened at the Blink Animation showcase at Gasworks. His next solo exhibition will be at Permanent Gallery in Brighton in November of this year. Christopher’s work is represented by the Andrew Mummery Gallery in London.

NOBUKO TSUCHIYA

‘Not everything is as it appears in my work, not everything is done on purpose. My decisions are made by using what you could call a different form of thinking, and are made to operate between harmony and discord, control and lack of it. I always try to develop the conversation between the thinks in my work and myself. Maybe this sounds idiotic, but it is my honest feeling' 12New British talent, Picture perfect, Adrian Searle, 30.11.04

*All work by Nobuko Tsuchiya

appears Courtesy of Anthony Reynolds Gallery

LAURA WHITE

Laura White is interested in the way we read and view nature. How nature through the frameworks we set up can seduce us and provide us with unthreatening pleasure and entertainment, like visiting an aquarium, a zoo, or walking through urban parkland. This process of visual engagement, often in the work projected as a moving image is shattered by the viewers acknowledgement of the positioning, exaggeration and awkward arrangements of the image, or the presence of objects in the space, which slowly reveal a less entertaining view of nature, one that exposes its extreme manipulation and often threatening instability, whether that be through human contamination, misrepresentation, dislocation, or nature’s ability without any human intervention to destroy.

JO WILMOT

Jo Wilmot is absorbed by luxury and degradation. Through dripping, melting paint her work depicts the domestic interiors and gardens of the wealthy. Her use of paint makes these landscapes and interiors seem over-ripe, claustrophobic and nauseating. Wilmot graduated from Goldsmiths MA 2005. She has recently exhibited in 'Fuck Art Lets Paint' at Transition, and 'Concrete Allotment' at temporarycontemporary.

NEIL ZAKIEWICZ

Neil Zakiewicz carves foam and wood, hacking the shapes of oversized hands, animals and superheroes. These are monuments for a generation which no longer believes in monumental gestures. His recent sculpture “Pencil Holder” (2005) featured a giant Socialist Realist-style raised fist clutching a set of five brightly coloured pencils. Formerly a member of the curatorial group Unit, he completed an MFA at Goldsmiths in 2003 and has exhibited widely in the UK and abroad, including a solo exhibition in January at Bearspace

INSTALLATION IMAGES