1 -19 Artwork Images
20-34 Artwork Text
A Space for Thinking
Set in Stone
What We Leave Behind Dean Wright
What Will Be Left?
The Final Frontier
Future Ancestral Connections
Stories of an Unknown World
Pull the Plug
Catherine McCaw- Aldworth
Time When Time Stops
Li An Lee
Museum of Post-Apocalyptic Evolution
Too Much in the Brain
What Happens if we Could
Actually Go Beyond?
From a metaphysical standpoint, a boundary can be
seen to be a mental limit or barrier, created by the
host. It not only to signifies the dimensions of their ‘safe
zone’, but also the acknowledgement and existential
point of complete vulnerability and ignorance.
Complete and utter darkness.
Brené Brown said this about vulnerability in her book
“Vulnerability is not winning or losing; it’s having
the courage to show up and be seen when
we have no control over the outcome.
Vulnerability is not weakness; it’s our greatest measure
I constantly measure my life by looking introspectively
at my battles with expectations, through the
manipulation of boundaries. This year, the Earth
was met with an immovable expectation that
provided complex and ever-changing boundaries.
This exhibition to me, is an exploration into the mental
abyss that exists beyond our current limitations.
What happens if we could actually go beyond?
What Happens if
we could Actually
Through the description of the pain of people with
too much thinking, we can expose the fact that
capitalists oppress the people. To call on people to
reduce their ideas, accept and re like their ordinary
and imperfect. Let people no longer live in the
perfect standard set by capitalists, so that they can
get rid of the consumption trap set by capitalists.
This will make their lives better and easier.
Too MucH in tHe
First survivors converged in non-familial, nomadic
groups. With previous rituals and routines gone,
a new way was found to memorialise loved ones
who died while travelling. A segment of humerus
or femur was taken from the corpse and split
lengthways down the centre (the nutritious
marrow given to children or the sick). The bone
was cleaned, dried and polished, often with sand.
Sometimes it was carved or written on. Lengths
of fibre were tied around shards of pottery, metal
or class – anything that would sound a note when
they collided – and attached to the lower part of the
bone, which was embellished with items belonging
to or associated with the deceased, making each
chime unique. These bone chimes were wrapped
in cloth and only hung, usually in trees, when the
group had halted and felt secure. Many chimes
hung together signified a peaceful settlement
Museum of Post-
This latest work is a further exploration into the
morphing of role and identity;of ‘progression’/
changing ideas set against the complexities
of modern life. The three canvases have been
removed from their stretchers and hung
from oversized clothes hangers giving the
work a domesticated aesthetic and yet at the
same time the layered content presents an
altogether more complex and ‘unfinished’ notion.
I am a mixed media artist working with paint,
photography, words and sculpture. All my
work centres around the concept of hope
and suffering especially in relation to Black
Swan Events, articulating pain and offering
an alternative hopeful future. That is to say,
no matter what pain, despite how we envision
the way things will go, it can always be turned
into good. My works allude to something
greater impacting our lives inputting traits
such a love, encouragement, joy, etc. but also
being a guardian protector. The photographs
are of my children; in whom I pour beauty,
bravery, and encouragement. Championing
them on but also in a detached way, whilst
always watching and observing and protecting.
Time WHen Time
Li An Lee
Catherine’s work and practice focuses around
the connection between the body and domestic,
exploring the relationships our bodies and our
discarded materials have within the physical
home. She also finds interest in exploring ideas
around a metaphorical home, a non-domestic
space such as heaven. The phrase ‘Pull the Plug’
means to stop something from happening, allowing
something to escape or fall through. A plug inside
the sink gathers all the food debris so it doesn’t
clog the drain. A plug in the bath allows the water
to fill up so we can wash ourselves, it harbours our
discarded cells of the body. A plug is the opening
between the domestic space and the systems
below that transport our discarded materials to
other spaces, often back to the ocean. Of course,
the contaminated water remnants from the drains
are treated first but tiny particles of ourselves
goes through all the systems and filters to end up
in the grander scheme of the world, in this ocean,
just floating around waiting. This piece of an
extra-large plug thinks about the larger discarded
parts of our bodies especially in COVID-19 times
but also what’s clogged up inside and where
we end up in the grander scheme of the world.
PuLL tHe PLug
Stories of an Unknown World is a long multiinteractive
work, that explores the imaginary
and different realities through storytelling.
Explores a complex world with references
in escapism, mental health, and embodied
emotions. Can you discover the deeper
meanings behind each character? Is it real?
Stories of an
This work is looking at intricate connections
and associations we have and need to develop
further with our surroundings. It is looking at
the layers of information that are contained
in a single viewpoint or image. The work tries
to look in depth and beyond what is physically
possible and at underlying constructs which
could develop a new way of looking at the world.
Michael Kelly’s works (acrylics on canvas)
explore the boundaries of the near future and
its technological possibilities and failures. The
triptych presented, each on an apparent space
theme, explore using a mystery narrative the
issues the future presents to mankind. The viewer
is invited to construct their own narrative using
the images depicted – all narratives are valid.
