“Ramp” surveys topics such as intimacy, emotive, recreation, instinct and more. Bringing together an international and multigenerational group of emerging artists
This edition depicts a margin in which humankind struggles to justify their own behavior when it is based off of a simple equation.
The artists in “Ramp” reflect on a variety of notions like psychosomatic, repercussions, archaic traditions and ‘gradient’ as an entity. “Ramp” also explores subjects that descend from ideas based on instinct and intuition, natural brain chemistry and construction in juxtaposition to daily brain activities that pass unnoticed. Temporary detached from any point of orientation, this issue emerges as a study of the present from a place in the future of the past. A requiem for a vanishing clue.
Jack Haslam is a learning disabled artist. He works with print-making and installation. The following artwork was created whilst dealing with OCD. You can know more about him and his work through the notes posted which he passed to his assistant Nicola Gregory who passed it on to us.
AYA BEN AMOR
Q&A WITH AYA BEN AMOR:
CC: “Rotating Pigs”, elaborate on the title.
E.B.A: This artwork is an extension of my experience with sleep paralysis, that is what I actually saw, sculptures of pale white pigs. My decision not to include what I actually saw relies solely on the fact that I want the viewer to experience what I felt rather than what I saw.
CC: What made you want to create an artwork out of this experience?
E.B.A: Creating art for me has always been a personal outlet, it is how I close chapters and open new ones. With this experience specifically, I wanted to find comfort in the process of creation – in opposition to the actual state of the event.
CC: Tell us more about the visuals you chose to show us.
E.B.A: I chose to show a still photo because my experience was quick, I did not have the chance to capture enough elements in real time. The accompanying audio is a fear component present to deliver elements of fright and panic that are blind.
FREDDY DAZURE HERNANDEZ
"Donde Juagaran Los Niños Cuando Los Colores Se Apaguen"
Abstraction, in painting, can propose a similar exercise to this as well. Allowing the viewer to come up with new constructions to the meaning of these shown images. To edit a story and to be able to tell the essence of that tale in a few words is as valuable as adding every detail to it. Selecting bits and pieces of a story can, perhaps, lead us to think about the value and properties of those chosen pieces.
By having a background in Visual Arts, Freddy D’azure-Hernández has learnt to explore diﬀerent media and techniques going back an forth from video to painting it is clear that, for him, the construction of a video has became a way of creating a succession of paintings. Through this visual exploration he seeks to transfer pictorial issues, like the density of the paint, textures, patterns, lay outs.
Every color pattern, arranged in a speciﬁc manner, like a precise composition in a painting and on videos has became a powerful source of visual stimulation while these may appeal you over using it may lead to diﬀerent results, which has made D’azure wonder does over stimulation can making feel love or kill you? Since then, his visual interest has revolved around the concept of love or death through art to understand and appreciate life as much as personally and everyone around you or what surrounds you.
Being motivated or provoked by a work of art is a rare but not rejected event, what he seeks is to cause an effect on his pieces in which the viewer is to reach the inner part of the brain and open the possibility of shaking some things in your body through the simple act of seeing.
For this new media photographic series segments of a previously created video were taken with an exhausted searching frame by frame to select the best shots and then work them in the guided vision towards a visual interference of the acquired mental manipulation, in which each projected segment it is interposed so that each viewer captures different images and is guided by their most hidden instincts.
This series arose in the process of the search to manipulate and turn around my work in Video Art, in which in an extensive personal discussion on how to create a photography proposal of new media, and arrive at the result of taking PhotoStills, then work with them, manipulate them, process them and finally be printed on high quality metallic paper.
Q & A WITH FREDDY D'AZURE HERNANDEZ:
CC: Why is a story an essential element to your art?
F.D.H: The Story is the most essential element in converting each of my works into an infinite universe, giving them their own form and personality and appropriating them from each viewer's mind, making the experience unique.
CC: What is the correlation you discovered between painting and video? And why did that interest you?
F.D.H: Photography and painting is everything, it is the same sanguine line where in both you can express everything in an infinite of techniques that follow from the beginning of each expression and thanks to the technology and scientific advances always evolved to create new techniques and innovations and above all, they inspire each other to create art.
CC: What did you discover when you started making a separation between video art and photo stills?
F.D.H: What I discovered was totally a vision at the time of reviewing one of my videos that in a few seconds I had a total approach visualizing the video that I began to imagine how interesting and unique the impact that would be achieved when thanks to a single video, would give life to hundreds of pieces with their own unique personality.
CC: What would you like your viewers to see beyond the visual presentation? Are there any hidden elements in these photos?
