2018 09 September ARTEFACT single Page Print res

GERWYN DAVIES
BOAA ART 2018
Combining constructed photography and
costume making, Gerwyn Davies’s work
is an ongoing inventory of characters that
are assembled, worn and performed for the
camera in an expanded and performative
approach to image making.
Through the layering act of dress, the
body is used as a platform for reinvention,
concealing the body through disparate
materials in order to reveal new articulations.
Prioritising excess and artifice, these
manicured bodies are finally reconciled
in to photo constructions of space; hyper
real spaces that serve as digital habitats
for the material self and experiment with
the possibilities of how we may represent
ourselves through the photograph.
KIM ANDERSON
BOAA ART 2018
Close observational drawing has always
been at the core of her work as Kim
Anderson attempts to capture not only the
physical attributes of a subject, but also
the intangible emotional aspects. With
a consistent tendency towards intricate
detail, she attempts to understand the world
through her drawing: even the smallest detail
can hold the greatest significance.
Minute structures of the body, the skin
as surface and palimpsest, the physical
manifestations of a psyche in turmoil, and
the psychological analogies that can be
found in the natural world are all recurring
themes.
In constantly wanting to challenge
her drawing practice, Anderson often
incorporates translucent materials and
unconventional modes of display, exploring
the transformative effects of light and scale
upon traditional drawing techniques, and the
potential to imbue a space with emotion and
bodily metaphor.
Regardless of scale or subject matter,
whether permanent or ephemeral, private or
public, Anderson’s creative process becomes
a feat of physical and mental endurance –
line after tiny line on a wall or a page that
takes on various aspects of a journey, a
meditation, and a search for self-knowledge.
PHILIP GEORGE
BOAA ART 2018
George’s Drawing in Water is a suite of
works which map the liquid nature of history,
culture and our fleeting existence, akin to
mark-making by drawing in water.
These works are a response to decades of
travel throughout the Middle East witnessing
the vast ebb and flow of the waves of
civilizations as they arrive and flourish and in
turn are liquidated, leaving their traces upon
the landscape.
Images have been made in various
sites around Syria which have stood for
millennia but are now destroyed, sites that
seemed timeless, protected and enduring,
archaeological sites which now only exist as
photographs.
The works are composed from above and
below the water surface, from the historic
to the contemporary. The components of
the works made underwater are made
with camera and breath, while awaiting
the waters current to determine the image
structure.
While much of Anderson’s work is driven
by very personal sentiments and deals with
some extremely private emotions, it also
expresses more universal concepts about
what it means to be human.
28 September 2018 ARTeFACT Newsletter