Made in Arts London's #8 Annual Catalogue
Celebrating our 10-Year Anniversary in 2021, Made in Arts London proudly continues to showcase and represent "some of the best emerging talent that the University of the Arts London has to offer. Our diverse range of artists are selected by a panel of industry professionals, welcoming applications from all six colleges, and from all stages of study. The platform offers our students the opportunity to exhibit their work in a safe environment – they gain professional experience of pricing their work, showing with commercial galleries, selling online, in markets and at art fairs", Eleanor West, Arts Students’ Union Activities Officer 2019-2021.
Celebrating our 10-Year Anniversary in 2021, Made in Arts London proudly continues to showcase and represent "some of the best emerging talent that the University of the Arts London has to offer. Our diverse range of artists are selected by a panel of industry professionals, welcoming applications from all six colleges, and from all stages of study.
The platform offers our students the opportunity to exhibit their work in a safe environment – they gain professional experience of pricing their work, showing with commercial galleries, selling online, in markets and at art fairs", Eleanor West, Arts Students’ Union Activities Officer 2019-2021.
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Amassing Light (45 Degrees) 3 | Cyanotype print on Fabriano Unica paper (250gsm), Original, 70 x 50 cm
(unframed), £600
33
Eleanor Suess
PhD, CSM Research Programme, AHRC funded through TECHNE
Central Saint Martins 2020
Suess is an artist, architect, and educator; her work has been exhibited and published
internationally; and she teaches architecture at Kingston School of Art. Her current
research at Central Saint Martins traverses these disciplines to explore temporality
and ephemerality using artists’ digital films and cyanotype blueprints.
The work with cyanotype printing explores a strategy for creating architectural
representations using sunlight. Suess links this time-based approach to the
conventions of architectural ‘axonometric’ drawing projection, by recording the
shadows of clear acrylic solid blocks and hollow cubes. The rays of light that activate
the cyanotype paper produce a sequence of images that follow the convention of
non-perspectival oblique projection. The resulting ‘blueprints’ suggest an architectural
or urban form; however, the abstract instrumentality of the drawing is undermined
through the materiality of the process.
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