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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The artist is absent | Oil on panel, Original, 150 x 75cm (unframed), £1,600
Sylvia Batycka
08
MFA Fine Art,
Wimbledon College of Arts 2019
Batycka understands her portraits of women to function as an intermediary, between
past and present, photography and painting. Informed by both archival photographs,
and her own photography, her paintings are not items of evidence, but reminders of
loss.
Describing her collection of found photographs she explains that their subjects:
“entice me from the past with their glamour, strength, mystery, untold stories, yet
often all I am left with is an orphan image reflecting a second of their life, a stage
moment.” Her protagonists are “passers-by from a moment in time. I acknowledge
their strength and their glamour. I inquire into the aesthetics of absence, hauntology,
and nostalgia. I look at the dress as the memory of the absent. Dresses, that I
consider to be ultimately female garments, form their own visual language – the
feminine sartorial language that speaks of identity, empowerment, and allure. In the
absence of the wearer, the dress speaks of nonappearance. In the absence of the
wearer, the dress forms the only portrait that remains.”
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