THe FinaL Frontier
In the 18th & 19th Centuries a number of pioneering
women established themselves as significant
still lifepainters. Often unable to enter the
Academies they were also prohibited from
observing and painting the human body. Several
of them made successful careers as painters of
what was regarded as the lesser form of ‘still life’
painting. Some three centuries separate their
work from mine and much of their work is only
known to me by virtue of their digital afterlives.
This leads me to wonder what might follow
in three centuries from now. Will machine
learning and AI have taken us past the
Singularity to the point where computing
has independent imagination and creativity?
What will be left? reappropriates the
language of consumerism and moves it
into a new space, where it serves as both a
warning and a statement of hopelessness.
WHat WiLL Be Left?
The thin skin of the weather balloon bulges
through its rigid steel restraints. It feels
imprisoned; impotent against an immovable
structure. The skin is filled with air. Air: our life
force that has been immobilised, incarcerated,
behind arbitrary walls. Now the air’s lifeforce
is weakened, exhausted, and frustrated.
The iron lung was traditionally used to treat
patients unable to breathe for themselves, often
due to diseases such as polio. It had
been abandoned in favour of more modern
breathing apparatuses, however, since the
rise of covid-19, there has been a renewed
interest in the concept of the iron lung, which
assists breathing through a negative pressure
system. In order to receive the treatment, a
patient is imprisoned in an iron cylinder for
approximately two weeks, until recovery or death.
In parallels with the current government advice
surrounding covid, we can become trapped; our
personal liberty is sacrificed for the greater good.
The work depicts an interior space, rooms within
a house seemingly devoid of its inhabitants. The
emptiness is filled when the house as object
becomes a threshold space for memories,
feelings and experiences, these become activated
by being in or with that threshold space.
The viewer looks in but from where? From another
room? From outside? The obscured view of the
interior space breathes a feeling of intrusion and
at the same time that of isolation or abandonment.
The work addresses notions of care and
vulnerability and the fuction of home. The house
beomes a second skin, a part of self. The space
seems lost, hidden and like a lost memory, difficult
to access or retrieve. The wall behind
which the hidden spaces exist may
represent ‘what was or what is’.
The skin is an important marker of our identity and
something we take pleasure to define. However,
with the current movement towards enforced
personal territories, mediated by measures such
as social distancing and mandatory masks, we live
in a society where the boundary between ourselves
and others is increasingly being demarcated.
The cultural defence of our corporal boundaries
enforces the concept of our skin as a firm border
that delineates our body. But does our body really
end at the skin? Or should we view our skin more as
a blurry, porous outlining, taking into consideration
that our body’s personal electromagnetic
energy field outspreads the skin by about 3 feet?
The concept of our skin as a firm border
that effectively separates us from others is
contested by taking a look at the measurable
interaction of our bio-field with that others,
ultimately blurring the distinction between ‘self’
and the ‘the other’. When acknowledging this
energetic dialogue, we direct attention away
from the notion of dividing opposites, but sense
an intimate interconnectedness between us.
Introduction centres around a narrative that
reveals and introduces a collection of found
objects. The common thread that runs through
the collection is the conditions and essence by
which they are found. Discovery is made through
a ritual of activity, where intention is minimal.
Not wanting to replicate an archaeological dig,
the work is presented in a form that does not
have the answers but instead asks the questions.
Playing with numerous responses to the objects,
this work focuses on bringing the experiments
together in a coherent form to highlight the desire
for exploration and learning. It is a process
of becoming and the beginning of the story.
My collages started with a workshop we had
with the University early in the course, and
it was something I continued to work on due
to how much I enjoyed the way that they
allowed me to combine all of the different
facets of my work into a new piece of art.
These collages explored the idea of simply just
imposing shapes of texture over an image.
WHat We Leave
This work, Becoming Geology, is concerned
with humanity’s significant and increasing
modification of Earth systems. That breaching of
the boundaries, leading to bio-diversity collapse,
climate breakdown and health pandemics.
Evidence is gathered by large scale research
projects as well as by amateur observers of
local phenomena. All materials in this work were
found by the artist in a specific rural location and
are presented in the proportion 1:10 biomass to
human-generated deposits. Four free-standing
structures constructed from stacked gabion
baskets are filled with rock, concrete, plastic and
metal detritus, as well as living organic material.
Photographs are such an important part of
continuing the memories, continuing the bonds
through time. These photographs are painted
onto a Victorian garden wall, set into the layers
of the stone just as the memories are set
within me, traveling the generations and still
making their presence known. The wall upon
which they are painted is as old as they, for it
seems both share the history of weathered
storms, changing times and present moments.
The faded images reveal their earthly ruins,
for they still remain imprinted on my heart.
Set in Stone
Adlam’s work explores the conditions that
need to be satisfied in order for a work of
conceptual art to exist. To address this he
studied the philosophy of conceptual art which
he supplemented with additional texts on the
history of its development. As a result he
imagined a distinct form of art characterised
as ‘psycho-philosophical’: his intention was
to generate an ethically informed body of
work which simultaneously expressed the
distinctly personal meaning of ‘things’ and
the philosophical issues which they surface.
A Space For
Li An Lee
This publication is typed with:
Solide Mirage https://velvetyne.fr/authors/jjjlllnnn/