Gray's School of Art, Robert Gordon University, Aberdeen, B.A. (Hons) Painting, First Class
"I paint to understand the value of the wilderness.
Having grown up in the Highlands of Scotland, as a painter I find myself responding to spaces that offer me experiences of our wild and windy world. Inside in my studio, I translate these experiences of outside and the stories that are born from them, into their own painted descriptions.
The narratives and imagery for ‘Boundaries,’ stem from a trip to Shetland. In its bleak and windy spaces, where the night can still bleed stars, Shetland is a place approached by boat. It is an ancient land that still breathes wilderness."
Duncan of Jordanstone College of Art & Design, Dundee, Scotland, BA(Hons) Fine Art
Drawing on the anti-authoritarian, darkly comedic and democratic ethos of Scottish art, Jamie D Watt’s work investigates cultural tribalism, power structures and the fluid nature of truth and knowledge. Inspired by the theological and social forces that forged modern Scotland, Watt merges the ecclesiastical with the proletarian and the historical with the contemporary, to create iconoclastic, often humorous arrangements.
His practice focuses on the recontextualisation of characters or artefacts from history to create a new discourse toward an understanding of contemporary cultural identity. This approach, spanning a wide range of media, can lead to enigmatic works as the artist invites the audience to do their own investigation into the subject matter.
Edinburgh College of Art, BA (Hons) in Intermedia, Fine art
Central Saint Martins, Foundation Diploma in Art & Design
Katie creates work in a range of mediums centred around or inspired by photography. In particular attempting to identify and visualise concepts linked to photography usually gathered from the personal experience of taking photographs. Often exploring the limitations or difficulties in trying to communicate effectively and how we experience our surroundings.
Tessa’s recent work represents a rediscovery of her love for figurative painting. Her portraits derive from symbols and subjects from the history of European painting. She wants to create images that attract or seduce at first glance. Nonetheless they are unashamedly romantic, perhaps even serious, at a time in which irony is the dominant mode of cultural expression.
Aesthetically, Hannah is drawn to the painting mediums physicality. Her recent paintings appear particularly concerned with the fact of their own making. Using the restrictions of experimenting within the frame, she plays with this as part of her compositional decision making process alongside the continual dualities within paintings that she can create, through for example composition, colour, form and texture. Using a variety of methods to build up areas of surface, creating additive and reductive marks, Hannah plays with an ability to create a sense of depth and colour impact. Whilst simultaneously methodical and gestural, they exude a calculated self-awareness, testing the line between painterly craft and carelessness.
It is the immediacy of painting and these subversive juxtapositions that allow Hannah’s works to delve confidently into abstraction, playfully joining more traditional of media with striking elements of contemporaneity.
move/leak/seep/saturate/viscous/spread/transgress/wet/stain/mark/leaking/secreting/smearing/rubbing/transgression of boundaries and crossing of boarders//lines/rules/fears/edge/nerves/unease/establishment/broken/person/dramatization of the human form/sagging weight of the body/in-flux/transition/contained and container/the raw materials before congealing/the smell of the turning/inside and outside the body/taboo of the ambiguous/performance of materials/volatile shifts