F.D.H: One of the essential purposes in my artistic work is to give them life and soul so that the moment a spectator arrives to observe it, it may arrive in a few of their minds of the viewers and penetrate in its entirety to captivate or torment it and so it is already agreed in his memory that that image will always keep him in mind as it has a permanent impact. Yes, I have always applied hidden images in all my work and at the same time multiple senses or interpretations in their recognizable images.
CC: Why did the concept of ‘love and death’ interest you in particular?
F.D.H: Love and death are the only things that give meaning to the life that becomes the motor for life to continue, both of us live it day by day, the personal and the external that is guided to our destiny; both for me are my total inspiration that I live intensely without resting for passion and devotion regardless of the outcome that happens either negative or positive that will give me more to express to continue giving more messages that achieve a change for personal or collective good.
'A MOMENT IN TIME'
"A Moment in Time" is a visual narration of a disclosure and its impact upon both characters and the Lebensraum.
I was brought up on a farm in Aberdalgie and Dupplin Estate, just outside of Perth, Scotland. My Father and Grandfather had farmed land on the Estate for the better part of a century. Circumstances were changing in rural Scotland which prompted an urge to photograph the people and the places I grew up with. I brought the images together in a handmade book titled Dupplin.
'SENSORY GATING UNDONE'
A maggot flies into the window pane - you witness it, but most probably will not remember this occurence. The cocktail party effect plays an essential role in our daily lives, but what if the human brain never attained such an ability? In "Sensory Gating Undone" the artist deconstructs nature and embodies the human brain in a performance piece / moving image. Our brain protects us from reaching a boiling point of insanity, but if we had control over what memories to keep or discard - would we be fair? Biased? Would we still be able to protect our rationality? Are we rational beings to start with, or are we a result of routinely nature?
Q & A WITH MAJD ALLOUSH:
CC: Please tell us more about the video beyond the artwork description.
MA: The main concept was inspired by previous notes and archival letters I've collected in my youth. There are alot of good and bad things contained within these documents, so I tried to recycle these memories; some elements triggered something in me so I chose to erase some and keep some, format it - in a way.
CC: Speaking of memory and the past, when you dig deep into your memory do you feel an energy of toxicity or do you long for the past?
MA: That I would consider to be subjective. I wouldn't change anything from the past, infact I do long for elements from the past. In a parallel universe, I would want to repeat many memories.
CC: How would you classify "Sensory Gating Undone"? Video, moving image, or performance art?
MA: It's a combination of performing art and moving image. This was my first experience with merging these two mediums, and I've discovered that it delivers a full rounded idea to the concept.
CC: You're on the beach, at night, wrapped with plastic and you are moving in an almost cannibalistic manner. What is happening inside this bubble?
MA: I am shuffling through the notes, reciting the letters, discarding memories and keeping others. I was also trying hard to breathe.
CC: Tell us about the beginning of the video in comparison to the end.
MA: The video is continuous, although it is open ended. I'd like to think of it on loop.
CC: One of the most important elements in your video was the water, why?
MA: The beach is where I gather my thought process, in my head it was the perfect setting. You talk to it, but nothing responds.
'PARDON THE DUST'
'Pardon the Dust' is an algorithm which has constructed beats from deleted tweets, bringing into light something hidden as the machine creates a soundscape from digital remnants.
When a Tweet is deleted, it leaves behind an eighteen digit code. That number could be considered as a sequencer, a data string which when fed through an algorithm becomes a musical score. Captured from a live Twitter stream, the potential soundscape is dictated by what is flowing through the internet at that very moment in time and becomes a very public performance of something intended to be obscured.
This performance is often played out against a backdrop of an ever decomposing visual scene as the JPG compression algorithm progressively ravages an image consisting of a gradient composed of hexadecimal reds.
This short video piece was shot at Belsay Hall, a greek revival mansion located in Northumberland, which has been opened to the public through British Heritage unfurnished and seemingly abandoned. The large empty spaces and peeling wallpaper make the viewer aware of the passage of time, not normally observed in these historical contexts. Throughout the video ambient sound is heard, distorted and echoing throughout the rooms. This piece emerges from the idea of liminal spaces, which is that some places are in-between one point and another. The moving image itself is a liminal space, as it is an image of something, not the physical thing it is representing. It only gives the illusion of it through coloured pixels or light.
ANDREA SBRA PEREGO
Architecture filled with humanity raises from Andrea Sbra Perego’s painting, where the recurring theme is the city that lives and pulses together with the inevitable human factor. Squares, urban glimpses or railway stations are, from time to time, animated by a crowd with undefined contours, in constant motion. Nervous brushstrokes, like vectorial forces provided with different directions , mixed in dropping and graphics, vibrate with one voice with the sky, a mobile blue full of accents, with the never quiet fronts of the buildings, in perfect harmony with the unstoppable human swarm.
