name of the exhibition portada

U G O L A T CA

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LY N O Y A PL S I D

Palimpsest, as a form of reflection. Scraped clean and used again. Palimpsest is a layered process in which accumulation is the method, a process in which visual and material techniques get expanded in time. Accumulation, process, visual superimposition, layering, strata are concepts included in its meaning. An image that has included the image of what was once as a trace. A visual process is required here in order to find hidden images that can appear in front of us as a deeper understanding of reality. This process becomes a form of reflection as a mirror of hidden visual stories. Mirrors are full of people. The invisible see us. The forgotten recall us. When we see ourselves, we see them. When we turn away, do they? Mirrors by Eduardo Galeano. Artists deliberately hide images and ideas within a work of art. I invite you to look for them. Then you could feel the pleasure of finding yourself involved within them in order to understand the creative process of the artist. Seila Fernndez Arconada For more information contact Seila by: be.in.art@hotmail.com seila.fernandezarconada@gmail.com 07854215089

Reflected Lines (2009), looks at cycles in nature and human interference in that delicately balanced system. At a time of more extreme weather events, a flooded road reflects the overhead power transmission cable representing the consumption that has prompted the disruption of the balance. This work was part of an exploration of interference in the natural environment. This reflects my academic background in geology and teaching qualification in environmental science, together with an understanding of the nature of reflection, refraction, diffraction and the prismatic dispersion of light leading to complex dispersion and interference patterns in wonderful settings. I am interested in the elicitation of attention and prompting a deeper consideration and engagement with the visual environment.

Biography I am an artist, currently doing an MA in print at University of West of England, Bristol, where I recently completed an MA in Fine Art with distinction, I came to art college later in life. My work and my life are a compromise, the result of ill-health and pain since August 1976. The work is about the commonality of experience, the fragility of life, life and death, resilience and determination to keep going, finding wonder in the mundane, exploring ideas and ways of translating them, and seeking to make connections. I am good at looking and understand the human and natural environment with a degree and masters degree in psychology, a degree in geology and a teaching qualification in environmental science. Prior to art college I worked as an educational psychologist doing specialist work with young people with emotional and behavioural problems; prior to that I taught for sixteen years in five secondary schools. I have always been an artist but only recently as a full-time practitioner.

Bernard Fairhurst

Reflected Lines Nos.1 - 7 (sizes 120 x 8 cm to 120 x 17 cm) 800

Marcus Jake The contradiction is everything, what makes the world so ugly is the one thing that makes it so beautiful. My work often deals with personal experience, I need to hold an emotional connection to what I am producing. There is also a political undertone to my project based work. Often I use metaphors as a means to portray my agenda. New bodies of work fall into separate themes, different chapters of the same book if you like. To move progressively forward without restriction, I work in a mixed media environment; using photography, paint, film, writing, sound, sculpture and installation. Currently most of my work stems from the use of photography, this is gradually evolving but I still believe it to be a fundamental part of my artistic vision and expression. I am interested in finding an emotional connection with my audience. I believe an unabridged understanding of my work is not necessary, although for me it is often based on absolute specifics, I hope the viewer can relate on more than one level. People do not need to have had the same experience to have a relationship with the work. Everybody feels; all I need is for the viewer to find one connection and then the door into my world is open. I believe on some level all my work to be self-portraiture. Rarely is it actually my physical self in the artwork, but always my emotions, my feelings. It is nothing more than a reflection of parts of my journey and experience.

Broken moments I, Acrylic on Canvas 40 x 30 inches 2013 - 420

Broken moments II, Mixed Media on oak braced board. 40 x 30 inches. 2013. 500

Marcus Jake

Hidden, Mixed media on board. Light emulsion prints onto cracked plaster. 2012 & 2013. 350

Broken moments III, IV, V. Framed Photographs 2013 - 180 Printed on 100% Cotton, gallery quality prints. Hand finished Tulip wood frames.

