Abi Charlesworth is a sculpture and installation artist who graduated from her BA
(hons) Fine Art course at Bath School of Art and Design in 2019. She has recently
had work in the shows After Hours in London, Dance First Think Later at General
Practice in Lincoln and completed an online residency with Arcade Campfa as part
of the collaborative MASH.
Objects are produced through the collective use of play, materiality and touch. The
forms of these sculptures are an unconscious translation of existing objects. This
allows the shape to develop freely to become disassociated with the familiar. In
essence, they act as devices of unlearning, freedom and playfulness. The need for
forms to exist purely out of aesthetic relationships results in installations of balance
and tactility. These objects gravitate and respond towards each other as if paused
in the act of play.
In the installation of these objects they respond conversely to the space they
inhabit; interchangeable they allow for free play, ideas and arrangements. The
leftovers of these decisions become deactivated with a potential to do or be
anything. The installation of these objects hover in the foreground in a type of void,
where sculptures float around the viewer and embody the space. Flatness is
prevalent in the production of these objects. From drawings they are inflated into
three-dimensional shapes concerned with their own edges. A form of self
consciousness holds these sculptures in place, as if they feel the weight of
Gabriel hyra, is a young visual artist and Brazilian jeweler, “bicha” (brasiliam sissy queer) who works on dissident sex issues and criticizes the current anthropocentric reality in its policies of intimacy and relationship.
The artist’s research focuses on the practices of affirming difference and multiple ways of living in the face of hegemonic identities and their logic of domination. He uses writing, the arts and especially contemporary jewelry for this. for being a little explored field in Brazil.
For the artist, gender dissent and gender disobedience create new policies of intimacy and relationship with herself or with the other that partly break the capitalist dystopia that operates the Latin American political dynamics
For her, art in short is a way of responding and conserving life within a paradigm of deprivation and frustration of real wants and needs.
In the work “crossing practices”, the artist occupies the void of the possibilities of incorporating dissident and singular ways of operating the world. and find new forces that will make it through the end of time once again. subverting objects of colonial power was a symbolic form found by the artist to break the limits of malaise established by them.
Building new languages, being aware of the body’s powers in its inevitable production of connections, giving birth to new organs to see new horizons and breaking the pact with death are represented in wearable objects, marked by the struggle of the gesture with the chosen material. Transformed into wearable technology for incorporations through the production of memory. in a fight against forgetting that a sustainable relationship between our desire and our constituent forces is possible.
Whiteness and its relationship with necropolitics is also self-critical. In the sense that our identities do not end our possibilities as a subject and his desiring relationships. It is about reconstituting our identity by disabling its paralyzing affects.
FGB is on a mission. That mission is to
brighten up the streets and make you
smile. Bold lines and bright colours
create his distinctive style.
The tools at his disposal; paste ups,
stickers, spray paints and stencils are
all used to bring his creations to life.
Sometimes a googley-eyed character,
sometimes a comment on what is happening
in his home city or further afield, his
work will always lift you from where you
are to the world inside his head.
Spread the love.
Emma Brennan (She/Her) is an interdisciplinary artist who works predominantly in performative practices to include multi-media installation, moving image and collaborative processes.
At the core of my practice is the persistent draw of the material of dough. With the unyielding bond between it and I, my relationship with this material is not just physical, it is also emotional, spiritual and political. The incorporation of dough into my work holds both ancestral and sentimental value. In capturing the processes of this material, in all of it’s alchemic, formal and sensory properties, I explore the complexities of the creation of a living, breathing thing.
My work is currently occupied with the cyclical processes of breathing/living and is formed upon the four pillars of; gestation, birth, life and death. My practice is moving towards a body of work specific to how these pillars relate to the female form. I am thinking about this within the context of Ireland (both currently and historically) and then more intimately where I stand amongst it, not only as artist and creator but also as a queer, Irish, female-identfying, living/breathing being.
Originally from Dublin, Brennan is now based In Belfast having fulfilled a directorship and term as chairperson with Catalyst Arts. She is a studio member of Flax Art Studios and has recently been chosen as one of the BBeyond performance collective’s new commissioned artists of 2021. As part of which she will present an entirely new work to be shown as part of the Cathedral Arts Festival in May. She will also be performing as part of the Belfast International Festival of Performance Art this coming March while working towards an exhibition later in the year in the Glór gallery, Ennis, Co. Clare curated by Moran Been-Noon.
Alexandra Arellano Espinoza, is a Chilean artist and designer based in France.
Focusing on movement as a subject of visual exploration, her main mediums are screen printing and digital animation. Through the use of textures, bright colours and abstract patterns, her work invites the viewer to go on a journey through a series of architectural compositions, where geometric lines combine and vibrate coming alive on paper revealing something new each time.
She recently had her first solo exhibition in Paris.
Chad Alexander is an artist from Belfast, Northern Ireland. His practice is
characterised by his home and within his work the personal and political are often
interwoven. His work deals with associations and dissociations between place and
identity and explores the everydayness of contested spaces and people who inhabit
those spaces.He is interested in the segregational and confining nature of specific
architecture and urban environments and explores how these infrastructures impact upon lives.
