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Platform 12

Platform 12
Platform 12
 

Andy D’Cruz Andy D'Cruz is a British artist of Goan descent.  Born in Uganda during Idi Amin's regime, his family fled the dictatorship and subsequently settled in a small coastal town in Wales where the landscape and environment proved influential to his work.

For Platform #12 D’Cruz presents a powerful series of works, which explore the interaction of light on solid graphite surfaces. Images that resonate with the notion of landscape, meticulously drawn into the slate-like surfaces produce shifts of light and perspective, from dense black to metallic silver according to the interplay of viewer, surface and light. Materiality and process are central to this practice, which invites the viewer to discover forms held in the surface; developing forms that emerge over time from the darkness of the material, as memories and thoughts emerge from the subconscious.

Buffy Kimm Buffy Kimm became fascinated by space, texture and detail while studying Three Dimensional Design. Throughout her career in Theatre and Television, model making and sketching have played a significant part in the design process.

Working predominantly with the medium of paper, Kimm’s innovative practice combines and explores the artwork as a co-existence of surface and texture. Her dual interest in photography and architectural detail finds a focus in natural forms and textures; using her photography to inform her works on paper. She looks for the obscure and the unusual angle, rather than a straightforward image. She engages with photographs as a starting point, abstracting shapes and playing with texture and scale. In her latest pieces, she has experimented with geometric and natural forms, creating three dimensions images that play with light and shadow.

Grace Holliday Grace Holliday is a recent graduate from the Royal College of Art, she works through repetition, perseverance and combination, creating pen drawings, each of which highlights a unique personality and constructs a passage of time into pattern.

Of her work Holliday writes:

For most people, black pens are ‘default’ - dark, bold and the loyal guide of outlines. ‘Black Pen’, however, challenges this preconception by acting as an on-going exploration of inked diversity.

There are subtleties to be found in every stroke; small dashes accumulate texture whilst each line decorates another row. Each mark-making piece is united in communicating a sense of precious and complex treatment of tools, set out to describe their vast ability and promote the true potential of object-investigative relationships. Other themes to be found in this archive describe a tension between restrictions dictated by the tool and a sense of aesthetic control - as some drawings come to an enforced end, others begin a new phase.

Isobel Church Isobel Church is a London-based sculptor, who recently completed an MA with distinction at the Royal College of Art. With a background in Anthropology and Chinese art, her work draws on scientific mapping and discovery through the lens of ritual and material culture. Her practice explores the notion of how an object can bring the unfathomably large or ancient into the realm of the intimate and familiar, creating tactile connections with that which is vast, distant or ineffable.

Combining traditional methods with modern technology, her works include a variety of materials, from porcelain and Chinese ink to concrete and found objects.

Martina van de Gey Martina van de Gey’s current work is focused on painting upon the rubber sheets. Her fascination for this material has been a developing though her practice for several years.

Given the natural undulated surface of the material the work can be experienced not only as a painting but as an object in its own right. Contrary to a rigid and stretched rectangular as canvas, rubber sheets can be individually cut to any form.  Its irregular shaping and contours are deliberate and add special interest to the work.

The dense and matt black surface of the sheets is a challenge when applying colour as contrary to a white canvas. Several layers of paint are required to build up its luminosity.

Boy Waiting is the title for several of her recent works. A boy stands with his hands on his legs stiff and motionless, like a soldier. Environmental problems are pointed to as his surroundings seem to be out of control, whilst he stands motionless watching.

Merna Liddawi Merna Liddawi grew up in Jordan, her grounding in the Orthodox Church and a later career in maths and science can be glimpsed through her paintings. Her work attempts to touch upon the sublime and open up a window into a belief in harmonious universe, in a world that is otherwise full of strife and conflict. She describes her art as ‘a spiritual journey to discover the hidden beauty at the very heart of the universe’.

Using fifteenth century methods, the paintings are worked in layers upon layers of mineral and earth pigments, mixed in tempera medium to create depth and transparency. The tempera is laid down on gessoe panels prepared in her studio using a lengthy method. The process is a contemplative one adding to the richness and depth of the image. Genuine gold leaf is applied using gilder’s techniques of water gilding.

Process and materiality is central to the art: the authenticity of the base elements, the careful preparation of the materials and the layered depths glimpsed in base elements are revealed by time as if through alchemy.

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