MANSOS Mansos is a photographic and multimedia project which shows the attitude of modern man: submissive, meek (Mansos in Spanish), and resigned to loneliness and isolation. It concurrently reveals a silent cry for help Man SOS in the falsity of the era called: the era of communication. A portrait of an internal crisis, paradoxically captured by one of the most popular communication means of late, the iPhone. It leads us to the underworld of three different European cities, each one grappling with the same reality: our solitary confinement. Mansos was selected by Rafael Doctor (ex-director of MUSAC), for the last edition of the portfolio review at -Emergent- International Photography Festival.

Roser Diaz Born in Barcelona, March 10, 1971. Graduated in Spanish Language and literature, she began to learn photography on her own, shortly afterwards she completes her training as a Superior Technical Artistic Photography in an Art School in her city. She resided in London and NY for some time working on own photographic projects, and teaching photography short courses. Her works focuses on street photography, to show the most common and mundane acts of daily existence, and confronting the public space with intimate situations. Rosers works have been exhibited in different places, and she was recently selected by the prestigious Commissioner Rafael Doctor (ex-director of the MUSAC), for her work ManSos, in the last edition of the portfolio review at -Emergent- International Photography Festival.

Roser Diaz

ManSos, digital photography 150 (each framed photograph, 40cm x 40cm)

Finding thoughts
Digital photography series. These images convert the body into landscapes through light experimentation. Abstractions that evokes mysteries beyond recognition, where the unknown is part of it; landscapes that are born from the darkness showing a visceral sense of beauty immersed in a colorful atmosphere.

Seila Fernndez Arconada completed the MA Fine Art at the University of the West of England with distinction in 2012. Since then she is based in Bristol and has participated in several projects and exhibitions internationally, including Secret Whispers, an international project which was presented at the Bristol Biennial 2012 or Echoes Within 7 (2013), a collaborative project between UK and Thailand with the artist Simon Ledson. She has curated several shows such as Coroners Court, Public Entrance (2013), an exhibition in an old courtroom where the artists created in/for the space. In addition, she collaborates in a multidisciplinary projects still in progress. Seila Fernndez Arconada, artist statement With her practice she explores the encounters in which the certainties of mind are challenged. A study of both visual and cultural perceptions of reality related to collective memories and optical illusions. She is interested in working with the ephemerality of place, as a state of complex continuous change, and its context in society. She believes in collaborations to open contextual dialogue from which the role of the artists can be expanded within the wider society.

Seila Fernndez Arconada

Finding thoughts, 2011. Digital photography 1/3, 380 (each framed photograph)

Phil Young makes objects and sculptures out of various materials, most notably wood, metal, rubber and glass. Making a conscious decision to make unique objects that require a high level of craft, his work explores the tactile nature of these materials and our innate associations with them. For millennia humans have utilized and fetishized the raw materials in our environment. We have made practical use of them as fuel or tools, and in more esoteric ways such as ceremonial icons, commercial products or modern art. Over time this relationship has become instinctive to the point that wood holds strong symbolic associations, such as nature, ancestors or usefulness. And yet, recently this relationship has become more tenuous as the materials we used to rely on can appear only distantly related to their natural origins. Within this context Phil chooses to craft his work to be unique in order to place it apart from the easily mass reproduced objects of commercial and even artistic culture. The artisan skills he utilizes play with our instinctive relationship with the raw materials we can sometimes take for granted. The eye is tricked in to believing they have properties that we know they should not have, such as wood that appears to be rubbery or fleshy. The personal and fetishized forms the work takes challenge the viewers notions of how these materials should appear to us. On all levels Phils work attempts to dislodge our assumptions of what these most basic of materials are and mean to us, leaving us to question everything from their place in contemporary culture through to the very tactility of their nature. He is happy to take on commissions for furniture in this style.

Taut 2013 925 Dimensions in cm: 35x50x5 Materials: Zebrano wood, stainless steel, copper

Phil Young

Squish 695 Dimensions in cm: 29x39x5.5 Materials: Walnut & Sycamore wood, glass, stainless steel

Squash 770 Dimensions in cm: 30x21x8 Materials: Purpleheart wood, glass, stainless steel Bind 1075 Dimensions in cm: 87x18x8.5 Materials: Yew wood, 7mm black rubber cord

I produce these on Plywood using emulsion, spray paint, ardenden (a building material) and paint thinners. I then heat them up causing the paint to blister, after this I use cloth tape to pull back the layers exposing the different areas of colour. I finish by rubbing in beeswax and a wood dye. Afterwards I chop the individual pieces up and reconfigure them to create whole pieces. I am interested in the decaying urban environment and with it the evidence of human interaction. I enjoy the notion that around us everywhere are buildings and spaces that signify complete life cycles from the planning and building of such areas to the subsequent death and abandonment and with it the complete loss of values both economically and monetary. I take samples of these spaces and attempt to recreate parts of them in my work, I like to think of these as segmented realities or snippets of these spaces.