Chad Alexander is an artist from Belfast. His work has been exhibited internationally
including most recently at the Victoria Gallery and Museum, Liverpool, The Ulster
Museum, Belfast and The Golden Thread Gallery, Belfast. His work is held in the
collection of the Arts council of Northern Ireland and the Northern Ireland Assembly.
He gained a BA Hons in Photography in 2017 from the Belfast School of Art.
I am a visual and sound artist based in Belfast, Northern Ireland.
Through the use of myth and personal narrative, the work brings attention to the subconscious layers of the psyche, where significance is given to symbolism, depicting a connection to the unity of Nature and our roots, whilst also exploring the themes of technology, cosmology and mysticism. The work is an attempt at self-explanatory inquisition, with ideas manifesting in the form of painting, moving image, sound art and installation.
Amy Higgins is an artist living in Belfast and works from a studio in QSS (Queen Street Studios) where
she is also a member of the board of directors, where includes the running of the gallery and studio
space. Higgins completed a BA (Hons) and Masters in Fine Art and has been a practicing artist
professionally since the completion of her Masters in 2018 (Ulster University). She tends to work with
oil paint as key medium which evolves from drawings or collages. The subject matter of the paintings
usually comes from the idea of “The Human Condition” (Hannah Arendt) and “The Monstrous
Feminine” (Barbara Creed). The practise is based around deep, internal thoughts, the subconscious,
the sublime, and with an idea around the viewer and the “embodiment of looking”. Higgins often
questions how one can disconcert the viewer through use of the canvases insinuated “planes” and
spaces. She often makes work with geometric shape and strong grid like lines, she believes this helps
to underline the main theories and ideas she invesitagates.
There is a methodology to the painting practice wherein several different aspects are studied to reach
a desired conclusion which are; the scale of the work, the suggested space within the work, geometry
and perspective and most importantly, the darkness of the painting (in terms of colour palette and
Principally, in order to fashion a “space” that is distorted and uncertain, the fourth aspect is what
effectively allows this to happen; geometry and perspective. This idea is somewhat parallel to the
painting techniques in the sense that there is a personal perspective challenged where the figures are
collectively looking in one direction and the literal viewer is positioned behind something, but with
this aspect, Higgins intensifies this with the perplexed use of sites, planes and layers distorted to
corrupt any fragment of location or subject knowledge that the viewer may have.
Researching around the human eye and its light-sensitive cells, the phosphene patterns of
hallucinations have crept up in the paintings and drawings. The grids-like forms that are layered on
the canvas connote utopian ideologies of modernism but when infused with these different aspects
altogether in one work brings relief to the suggested space with tension and arrest to the physical
qualities of the paint; creating aesthetic possibilities for the suggested three-dimensional space in a
chaotic geometric way. The worked-up image is an attempt at being uncertain in terms of a
fragmentation and break up of linear spatial descriptions that are convergent, divergent, cross-cutting
There is an underlying medieval, religious manner to the work which stems from the idea and context
of Fra Angelico’s monastery paintings. The thoughts currently around the installation of the paintings
is to encourage and emphasise the awareness of specific space which is invoked in the painting and in
the relationship of the physical space with the viewer.
IN JUXTAPOSITION is collaborative body of work between textile artist Sarah
Cathers and Contemporary jeweller/maker Rosie Elwood. By combining individual
practices, the project pushes the boundaries of making and thinking, through
exploring instinct and response to found objects.
Rosie Elwood, Jeweller
I am an emerging contemporary artist, concerned with found objects and story telling.
Increasingly, I am interested in exploring the boundaries between body and object.
“I’ve been working on a collaborative project with textile artist Sarah Cathers. We’ve
been using a selection of found objects to create a collection of wearable and non
wearable pieces. We embarked on this project to gain experience working with
different materials as well as experience working collaboratively. During this project
we both attended the artists talk held by Goldsmiths in which Sturt Cairns, Jo Pond
and Zoe Arnolds. Which discussed the use of found objects in jewellery making. We
are hoping to submit the collection to open calls as well as exploring any opportunity
to have the work exhibited. This project has been both great and a little unusual. It
has been different to navigate working with each other, without meeting in person.
But wonderful to have the joint purpose during lockdown.”
Sarah Cathers, Textile Artist
A collector of oddities with an urge to document and preserve the forgotten.
Driven by the process of fragmentation, I gather pieces of found objects with the
incentive to mend and rebuild the broken and repurpose the discarded.
I work with a wide range of materials and methods, responding to each individual
“I have been working alongside jeweller Rosie Elwood, to create a collaborative body
of work based on instinct and response to found objects. Rosie explores past and
present through materials in her work. Similarily to me, she works across disciples
exploring the relationship between humans and objects but is more experienced in
metals and wearables. We combined our skills and materials, challenging ourselves
to respond to objects selected by each other; A process which was new to both of
us. Through our response, we have curated a collection of 11 wearable and non-
wearable pieces. The project developed during lockdown when I needed it most. It
felt very refreshing to push the boundaries of my thinking and challenge my practice
by working with Rosie.”
James Ashe is a visual artist based in Belfast. His work uses the mediums of illustration, typography, risograph and screenprinting. Predominate themes in his work include politics, LGBT rights, architecture and built heritage. He has exhibited locally as part of groups and within collections in the Ulster Museum, and has had recent solo exhibitions with The Black Box and Framewerk Gallery.