Gareth Bunting British born Gareth Bunting is a London based artist and has also lived and worked extensively in Asia. Bunting’s sprawling and fluid compositions consist primarily of landscapes each drawn from memory using his original dry brush and ink technique. These personal portraits tell stories along lines, paths and roads which investigate his identity as a western male abroad amongst contemporary social, political and environmental issues.
His practice engages with the otherwise ethereal qualities of images which are conceived and perceived by the mind’s eye. These encounters with perspective and fractal patterns assist in conveying how imagination and reality are rendered indistinguishable from one another and can reflect the inconvenient actuality of humanity’s effect on fragile landscapes.
Lorna Carvill Process-based artist Lorna Carvill develops her practice through a series of remarkably curious and alluring textile formations.
Carvill’s interplay of form and colour is of principal focus, it is developed in each canvas through mark-making with pencil, layering and removing paint and incorporating mixed media to achieve a three-dimensional sensation of movement. The hidden subtle lines help to embellish motion which is expressed intrinsically and is a vivid part of her development process. Whilst Carvill’s works appear to be in motion, her tactful use of a low vibrancy pallet and her layering technique produces an ethereal effect.
Rosina Godwin London-based artist Rosina Godwin utilises mixed media to explore the hierarchy of the arts, whereby painting and sculpture are stereotyped as ‘high art’ in comparison to knitting and embroidery, which can be regarded as ‘low art’. Godwin’s most recent work is focused on heated political events surrounding the erosion of women’s rights, whereby conflicts arise within an individual derived from the perpetual pressure to conform to contemporary notions of idyllic beauty.
Godwin's current Mütter series aims to subvert the conventional associations of nurturing normally associated with textiles; in doing so her work engages and re-configures the Freudian stages of the Oedipal Complex in a re-fusing act of artistic and feminist scrutiny. Her compositions are ambiguous and unclear in their nature, which compel the audience to contemplate each subject with deep inquiry.
Christian Hiadzi Christian Hiadzi’s paintings are multifaceted works derived through his personalised and meticulous technique of layering; working between the figurative and the abstracted form, his practice demonstrates an attempt to elaborate upon unfamiliar aspects of an otherwise familiar scene.
Hiadzi’s recent portrait pieces project and highlight his demonstration against the status quo of society, his rejection of mundanity and his rebellion against archetypes within a contemporary world; rather, Hiadzi attempts to invite the spectator to establish a dialogue with his works in order to inspire the viewer.
Christian Hiadzi’s pieces demonstrate his aversion towards following the status quo of contemporary society by encouraging people to draw out and observe the beauty of the unfamiliar caught within the ordinary.
Fatemeh Takht Keshian Fatemeh Takht Keshian was born in Iran, her drawing, painting collage, and video methods coalesce harmoniously to articulate major themes of identity and her perceptions as an Iranian woman. Keshian’s recent project uses artfully vandalized second-hand books as her canvas, whereby her dreams, nightmares and life experiences are visually expressed as they are layered against the surrounding script denoting another cultural sphere and language.
Through her artwork Keshian reflects upon the transcripts of others, as she mirrors her own thoughts and identity onto the page to create a fused piece. Portraits, ambiguous shapes and striking colours assemble together to form a dramatic and vivid portrayal of Keshian’s identity.
Donghwan Ko Originally from South Korea, Donghwan Ko’s works revolve heavily around his strong affiliation towards understanding the dynamic nature of the spaces which we define as home. Ko’s structural formations reflect how he locates himself between tangled dichotomies of movement and inertia / privacy and publicness/ inside and outside/ revealed and concealed.
For Ko, the space within the home is a temporary space that requires settlement and adaptation ultimately becoming a cardinal site for one’s privacy and intimacy, it is however paradoxically complex, limited, temporary, divided, and empty. Donghwan Ko's practice explores the reasoning behind why we call a place ‘home’ and what conditions are required to encourage us to inhabit somewhere.