Maria Rivans’s eye-popping collages explore the idea of existing alternate realities and fantastical other worlds which transport us into a surreal and exciting universe. By appropriating an array of sourced vintage ephemera, Maria seeks to overwhelm us with her compositions by combining vivid and seductive colours with powerful and often humorous imagery.
Best known for her intricate surreal landscapes, pin-up portraits and 3D boxed works, the viewer often experiences a visual and sensory overload from the hundreds of carefully cut-out found elements culled from her huge collection of vintage paraphernalia. Influenced by the extraordinary colours of Hitchcock films shown in Technicolor and sci-fi TV shows such as Land of the Giants and Planet of the Apes, these heroes from the past have been altered by combining and blending other found imagery scavenged from different eras, thus inviting the viewer into her strange and peculiar world.
Corinne Natel is a London based artist, creating abstract contemporary paintings in acrylic and mixed media.
Her work is abstract based contemporary paintings inspired by landscapes, nature, cities, travel, fashion and media. Her work investigates colour, form, space and texture. She often explores seasons or nature based environments with colour, how colours work with one another and the colour relationship with the season or environment.
Working with acrylic and mixed media, a blank white canvas takes on a new form through the expression of energy and begins to develop a life of it's own and a new entity, aiming to create vibrant and emotive works.
Laura Benetton is a London based Italian artist. She studied painting in Venice, Italy, at the Academy of Fine Arts. In 2008 she was one of the selected Arnaldo's Pomodoro artist in residence at TAM, Urbino where she specialised in metal sculpture.
She has worked between Venice, Istanbul, Pesaro, Florence and London. Her exhibitions around Europe include: Gallery Claire Corsia, Paris, Houses of Parliament, London, A+A Gallery, Venice; Art065 Gallery, Pesaro, C.A.M Gallery, Istanbul; Galerja Mazchek, Croatia and many more.
Dan makes collages and ink drawings using a mixture of found imagery and my own imaginings. His work is born out of a passion for line work and collage, a love of archaic imagery and an urge to produce pictures that provoke humour, wonder and a certain subconscious recognition in the viewer.
Nearly all of Dan's work is figurative and comprises totemic or iconographical combinations of human, animal, plant and mineral forms. The subjects are generally set in blank spaces devoid of context. The characters in my pictures display an emblematic composite of human and non-human attributes, drawing on, but rarely literally depicting, ancient mythological beings, Victorian freak-shows, dream imagery, religious iconography and subconscious inspiration, whilst promoting a sense of transformation, repression, transcendence and evolution.
Using mostly found imagery has always been a part of his practice. It is a way for him to utilise the visually arresting elements of quite ordinary scenes he finds and bends them into a cohesive whole that becomes an expression of his imagination. It is also simply an enjoyable way to make pictures.
Since 2008 Bonnie & Clyde have been engaged in the practice of mixed media collage and screen print. Her method of working often begins with her photography taken with a rangefinder camera in cities that inspire and create emotional responses in me. She is often drawn to urban environments, the sea and the people in their environments. 'I want my art to consist of accessible modern speaking visual pictures that draw the viewer in and I use layers of photo-montage to express this'. Real elements are merged with texture, words and colour to create abstract scenes based around the social and political scene of the studied environment. Bonnie & Clyde often uses typography, signage, objects and architecture in their work.
As a mark maker Rod lies within a tradition of drawing and recording his experience of the world, his travels, relationships and sense of self.
The choice of materials evolved through this journey. His desire to maintain a strong integrity within his work directed him to learn the recipes for gesso (this was not taught on a sculpture degree) where he found the physical, tactile, step-by-step method reassuring – it was a nod to his “maker” roots as he felt he could truly construct his works. Continued research into the history of mark-making pointed to an honesty that he chose to draw with. The pigments became purer: Indian or Chinese ink (that he often grinds himself), graphite, charcoal dust, mixed with a binder of either water, oil, egg or rice paste starch. He says; “I wanted as much control of the provenance of the materials as I could get.”
The beings that exist in Blandine Bardeau’s artworks always seem to want to escape, to avoid being caught inside a restricted frame, to make a home at the frontier of two and three-dimensional worlds. Perhaps because they wish to maintain the freedom they find when existing only in the air, in unseen worlds: from this perspective, it is no surprise that they would often end-up being off-centre on the page.
Her most recent drawing-collages have emanated from an old love and training in time-consuming, meticulous coloured pencil drawings, mixed with a freer, play-based collage technique. Impossible soft structures, fragments of the imagination, Blandine’s works also have a quality of the feminine spirit that attracts both women and men, perhaps because it alludes to an ancient sense of the feminine that exists in us all.
David Wightman is known for his intensely-coloured paintings and prints of fictional landscapes. He describes his imagined landscapes as both idealised and impossible.
Wightman studied Fine Art at Middlesex University (2001) and gained an MA in Painting from the Royal College of Art, London (2003). He has had numerous solo and group exhibitions and has been commissioned by English Heritage and Arts Council England.
Wightman has also collaborated with the fashion label Akris. Wightman's work has featured in Harper's Bazaar, The Guardian, The Telegraph, The Financial Times, and Money Week.
He lives and works in London.
Frances' work can best be described as a series of fascinating dreamscapes exquisitely created in three-dimensional collage. Each piece is like a small theatre set which plays with space and perspective to draw the viewer into the curious worlds she creates. The subject matter varies from the domestic to the industrial to the natural but there are recurrent themes throughout her body of work. Notably there is always a suggestion of parallel realities – it might be a juxtaposition of what is considered ‘real’ and what is imagined or desired or the conflict between the façade and what might be really occurring behind it. However the meanings are not prescriptive and it is for the viewer to contemplate and reflect upon these scenarios.
Having left the fashion industry after 10 years, Gjoen brings a touch of punk- sensibility to the art tradition. His fashion background infuses Magnus' art, re-thinking old concepts and re-interpreting them for the contemporary climate. Working to shed new light on past treasures, Magnus' works alters the relationships between the viewer and the preconceived notions of objects; something which is ostensibly powerful and destructive is transfigured into beautiful and fragile objects of art, be it weapons, animals or the human race itself. Taking inspiration from the street and pop art and juxtaposing it with fine art, Magnus creates new and modern takes on old masterpieces, questioning the correlation between religion, war, beauty, destruction and art. His art at once uplifting and damning; this is salvation for a godless generation.
Alexander Korzer-Robinson is an artist from Berlin now living in Bristol. His art practice utilises generally discarded materials in order to create fanciful works of art. These art objects are made from century old antique books that are worked through, page by page, cutting around some of the illustrations while removing others, thus the images seen in the finished work, are left standing in the place where they would appear in the complete book. Nothing is rearranged nor repositioned. As a final step the book is sealed around the cut, and thus can no longer be opened. "A large part of this selection process is left to chance. While I work through a book with a vision I want to realise, very often the book seems to have its own designs, and thus eventually a new story develops of its' own volition. In this way every project takes on its' own unique expression, allowing the imagination to run free and endowing each book with its' own nuance."