Volume I;

Plough a Lone Furrow 

Curated by Molly Stephenson & Iona Mackenzie 

Silas Bennet / Nina Rose Prendergast / Diego Ramirez / Katie Paine / Samuel Thomas Nugent / Pariminder Kaur / Sara Blosseville / Zoë Bastin 

Samuel Nugent

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T-shirt on mdf held w/thumbtacks

36cm  x 28 cm

2020

Coronavirus hits us quickly and forces us into uncertain times for the near future. Through Corona I experienced a loss of a job, a year long separation from a dear friend of mine and a push towards an online education. Having my siblings overseas in both Taiwan and Japan during this time plunged me further into anxiety. Fantasy is integral in these turbulent times. Witches on Britches is a fun party location for kids and adults. While fantasy is important for this time it is also integral to notice the economic, social, cultural, political issues that a pandemic like Corona brings up. Give the number on my painting a call to find out more :-) 

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Diego Ramirez

Resin, bitten apple

2020

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Nina Rose Prendergast

Untitled

Pen on inkjet print

20 cm x 20 cm

2020

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Zoë Bastin

Small Relics

Mixed mediums

2020

Every fingerprint is a dance. These objects are relics. Cast off scaffolds of activities once done, detritus of experiences once had and excess of process. 

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This watercolour explores ideas surrounding love as a critical force, a force that can transcend the limitations of bureaucratic institutions. Institutions are often believed to be the foundations of our communities, when they become brittle and fractured, their artifice, their tenuous skeletons are revealed. This work investigates the experience of love as a form of knowledge that sits outside bodies of institutional knowledge. Notions of sentiment and romance have at times been frowned upon within critical academic discourse and here I would like to suggest that these notions can act as a vehicle for change.

Katie Paine

A gift from my beloved that was not asked for, but that was welcome

Watercolour, ink and pencil on paper
2020

 

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Parminder Kaur

Come home?

Image and performance

2020

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It's a skin. A vulnerable skin, almost inexistant, invertebrate. The fresh liquid sap which comes from the rubber tree's veins, solidified into the image of a woman.

Its strength relies in its flexibility. It is ornamented with fossil-fuel flowers, solid embodiement of the energy of the sun. The springy pink surface will slowly turn into a deep orange and then into black, as the latex composts in the forest with time. The cellulose will feed the ground that will turn it again into tree blood. « Femelle » also holds the definition of the negative cast of a mold in sculpture techniques.

Sara Blosseville

Femelle

Natural rubber, PLA, nylon

90 x 70 cm approx

2020

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Silas Bennett

Wood Block Printing with Swiss Cheese

2020

My memory often fails me. I remember a nice book, long nights, a good fuck, shitty servo pies and the stab of a needle, I remember flashes of hate like lightning and a sea of apathy threatening to wash over the world.

But most of all I remember nothing at all, my past and my emotions have always been something I’ve avoided facing, mercifully the things I have tried not to remember have aided in forgetting.

These images seek to recreate my own memories, plucking images from the black hole of my mind and trying to make something tangible from the intangibility of thought.

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Zoë Bastin

Small Relics

Mixed mediums

2020

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Parminder Kaur

Come home?

Image and performance

2020

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Nina Rose Prendergast

Untitled

Pen on inkjet print

20 cm x 20 cm

2020