Pic courtesy Wysing Arts Centre
Exhibition: Animated, Wysing Arts Centre, Cambridge, until March 1 2009
Eight inventive domestic artists appear in the inaugural exhibition of Wysing Art Centre’s campaign to support emerging artists through three exhibitions per year.
Wysing Arts Contemporary launched in January with the aim of providing a spotlight for artists in the East of England, and resident artist Julie Brenot headlines Animated with revised versions of recognisable objects from visual, pop and music culture.
Pic courtesy Wysing Arts Centre
“I see the image as a place where fancy and fiction become real,” says Brenot. “I like the special state in which the perception of the image, novel, music or film immerses the spectator or reader.”
As part of her plan, which she admits is partly to do with “turning my dreams into reality”, Brenot changes the cover of writer Vladimir Nabokov’s La Transparence des Choses.
Jo Addison plays tricks of the mind on visitors with clever little sculptures which, in requiring close-up inspection, make the towering body of the viewer seem clumsy in comparison.
She’s acting as tour guide in Services, a cardboard turntable encouraging “humour and elegance in the misspelt, crossed-out, the improvised or the handmade.”
Pic courtesy Wysing Arts Centre
Matt Cook captures the sound of the local five miles of countryside, Sarah Evans creates a pencil drawing for an iPod and a short film, and Simon Liddiment uses diverse materials in conceptual work.
Belgian artist Anne Mie Melis takes a new look at her favoured plant subjects, A Study Into New Plant Kinetics, exploring the consequences of biological engineering through detailed drawings which fall somewhere between science and art.
Pic courtesy Wysing Arts Centre
Alex Pearl, in his own words, “makes things and then videos them before they fall apart,” dealing “with chance and the things in life he doesn’t do very well.”
His fragile, funny, expanded sketches have “a sense of an acceptance of failure or disappointment as important parts of the human condition,” appearing as “epic mini films” in which five lollipop sticks sing creepy lullabies on different screens.
Pic courtesy Wysing Arts Centre
One of Simon Woolham’s pieces is called We Bought a Load of Fireworks and Let Them Off in the Sheds, it Only Went a Bit Wrong, typifying the wit and warmth his surreal (and occasionally grotesque) biro drawings and animations of familiar scenes usually possess.
He calls them “a skint version of enchantment”, doodles encapsulating the spaces where his hopes and memories lie.
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