The Immediate and rapid gesture of painting, and the incisive and synthetic stretch, correspond to continuous motion filling each canvas, artist's autobiography in pictures, a tireless globetrotter and stateless person by vocation.
His artistic research focuses on imaginary spaces of an accelerated and frenetic journey, high-flux transportation infrastructures such as railway stations, airports and underground.
In the above mentioned “non places” the man can be perceived in relation to the environment like constant presence in the form of urban swarm, where the lack of individual’s identity can be felt among the indistinct mass.
Images of railway stations and airport s become metaphors of transience, of the situation of transit and continuous flux, of his trip not yet concluded, sensations constants in the poetics of Sbra Perego.
Every picture seems to geographically define a particular place, as well as a reference point on the time axis of memory; after closer inspection of the surface of each canvas you can find a layering of maps, cards, tickets, newspapers and memories that often have no relevance with the represented cities.
In each painting the mainland, dematerializing the asphalt and the roadway to emphasize the humanity that flows through them It is always a collage of topographic maps from various sources, with soft character pastels colors, to be represented. The protagonists of each work thus become citizens of the world, the now inevitable emblem ongoing globalization and ultimately a kind of self-portrait of himself.
Each metropolis is thus not so much the point of arrival or the conclusion of an itinerary but the outcome of an in progress path, where everything accumulates and mixes in a continuous sum of differences, able to shape the uniqueness of every individual.
In this very personal inward journey, without a specific geographical destination, where each stop, each city still is a temporary situation that the viewer, homo viator occasional or for pleasure one can recognise himself in the same condition of the artist, homo viator by nature.
Agnes Carew's pieces are part of an ongoing series that looks at people and place, and the decay that can happen to both, as well as the loss of both people and memory / memories. Partly inspired by the likes of John Stezaker and Bill Morrison, the images attempt to capture - in more than one sense - these nameless ghosts before they, and the places they were originally captured on film, are lost to time.
“Garçonnière” was a solo visual art exhibition held in 2015 at Elysium Gallery, Swansea, Wales, UK. The word “Garçonnière” (bachelor flat, also called bachelor pad) was interpreted as a metaphorical device to transcribe the work of art into familiar feelings & emotions. It dealt with universal issues concerning personal memories, rites of passage, souvenirs and life experiences (like having your own place, your secret place, living on your own for the first time), privacy, loneliness, the spatial experience of a confined space, being at a threshold in your life... Those issues were entwined with references to the artistic avant-garde movement & the popular culture, cinema and photography.
The small gallery space was turned into a hypothetical domestic space, a “bachelor assemblage”. Black & white photographic prints of my old student bedsit were combined with second hand furniture, drawings & collages were casually displayed amongst books, notes and other objects such as clock, lamps, mirror, etc… A bespoke “Wheel of Fortune” was installed on a telephone table with seat. On the wheel, the visitor could read (alternatively translated in French, English & Welsh) “in one of Earth’s attics”, a text from the book “a short history of decay” by Romanian philosopher Emil M Cioran. The background image used for the text was a print of my left hand’s palm. A single bed, entirely stripped of its soft fittings was hanged vertically against a grey wall. Opposite to the bed, a bedroom side table was hosting some books and a small TV monitor showing a short black & white video loop of the artist as a young man eating a pasta dish.
“IN ONE OF THE EARTH’S ATTICS”
“I have dreamed of distant springs, of a sun shining on nothing but seafoam and the oblivion of my birth, of a sun opposed to the earth and to this disease of finding nothing anywhere but the desire to be somewhere else.
The earthly fate - who has inflicted it upon us, who has chained us to this morose matter, a petrified tear against which – born of time – our tears shatter, whereas it has fallen, immemorial, from God’s first shudder?
I have loathed the planet’s noons and midnights, I have longed for a world without weather, without hours and the fear that swells them, I have hated the sighs of mortals under the weight of ages.
Where is the moment without end and without desire, and that primal vacancy insensitive to the presentiments of disaster and of life?
I have sought for the geography of Nothingness, of unknown seas and another sun – pure of the scandal of life-bearing rays – I have sought for the rocking of a skeptical ocean in which islands and axioms are drowned, the vast liquid narcotic, tepid and sweet and tired of knowledge.
This earth – sin of the Creator! But I no longer want to expiate others’ sins. I want to be cured of my begetting in an agony outside the continents, in some fluid desert, in an impersonal shipwreck.”
Excerpt from “A Short History of Decay” (“Précis de décomposition”) by Emil Michel Cioran.
Translated from the French by R. Howard