Liam Rush D.O.B: 24/01/1988 South London Educated at the University of the West of England in Fine Art Works as an interior designer and carpenter whilst engaging in an attempt to earn his keep by producing Paintings and one off design pieces. I work from a small studio/workshop in Bedminster Bristol, although I am hoping to relocate to a more spacious accommodation soon to allow me to focus on both design and painting.

Liam Rush

2 Untitled. (Paint Paintings) 1: Untitled. (Paint Paintings) 2: Untitled. (Paint Paintings) 3: Untitled. (Paint Paintings) 4: 90 X 70cm Price: 380 100 X 50cm Price: 480 80 X 70cm Price: 380 80 X 45cm Price: 320

Commuters diary. National Express 040 Airboat, airplane, amphibious vehicle, balloon, bicycle, boat, bus, camper, canoe, car, caravan, caravel, cargo ship, carriage, catamaran, coach, Conestoga wagon, container ship, convoy, cruiser, delivery van, dinghy, ferry, funicular, galleon, gondola, helicopter, hydrofoil, hydroplane, ice boat, inflatable boat, jet, kayak, lift, locomotive, lorry, magic carpet, motorcycle, ox cart, parachute, rickshaw, rocket, rollerblade, ship, sledge, space shuttle, submarine, tandem, taxi, tractor, train, tram, tricycle, trolley, tube, unicycle, van, windsurf, wingsuit flying, yacht, yawl or zeppelin.

Elena Ortiz Elena is a spanish printmaker based in Bristol. Her work is a result of her broad knowledge across a variety of printing techniques such as photopolymer or lithography Elenas practice is rooted in her everyday life which she portrays through drawing and photography. Behind Elenas work you can glimpse her interest for geography, nature and those small details which make our daily life different.

Elena Ortiz

Print Number: 2/3 Title: Commuters diary 02. National Express 040: Bristol Coach Station to London Victoria Coach Station. Medium: Screen printing Size: 42x 29.5 cm Date: August 23rd 2013 90

Print Number: 2/8 Title: Commuters diary 01. National Express 040: London Victoria Coach Station to Bristol Coach Station. Medium: Photopolymer Size: 50 X 40 cm Date: June 1st 2013 210

Simon Ledson:
Artist statement TIDE SCAPES My practice envelops multiple fields of visual expression. The main themes that I focus on deal with ideas surrounding perception and distortion of vision regarding constants, such as data, time and space. I use materials to question our understanding of what we are looking at. Time/Tide Scapes: This body of work is experimenting with visualising data, information within surf culture. By focusing on the connections that make information playful, facts and ideas that interconnected visually. An observational study on the understanding of form, light, space, these are the elements that influence my Time/Tide Scapes. This work is a series of experiments working with data exploring information time, change and direction, finding a way of logging their actions. I find these are some of my inspirations. I'm interested in our understanding of what we are looking at and question both the thing itself and the image of the thing. Vision can be the result of some form of unconscious reference, a matter of making assumptions and drawing conclusions based on previous experiences. These works are an ongoing enquiry into the relationship of what I see, a mere reflection of light on a surface. Its not so much the location its more the time and data capturing the correct atmosphere. The time in-between night and day we call it nautical dawn when the sun is 12 degrees below the horizon, the day starts.

LOW TIDE N RIGHT W E WIND S MID TIDE

The process on how I get to the layout of my data Tidescapes the canvas starts with the wave data from location.

