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AISLING HEDGECOCK Image 1 A ISLING H EDGECOCK AISLING HEDGECOCK Image 1. Documentation image, hand with polystyrene beads Image 2. Between Science Fiction and Designs for Modern Living, 2008, polystyrene beads, glue, paint, dimensions variable Image 3. Peepholes & Portals, 2007, pencil on paper, 200 x 150 cm (detail) 48 FINE ARTS 2007-2008 49 50 FINE ARTS 2007-2008 51 C ATRIN H UBER CATRIN HUBER CATRIN HUBER Nichts-Desto-Trotz 2006 Construction 3 2008 varnish, pigment pen on aluminium, 100 x 100 cm varnish, pigment pen on aluminium, 250 x 125 cm 52 FINE ARTS 2007-2008 53 CATRIN HUBER Construction with light 2007 collage (magazine, drawing, photocopy) on paper, 40 x 40 cm CATRIN HUBER CATRIN HUBER Hairchitecture 2007 Construction with hair 2007 collage on paper, 29.5 x 42.5 cm collage on paper, 60 x 60 cm 54 FINE ARTS 2007-2008 55 COLIN L ANGRIDGE COLIN LANGRIDGE COLIN LANGRIDGE Uplift 2007 Augusto 2007 cotton, plaster, glue, enamel, steel, 80 (h) x 60 (w) x 40 (d) cm cotton, plaster, glue, enamel, steel, 100 (h) x 70 (w) x 40 (d) cm 56 FINE ARTS 2007-2008 57 THIS BODY OF WORK has been QUESTA SERIE DI OPERE è stata influenced by Baroque sculpture influenzata dalla scultura e pittura and painting seen in various barocca che ho visto in diverse chiese churches and museums throughout e musei in tutta Roma. L’artista che Rome.The artist I looked at most ho guardato più attentamente è closely was Gian Lorenzo Bernini. stato Gian Lorenzo Bernini. Il The windswept billowing fabric he panneggio gonfiato e mosso dal employed in many of his sculptures, vento che Bernini impiegò in molte also used in many Baroque delle sue sculture, e che si trova anche paintings, inspired me to explore in molti dipinti barocchi, mi ha ways of creating wall mounted ispirato a esplorare modi per creare sculpture using only the fabric and sculture a parete che usano solo il dispensing with the figure panneggio facendo completanente a altogether.The resulting artworks meno della figura umana. Le opere are formal and technical che ne risultano sono esplorazioni explorations that seem to suggest formali e tecniche che sembrano the absent figure charged with an suggerire la figura assente caricata di emotional content driven by form un contenuto emozionale propulso and colour. dalla forma e dal colore. Colin Langridge Colin Langridge COLIN LANGRIDGE COLIN LANGRIDGE Putti Clouds 2007 Deaths 2007 cotton, plaster, glue, enamel, steel, 50 (h) x 30 (w) x 30 (d) cm each cotton, plaster, glue, enamel, steel, 90 (h) x 40 (w) x 40 (d) cm each 58 FINE ARTS 2007-2008 59 M ARTA M ARCÉ MARTA MARCÉ MARTA MARCÉ Mikado 21 2007 Jockey Series 2006 acrylic on canvas, 182 x 230 cm mixed media on canvas, 35 x 35 cm each; mixed media on wood, 12 cm diameter each 60 FINE ARTS 2007-2008 61 instructions and strategies in the concettuali dell’effettiva esecuzione di un making of the paintings. But I also allow dipinto, e infine l’ambiente in cui viene an element of chance and self- esposto. Io uso e manipolo i sistemi determination to enter the process in basilari e le regole dei miei propri giochi. order to introduce playfulness in the Le strutture che queste regole offrono face of what can otherwise be a too sono sempre il punto di partenza del mio controlled activity. lavoro e vengono usate per impartire In Flowing Series I was thinking of istruzioni e strategie nella realizzazione geometry and the game Tangram which dei dipinti. Ma consento anche che nel uses geometric shapes to create procedimento entri un elemento di recognisable forms. I wanted to use casualità e autodeterminazione al fine di these shapes to create multiple-use introdurre giocosità a fronte di ciò che geometric figures. Geometry is one of altrimenti può essere un’attività troppo the keys to this new series, but it is, as controllata. always in my work, an unsettled Nella Flowing Series ho pensato alla geometry, not at all rigid or intending geometria e al gioco del Tangram che fa to be completely perfect. I want to uso di sagome geometriche per creare MARTA MARCÉ show how it can be a ‘primary element’ forme riconoscibili.Volevo usare queste Flowing 3 2007 from which all shapes can be forme per creare figure geometriche acrylic on wood, 160 x 122 cm constructed and realised. I have tried to multiuso. La geometria è una delle chiavi think of geometry as a live creature that di questa nuova serie, ma è, come sempre continually changes, each time giving nel mio lavoro, una geometria instabile, us quite different random shapes and che non è affatto rigida né intende essere MY USE OF GAMES is like a metaphor for ideas which make up our real world. completamente perfetta.Voglio mostrare the structure and