Trellis artists information Updated 21th November 2018 Contents Alison Turnbull ........................................................................................................................................ 1 Amanda Lwin........................................................................................................................................... 2 Anne Brodie ............................................................................................................................................ 3 David Rickard .......................................................................................................................................... 4 Dominic Dispirito..................................................................................................................................... 5 Elizabeth Murton .................................................................................................................................... 5 Erika Tan .................................................................................................................................................. 7 Helena Hunter ......................................................................................................................................... 8 John Walter ............................................................................................................................................. 8 Julie Myers .............................................................................................................................................. 9 Lilah Fowler ........................................................................................................................................... 11 Lucy Harrison ........................................................................................................................................ 12 Melanie Manchot .................................................................................................................................. 13 Neville Gabie ......................................................................................................................................... 14 Nye Thompson ...................................................................................................................................... 15 Victoria Burgher .................................................................................................................................... 16 Alison Turnbull https://www.alison-turnbull.com/ To make her paintings, Turnbull translates printed maps, plans, diagrams, charts, into abstract compositions. These ‘readymade’ drawings might be star charts, architectural plans, or classificatory schemata used in the botanical sciences, for example. Sometimes paintings are also made using the more universal form of the grid, or from mathematical sequences. These found sources, then, are already ‘abstractions’ – of natural phenomena, of space, or of buildings – and they often carry with them precise conceptual connotations. But while the found or ‘readymade’ graphic structure provides the springboard, as the picture develops and gains an independent aesthetic logic of its own, liberties can be taken with the source material, as the found and emergent pictorial systems bend towards each other. Ed Krcma Cloud Diagram 2016 My most recent paintings have their origin in a composite astronomical image made using the Hubble Space Telescope, known as eXtreme Deep Field. For me, this found image has a strong relationship with painting; as a picture of time that is very densely constructed and, with its concentrated object quality, it can almost take on the status of an Old Master painting. Working from 162 Photoshop layers, each designed to mask specific parts of this super-dense image of the cosmos, the paintings derive from selected combinations of these layers - and the series continues to spin out in unpredictable ways. I have, at the same time, been considering butterflies and moths - moving back and forth from the immensity of deep space to the much smaller world of highly coloured and infinitely varied insects. "There is, it would seem, in the dimensional scale of the world a kind of delicate meeting place between imagination and knowledge, a point arrived at by diminishing large things and enlarging small ones, that is intrinsically artistic". Vladimir Nabokov writer and lepidopterist Following on from a programme for BBC Radio 4, my book, PSYCHE Or, the butterfly – an expanded field guide, is published this month by Más Arte Más Acción, Bogotá, in association with Matt’s Gallery, London. It is an observational record, both literal and imaginary, of a butterfly expedition to the Pacific rainforest in Chocó, Colombia. Sometimes painting isn’t the right vehicle for exploring a particular subject; and books –not books about my work, but books that are works in their own right– have become an important, if occasional, part of my work as an artist. In recent years, I have also been commissioned to work with architecture in London, Milton Keynes, Glasgow and Carlisle - and am currently working on a project for Peterhouse Technology Park in Cambridge. Amanda Lwin https://placesandthings.org.uk/ A few thoughts My practice looks at cities, landscapes and buildings and the way that these can inadvertently reflect our human intentions, memories and fallibilities. I grew up in nearby Beckton, and the riverine industrial landscape of the Lea Valley is deeply familiar. When does a city, which is made of bricks and mortar, transform into nostalgia, mythology or desire? My initial thought is to use this time to develop my series ‘Capricious Cartography’: mapmaking that is more contingent, mutable and flexible than traditional printed cartography. Taking the form of handwoven nets, they draw on a tradition of mapmaking that is less about empirical measurement and more about understanding where we stand in the world: the map as cosmological diagram. The new Stratford campus is in the Lea Valley but also on the line of Bazalgette’s Northern Outfall Sewer. One thread to explore is the hydrology and geology, both natural and artificial, that run across this part of London. Another thought is to explore a new iteration of Unreal Estates, a curatorial project, with academics from an economics or housing background. Unreal Estates is about a very particular part of the housing crisis – our idea of housing as an asset, and how this aesthetically affects our imagination of interior space. Both projects, in their way, are about systems and our place within them. Both explore a sense that the Romantic idea of individual genius is being eclipsed by a different concept of human beings existing interdependently with each other and everything that surrounds us – and how this creates challenges for the way we understand the world. Bio Amanda Lwin is a British artist of Burmese descent, whose work charts the interfaces between landscapes, cities, buildings and people. Lwin grew up in Newham, London and graduated Architecture (Cambridge) and MArch (distinction) Urban Design (UCL). Initially she began her practice as a creative producer, engaging with psychogeographic narratives through music festivals and computer games. Since shifting towards contemporary art she has exhibited with commercial and public galleries in the UK and internationally. Her latest commission is a textile installation in Leadenhall Market for Sculpture in the City, a cultural initiative which puts contemporary sculpture into the heart of the City of London. Her most recent curatorial project, Unreal Estates, commissions artists and writers to collaborate to produce new work relating to homes and domestic interiors in Dalston, Hackney. Presented in an exhibition in a real-life estate agency, as well as online on unreal-estates.org, the Arts Councilsupported project critiques the homogenisation of interior aesthetics, which correlates with a growing idea of property as a tradable asset. She currently lives and works in Hackney. Anne Brodie www.annebrodie.com Background My initial biological science and material based background at the RCA (ceramics and glass) has informed a process driven, multi discipline arts practice. At college, I found the process of human interaction with the material more interesting than the object itself and I made a film instead. The criteria for the segregation of departments at college interested me, it was supposed to be easy to work across departments, in reality it was quite difficult. My practice has evolved from an enquiry into the meeting point of materials towards a deeper inquiry into how boundaries define and separate us, the interface between psychological and physical environments; the balance and fluidity of the relationship and the place of boundary point. In particular, since pivotal artists residencies in the Antarctic and Arctic, I have been looking at the concept of relevant data at our interface from the very edges of extreme physical landscape and self. 'Something really does happen to most people who go into the North. The ''North,'' he explained, is often uncomfortable; there are dangers of strange mannerisms, there is a fear of getting lost; but there are also the challenges of creating, in isolation, a new understanding of things.’ Glen Gould. The physical expanse of uninterrupted horizon, isolation and stillness removes our own boundaries, re-aligns our sense of self and shifts our perception of identity