7ft

HIGH TIDE

SWELL PERIOD [ 12s]

Simon Ledson

CALM 76 by 76 cm. Oil and mix media on canvas 530

CALM SEA 76 by 76cm. Oil and mix media on canvas 530

Lisa Shuh I am currently studying Fine Art at the University of the West of England, Bristol. However, my previous background is in political science, philosophy and environmental studies. After working for a number of years for an environmental and social policy non-profit organization in Washington, DC, I decided to move full time in an artistic direction, seeing it now as the best way to communicate and express my political and philosophical ideals. Working primarily with photography, video, 3D installation, and sound, I seek to merge ideas from philosophy and science with art, and through visualization, bring these concepts to life and accessible to a wider audience. Among those concepts closest to my heart stem from current thinking in theoretical physics regarding multi-dimensional reality and quantum mechanics, chaos/complexity theory, and fractal geometry. Through geometric form and surrealistic narratives, and supported by these scientific theories, I seek to express my belief that there is much more to our reality than what we perceive with our five senses and traditional linear thinking. And through illustration of what this might look like, I seek to tease out consequences for our social and political contexts, sense of self and personal relationships, and perception of nature.

Lisa Shuh

Brittle 2011 40 x 30 cm Digital photograph, inkjet print on archival paper Edition 1/5 (2013) 120

The Devils Moonlight 2011 40 x 30 cm Digital photograph, inkjet print on archival paper Edition 1/5 (2013) 120

Gibraltar 2011 40 x 30 cm Digital photogram, inkjet print on archival paper Edition 1/3 (2013) 120

Infinite Wish 2011 30 x 21 cm Digital photogram, inkjet print on archival paper Edition 1/5 (2013) 120

 Molly Behagg My work is concerned with notions of the self as transitory and unfixed. I am interested in the relationship between reflective surfaces and the presence of the viewer in a space. Partial images fascinate me, often occurring naturally created by light, water, mirrors and glass, they allow glancing moments of clarity before disappearing. I use analogue and digital photography, painting, glass, and everyday objects to explore the relationship between temporary reflections, self-identity, memory and place. My practice is process driven. I am often drawn to the formal elements of a medium as a starting point, such as glass or photography, but also places, objects and texts all inform my work. Darkness resides beneath the surface of my reflections, often concealing vibrant colours, which are only ever partially revealed in certain light. I employ elements of trickery and happenstance, to transform everyday places and create illusory space that draws on the audiences imagination and disbelief. My work is concerned with how self-identity is shaped through experience and how everyday places or objects are transformed through personal narratives and memory. The concept of home is important to me and I am interested in how people use places to define themselves. I believe that the absence, as well as the reflection of people, can to give voice to the hidden narratives of places and objects, the passage of time, silence, movement and the ever-changing self. Thaw is part of a wider series of photographic works which explore interior and exterior as psychological spaces. This piece has become the starting point for my current body of work looking at the reciprocal affect of place and self-identity. Untitled is part of a series of photographs that used analogue darkroom techniques to manipulate photographic space, and the overlap between mirrors and windows. Only Ever Part of the Way contains hidden space, which is only revealed in the reflection of a convex mirror. The central space is inaccessible and the viewer stands outside, separated from the reflection by invisible windows.

Molly Behagg is an artist who works with a variety of media including photography, painting and everyday objects to explore the relationship between place, self-identity and memory. Her work is concerned with how the self is shaped through experience and how everyday places and objects are transformed by personal narratives and memories. Recent exhibitions include: This Me of Mine at Ipswich Art School Gallery, The London Analogue Festival, and Curate North: New Faces exhibition in association with Rowan Arts, London. Molly holds a BA (Hons) in Fine Art from Bath Spa University and an MA Art and Design in Education from the Institute of Education, London. Molly grew up on the South coast near Brighton and now works from her studio in South London.

Small Shadows, Red oil paint, varnish, gesso board 40x20cm 2011, 400 Small Shadows, Green oil paint, varnish, gesso board 40x20cm 2011 400 Small Shadows, Violet oil paint, varnish, gesso board 40x20cm 2011 400 Small Shadows, Blue oil paint, varnish, gesso board 40x20cm 2011 400

For more information contact Seila by: be.in.art@hotmail.com seila.fernandezarconada@gmail.com 07854215089