development of life Life is movement and I started the floor come essa possa essere un ‘elemento itself – an activity with an uncertain pieces thinking about a movement that primario’ da cui possono essere costruite e outcome.The act of painting functions the visitor can also interact with. realizzate tutte le forme. Ho cercato di in a similar way – there are the pensare la geometria come una creatura boundaries of the canvas, the Marta Marcé viva che muta continuamente, e ogni limitations of paint, the conceptual volta ci dà forme e idee casuali assai constraints of actually making a diverse, che compongono il nostro mondo painting, and finally the environment in IL MIO USO DEI GIOCHI è come una metafora reale. La vita è movimento e ho iniziato i which they are shown. I use and also della struttura e dello sviluppo della vita lavori a pavimento pensando a un manipulate basic systems and rules of stessa – un’attività dall’esito incerto. movimento con cui il visitatore possa games of my own.The structures these L’atto di dipingere funziona in modo anche interagire. MARTA MARCÉ rules provide are always the starting simile – ci sono i confini della tela, le Diadem show at Riflemaker Gallery, point of my work and are used to issue limitazioni del colore, le costrizioni Marta Marcé London, December 2007 62 FINE ARTS 2007-2008 J ENNIFER M ARSHALL JENNIFER MARSHALL JENNIFER MARSHALL Wallpaper 2008 Wallpaper 2008 linocut, 224 x 168 cm linocut (detail) 64 FINE ARTS 2007-2008 65 JENNIFER MARSHALL JENNIFER MARSHALL Fountain I 2008 Fountain II 2008 linocut, 36 x 50 cm linocut, 36 x 50 cm 66 FINE ARTS 2007-2008 67 L 68 LESLIE MATTHEWS Presentiment 2007 lead sheet, felt, gouache paint, 70 x 40 cm (average) ESLIE FINE ARTS 2007-2008 FINE ARTS M ATTHEWS 69 LESLIE MATTHEWS Presentiment 2007 lead sheet, felt, gouache paint, 70 x 40 cm (average) There’s a certain slant of light, Taglia i pomeriggi d’inverno On winter afternoons una certa obliquità di luce That oppresses, like the weight che grava con la stessa pesantezza Of cathedral tunes delle note in una cattedrale lead sheet, felt, gouache paint, 70 x 40 cm (average) 2007 Presentiment The Poems of Emily Dickinson, No. 320, ed. R. W. Franklin, The Belknap Press of Harvard ATTHEWS University Press, Cambridge, Massachusetts & London, 1999, p. 142-143 M Emily Dickinson. Tutte le poesie, n. 258, a cura di M. Bulgheroni, I Meridiani, Mondadori, ESLIE L Milano, 1997, p. 1653 (traduzione di Mario Luzi) 70 FINE ARTS 2007-2008 71 L INDSAY S EERS It was by accident that the conflation of two unrelated events transformed her into a wholly different person. A diary dating from 1993 records that she bought a portfolio of photographs in the Rome flea market, Porta Portese. The images had come from the USA: actresses and actors who had sent material to Metro- Goldwyn-Mayer in the 1930s; some had letters clipped to them or notes on the reverse about screen tests for film parts at the studio. She had been writing about Greta Garbo at that time and by coincidence some of the actresses in the portfolio had been considered for the part of Christina that Garbo played in 1933. Her fascination for the real Queen Christina of Sweden arose from Christina’s androgyny and proclaimed hatred of women, her practice of alchemy and the way in which she performed herself in different guises. Her journey through Christina led her onto Christina’s kinsman August Strindberg and to his alchemy, his hatred of women, his love of photography and the theatre – and his play of 1901 ‘Queen Christina’. Her photography collection then extended to productions of Strindberg’s work. So it was the chance discovery of the portfolio in a tattered cardboard box in Rome in the spring of that year, and an ill-fated journey on a moped in the autumn, that set up the new equation of her identity. It was near Portsmouth that she and the moped parted company as it skidded on autumn leaves on a wet Hampshire B-road. The police record documents that her helmet was not fastened under the chin and the rider suffered a severe blow to the head, rendering her unconscious for seven days. Hospital records show that on regaining consciousness the patient was diagnosed with dissociative amnesia, which developed into what is known as a ‘fugue state’; prompting a flight from reality, both physically and emotionally, brought on by a state of shock. She was extremely confused at this time. It was as if everything had been rendered into a code which she was unable to decipher. She could recognise no one. She was plagued by the suspicion that nobody was telling the truth, that everyone was acting, acting as if she should know them when clearly she did not.
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