Judit Flóra Schuller (1991) is a visual artist currently based in Budapest. She obtained her Master of Arts degree from Aalto University School of Arts, Design and Architecture, Helsinki (FI) in 2018. Her main interest is based on the topic of inherited (traumatic) remembrance and its effects on our personal and collective remembrance and identity. She often uses her own family heritage as a starting point, and by doing so she aims to approach a collective reconciliation with the unprocessed narratives of the past through personal, familial elements and micro-histories. Currently she is a doctoral candidate at the Contemporary Art department at Aalto University School of Arts, Design and Architecture. In her artistic research PhD, she investigates the role of materiality and objects in memorial practice.
An index 'taken' from an imaginary book, drawings, machines made out of text and photographs of ordinary objects behaving sculpturally: the output of Claire Yspol's practice is eclectic. It revolves around making the familiar less familiar by subverting the way elements found in the everyday perform. Language is the (sometimes hidden) foundation of her practice. She is interested in the ability of language to give shape to things; in the linguistic tension that can linger in phrases. She looks at the way poems work for example, examines their idiosyncratic mechanisms, and makes art with these mechanisms in mind.
Daisy Chetwin (born in London) is an artist and designer based in Copenhagen. Chetwin’s practice spans across multiple disciplines ranging from sculpture to furniture and architecture. Her work is, in the simplest terms, an investigation into a viewer's experience of space. By careful consideration of light, materials and form, Chetwin aims to create environments which act like interior landscapes through which viewers can explore. Having graduated from a BA in Sculptural and Environmental Art at The Glasgow School of Art in 2017, she then went on to complete an MA in Spatial Design from The Royal Danish Academy in Copenhagen in 2020.
Zoë Marden is an artist, curator and writer. She grew up in Hong Kong and is currently based in London. She works with performance, video, text, sound, sculpture and installation to create alternate worlds and speculative futures. Her work is research based and is concerned with where intersectional feminism overlaps with the post colonial. Her intimate performances play with the voice, activating soundscapes of desire and vulnerability. Her recent projects investigate the mythologies of witches and mermaids and their resonating resistance within contemporary culture.
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.
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.
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.