Rachel Ashton is a film maker who previously studied an undergraduate degree in Fine Art at Goldsmiths College, London, 2018. As a director she takes an approach of passivity allowing all cinematic elements to live equally on the same plain. This means that often place, interpersonal relationships and music behave parallelly as protagonists in her work. Rachel Ashton engages with the complex relationships of the rural environment and the people who live amongst it. Her films witness how communities can come together when faced with difficult circumstances.
Cudelice Brazelton IV operates within the extensions of painting, assemblage, installation, and sound to construct adjustable entities and architectural engagements within the cut.
As a multidisciplinary artist, Anita Esfandiari’s practice involves a wide range of media devised to bridge the gap between the free zone of art and the social context it actually belongs to. Her works mean to create imaginative realms reflecting on the social and political-economic context that are indispensable to her life.
Kristina Lovaas works predominantly with ceramics, fabric, and installations investigating topics around affection, humor, and the process of recording touch.
Nadia Perlov’s practice is rooted in the research of cultural history, language, and culture as a means of production, focusing on the flow of migratory cultures, exploring narratives and identities in relation to politics, architecture, territory, and aesthetics. Perlov draws lines between Jewish history and the cultural-political discourse of decolonisation in Israel-Palestine.
She uses video, narration, animation, collage, costume making, dance, and music to gaze critically and humorously across broad historical movements.
Sarah Rosengarten is an artist working with Photography.
Thake’s work depicts animals, people and objects in portraits of collision. By boxing the subject in minimal, architectural settings, she pronounces shifting bodily states in sculpture, film and text.
James Sturkey makes drawings that show the interior architecture of public toilets, themed fences and facades, and the decorative paraphernalia of restaurant franchises. Such subjects, which for Sturkey are passions, are as banal as much as they are built upon the idea of phantasmatic potential. His sculptural works bring them to life like elements of theatrical staging, whereby the viewer finds themselves both comfortably familiar and yet alienated as the sustaining artifices of everyday life are made explicit.
Matt Welch works predominantly with sculpture and video. Recent work explores representations of the human body and its organs as institutionalised metaphors for the public body and ethical actions of the individual. The inside and the outside body are enacted as structures in Welch’s work to explore conflict, group dynamics, political difference, and exclusion in the autonomous and common systems of the individual subject.
Functionality, “affordance” and signifiers—how people and objects interact in everyday life. That interest comes from Yamakawa’s background studying information design. Her older works are a documentation of discovering the hidden functionality in daily life. This starting point brought her to the problem of documentary and fiction, realistic and artificial. She thinks feelings of significance are special, and thinks the little gap or the oddness made by an alternative method is beautiful. For her recent solo show in 2021 in Denmark she presented Tomomi’s group show. She uses different media and materials.
The lifeless in the sky, which is a part of nature, and the natural phenomena such as the moon, the clouds, the rainbow and the wind are expressed as a living being in the context of the work on the basis of fairytale fantasy.