Featured Artists*
Tilly PM
issue 4
(sample article)
I’m interested in play within the blur of physical and digital spaces. I’m excited by mystical mundanity, the gaps around us (metaphorical and physical) being a seedbed for fantasy of self, objects and our surroundings. Working with collage as a way to try and make physical objects/ 3D/ animation have fun and play! I’m a shark enthusiast interested in the cultural horror that surrounds these animals that keep to themselves. I’m curious about water, how folklore begins, and the potential of mythologies being born from daily routine.
Coral Brookes
issue 4
(sample article)
Coral Brookes (b.1995, Shropshire) is an artist and educator based in Glasgow. Recent exhibitions include Prestwick II, Glasgow, UK (June 2022), Supple Octopus, London, UK (April 2022), Bladderwrack, Glasgow, UK (April 2022), The Open, Turner Contemporary, Kent, UK (January 2022). Brookes was an Associate Artist with Open Goldsmiths University, London, UK (2017). She lectures in Glasgow and teaches workshops with community groups, children and young people.
Jessica Wetherly
issue 4
(sample article)
Jessica Wetherly graduated from the Royal College of Art in 2019. Her practice reflects a fascination with science and symbolism, presenting creatures in curious and surreal landscapes. Recent solo exhibitions have included shows at Aspex Portsmouth (2022), Stone Space, London (2022); Arte Contemporary, La Rapita, Spain (2022); BilbaoArte Foundation, Spain (2021); Korai Project, Cyprus (2020); and Fieldworks Gallery, University of Texas (2018). She was awarded The Royal Society of Sculptors Gilbert Bayes Award 2020; The BilbaoArte Beca for International Artists 2020; The Broomhill National Sculpture Prize 2019; and The Stanley Picker Scholarship 2017.
Alice Martin
issue 4
(sample article)
Alice Martin is a Scottish visual artist currently living and working in Stirlingshire. Martin received her MLitt in Archaeological Studies from the University of the Highlands and Islands (2019) and BA (Hons) in Contemporary Art Practice from Gray’s School of Art (2017). Recent years have seen her work in numerous group exhibitions, projects and commissions. The artist explores museology and archaeology in their art practice and is interested in engagement, interaction and experience through the role of curation and artefacts. She works with 3D printing, scanning, installation, digital prints and printmaking.
Kat Zavada
issue 3
(sample article)
Curation for me is a form of critical enquiry, knowledge creation and exchange. My process bounces between academic rigour ッ and humour ☻ , as I tackle academic themes in a sometimes non-academic manner ꧁꧂ My curatorial process has a rhizomatic structure, an assemblage of the political, economics, sociology, philosophy and pop culture. My research spans neoliberal tech utopias ༄ South China Post’s newsletter Reddit memes, Reza Negarestani’s tweets and conspiracy theories ❦ I’m intrigued by topics related to post-work imaginaries, neofeudalism, data identity & data collection as an exercise of power.
Kaya Fraser
issue 3
(sample article)
Kaya Fraser is a multi-disciplinary artist based in Perth, working with analogue photography, archives and amateur home movies. Through the use of memory work, the home, and its extended boundaries to the two schemes she grew up in, Fraser celebrates the forgotten practices of The Everyday Archivist. Whilst interested in the everyday and the modes of unconscious archives that exist in a working-class home, she encourages the remembrance of these practices and archives to highlight accessible culture and heritage during times of austerity. Since graduating, Kaya has begun
developing a socially engaged side to her practice through the social research project for The Full Picture commission with Creative Dundee and was selected as the 2021
Emerging Artist in Residence in Socially Engaged Practice at Mount Stuart
India Boxall
issue 3
(sample article)
India is a creative researcher and dog mother who is living, working and practicing in Glasgow. Her creative research practice is rooted in challenging and unpicking alienating and hegemonic political, social, and cultural narratives, rendered as normative by global capitalism and the Oil Age. She is particularly interested in psychogeography, spiritual ecology, and interconnectivity as eco-feminist practices that make-towards reparative modalities for states of stagnation and inertia as inherent in our mass eco-cide. Collaborative interplays have become vital methods for thinking-through and making-with.
Rosa Park
issue 3
(sample article)
Rosa Park is an artist based in Seoul and Glasgow, graduating from Painting & Printmaking at Glasgow School of Art. She mainly makes small drawings in ways that children make drawings and stop motion animations with both physical and digital illustrations. Her work explores her honest thoughts about relationships between people and about our lives in general. In the last few years she has learnt and realised a lot of things about the world which makes it even harder to be honest about herself. However, her drawings embrace this honesty about feelings. For Rosa, making art highlights what she really wants. Through her honesty and cheekiness, she hopes that people can relate to and become consoled by her work – like how she’s consoled through the making of it.
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.
