Featured Artists*
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My practice is concerned with structures that underpin and maintain. The women in my family work in care settings, as healthcare assistants and nurses. I often return to the physical and emotional weight of the work they do and the repetitive nature of maintenance. I’m interested in the skill set that care work requires - a body of tools undervalued and often unpaid. 

A lot of the work that I do as an artist exists in building relationships and drawing upon these networks. Through sculptural and events based working I want to highlight this overlooked practice.

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Serena Huang (b.1995, Guangzhou, China, lives in London) studied at the Royal College of Art (2018-2020), and Chelsea College of Arts, University of the Arts London (2013-2017). She works across video, installation, text, sculptural object, performance and more, to create fragments of speculative narrative in a fictitious reality. Alluding to mythology, the slippage of history, and the forgotten past in relation to the theatricality of everyday life and the ready-made, Huang’s work questions the processes of staging truth and the hierarchical relationship in material culture. Huang has recently exhibited across both London and China. 

My practice attempts to restore a communication between the material world and physical realities by exposing the elasticity of paint and its ability to provoke potential associations and feeling. This allows the work to be elusive of a clear descriptive narrative, encouraging the questioning and probing of the painting medium.

The use of ceramics has become a tool to reimagine the “painterly mark” as they become tangible objects. These self-proclaimed relics exist in various forms inhabiting within and outwith the frame and set out to interrupt the viewers reading of the work.

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Drawing on a darkly comedic and democratic ethos, my multidisciplinary practice is an investigation into power structures, cultural tribalism, and the distortion of historic truth through myth and legend. My work hinges on a dialogue with the past as I recontextualise and reappropriate historical symbols and narratives, using the visual language of the past as a vehicle to explore contemporary notions surrounding class and nationality. Combining the iconography of disparate times and epochs, pulling heavily from my native Scotland, my aim is to encourage fresh discourse regarding cultural identity while maintaining a conversation with history. 

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Editorial Team*
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Elizabeth Ann Day

editor

Elizabeth Ann Day is a contemporary artist from Fife, based in Dundee. Within her practice she researches and analyses pop culture fads, leading to large scale installations, publications and video-works. These explore 'instant collectibles', such as the sticker albums produced by industry behemoth PANINI, the fervent pop star memorabilia of the 2000s and the infamous collectibles market created by the likes of The Franklin Mint in the 1990s. Day scrutinises the amount of time and money we spend in an attempt to complete our chosen collections.

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Corrie Thomson

editor

Corrie Thomson is a visual artist living in Glasgow, working predominantly with sculpture. Her work is heavily informed by architecture, furniture, the design and engineering of everyday objects and the patterns and forms that emerge through the close investigation of these processes. Thomson questions how things are made and in response she works with processes of construction, fabrication, model-making and craft. She routinely assesses the usefulness of objects and materials. Balance, tension and precarity are at the heart of her practice. Thomson creates objects which tend to resist categorisation and sit proudly in their anonymity.

Jamie Steedman

editor

Establishing a very research-oriented methodology, Steedman’s fascination with specific narratives of state history frequently fuse with considerations of political strategy. Recently this has involved a rhetoric interrogating the public swimming pool – from its invitation of different public bodies, state ownership of civic space, the labour/leisure time cycle, and the afterlives of site and place. Through an increasingly pessimistic Scottish outlook on the instabilities of state power and cultural failures, Steedman utilises a frenzied array of sculpture, print, sound, writing and performance to navigate his labyrinthine concerns with speculative utopianism, nostalgia and the performativity of language. 

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Kirsty Reid

editor

Kirsty Reid is a visual artist living and working in Glasgow. Her practice considers process and materiality through the exploration of water based paints and the potential of painterly marks they can create. An interest in surfaces influences her use of ceramics, fabrics and various papers. Archival ideas underpin the work, as the imagery is derived from an evergrowing collection of film photographs of landscapes and places she has visited. Working from film photographs bring an element of memory and nostalgia to the work, as she reflects on her time spent in these places whilst painting.

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Luke Cassidy Greer

founder & editor

Working as an interdisciplinary artist and curator, Greer maintains a highly research orientated practice. Producing outcomes that generally take the form of print, publication and installation the pieces are more akin to assorted fragments. Each component acts only as suggestion, or perhaps evidence, of the larger issues concerned within the works. Thematically a recurrent concept that is often explored is that of the individuals relation to setting and experience, highlighting areas of discomfort or inequity.

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