PEER FORUM at Camden Arts Centre
The 2017 PEER FORUM opportunity at Camden Arts Centre was awarded to lead artist Alicia Tsigarides who will be running a peer mentoring group with Leah Carless, Katharine Fry, Rebecca Jagoe, Olivia Brazier, Annie Attridge, Lindsey Mendick, Alicia Reyes McNamara, Holly Hendry, Mindy Lee and Tenant of Culture
This peer mentoring group established by Alicia Tsigarides brings together a group of women artists to examine the representation of femininity. They will identify how the body emerges in humorous, erotic or grotesque ways within their practices. Their contrasting approaches range from the Kitsch and provocative to the intimate and opulent. Some traverse gently between these extremes. Discussion will explore the boundaries between the sexual and the romantic, the tasteful and the vulgar. The role of the artist’s biography, including the influence of cultural backgrounds, life experiences and popular culture, will be considered. Exploring how the female body is presented throughout art history, they will identify established feminist arguments and current strategies used to define or disrupt ideas of gender. Examining the relationship between gender and materials, the group will discuss the importance of materiality and process in their work. The primary aim is to expand these ideas, whilst giving feedback on each other’s work. Bringing together these playful yet critical practices generates a conversation that feels relevant and needed in the current climate.
Alicia Tsigarides (b. 1988) is an artist living and working in London. She graduated from MA Sculpture at the Royal College of Art in 2016. Her practice explores ideas of excess, desire and the body through sculpture and writing. Recent works have explored the contemporary Baroque and means of replicating the exquisite moments she finds everywhere, including emotive love songs and bittersweet life experiences. Using silk, exotic woods, precious metals and imagery, her process involves carefully remaking and editing elements to highlight the suggestive or spiritual. There is a want to get to the center of something, about pairing things down to the key moment, the climax. Her excessive and fantastical texts record her intense encounters with sculptural masterpieces. She has been selected for residencies at the Scottish Sculpture Workshop (2014) and Cite Internationale des Arts, Paris (2015). Recent group exhibitions have included Creekside Open (2017), ‘Sweat’ at Camden Arts Centre (2016) and ‘The Kiss’ at Blyth Gallery (2016).
Leah Carless (b.1982) works between London and Birmingham. Working predominantly in sculpture, her work is driven by questions about making, materiality and their emotive qualities. Works occupy a space between landscape and body taking on both solid and fluid states. The work investigates notions of physicality in contemporary society; that of consumer culture, environmental uncertainty and what it means to have a fleshy body in a culture saturated by visual imagery. She graduated with an MA sculpture from the Royal College of Art in 2016. Since graduating Carless has exhibited at Two Queens, Leicester (2017), KH7, Aarhus, Denmark (2016), Copperfield Gallery, London (2016) and Division of Labour, London (2016). Carless was selected for the 2016 Bloomberg New Contemporaries, which travelled to The bluecoat, Liverpool and ICA, London. She will be taking up artist in residence at The New Walsall Art Gallery in early 2018.
Katharine Fry (British, b. Belgium 1981) works in video installation with a background in performance. Marrying a mid-century aesthetic with a gothic strategy, Fry takes up figure of an arrested figure in a rigid system as her primary character. Appearing barely alive, her vitality is only registered through blinks and breaths as she carries carry out arbitrary and ultimately purposeless tasks. Unlike those of fairy tale and myth, these impossible tasks aren’t followed by any transformation or resolution. Instead her character lingers between inertia and withdrawal and Fry’s work is permeated with ambivalence, caught between enclosure and protection. Through a feminist process, Fry turns her interest to enmeshment and individuation, questions of agency, strategies of in/action and pathologies of development. She is currently completing House Arrest, a practice-based PhD at Goldsmiths, and is a Creekside Open 2017 prize-winner.
Rebecca Jagoe gained an MA in Sculpture from the Royal College of Art, London (2016). Jagoe’s practice presents the uncertainties of queer subjectivity under contemporary late capitalism. Working across performance, text and object, their work is a material memoir examining notions of body, self, and subjectivity from the perspective of queer femme identity. Beginning formally with research and writing, sculpture and performance radiate from this locus, with an interest in how these disciplines can coexist within singular works. Their research has engaged the aesthetics of high fashion and its relationship to femme identity, and the performance of femininity. Addressing the theatrics of self-presentation and sexuality, their practice proposes that the performance of these can be formative. Drawn to strategies for dismantling binaries, they challenge ideas of interior vs exterior, intellectual vs physical, and natural vs cultural, body vs mind.
Olivia Brazier is a London based artist working predominantly in collage and painting. She explores how the female body is objectified alongside consumable goods. In her recent series of works, ladies from porn magazines are found engaging with images of foods from supermarket catalogues, blurring the line between hunger and sexual appetite. These works are mounted onto linear paintings, a playful language that Brazier often uses to map observations of her surroundings. In this simplified language, lines flow together, bounce off of one another and sometimes entangle the subjects of the paintings trapping them. She is a founder and member of Your Beautiful Collective, working to create alternative spaces for artists to exhibit work within and outside of the contemporary art sphere. Recent exhibitions include: ‘Nasty Women’, Cross Street, Wigan (2017); ‘Junk in the Trunk’, a traveling exhibition around London, (2017) and ‘Future Late’, Tate Modern, London (2016).
Annie Attridge was born in Wigan and lives and works in London, UK. She received an MA from the Royal Academy School in London and BA in Painting from the University of Brighton. Using porcelain, Attridge creates a universe of caves, mounds and entrances into flesh that exit into limbs, breasts, and flowery decadence. Her work is currently included in the touring exhibition Nature Morte, Guildhall Museum, (Norway, Sweden, London). Solo exhibitions include Should of Could of Would of, MOCA London (2016) and Wanderlust, Asya Geisberg Gallery, NY (2013). Group exhibitions include The Saatchi Gallery, London (2001); The Collective, Nettie Horn Gallery, London (2010); Jungles, Galerie Maurer, Germany (2010); Condensation, Danielle Arnaud Gallery, London (2011). Attridge has received reviews from The New York Times, Channel 4 News, ArtReview, the Evening Standard, and L Magazine. Publications include Design Behind Desire, by Lisa Morgan (2011) and Nature Morte, Thames & Hudson (2013).
Lindsey Mendick (b. 1987, London) MA Royal College of Art, London. Recent and current exhibitions include: You See Me Like A UFO, Marcelle Joseph Projects (2017), Herland, Bosse & Baum, London (2017), In Dark Times, Castlefield Gallery, Manchester (2017), You Were High When I Was Doomed, IMT, London (2017) She’s Really Nice When You Get To Know Her, Visual Arts Center, Austin Texas (2016), My Own Private Idaho, Chalton Gallery, London, (2016), Anne et Lucie, Musee de Valence, France (2016) Résidence d’artistes de la Fondation Albert Gleizes, Moly Sabata, France (2016), EBC 005, East Bristol Contemporary, Bristol (2016), Blind Date, Royal Standard, Liverpool (2016), Performance: Disco 2000, Zabludowicz Collection, London (2015), I’m TEN, IMT gallery, London (2015), Mostyn 19, Mostyn Gallery, Wales (2015), It Was A Dark and Stormy Night, Castlefield Gallery, Manchester (2015).
Alicia Reyes McNamara received her MFA from the University of Oxford’s Ruskin School of Art, after completing her BFA at California College of the Arts. Her work has been included in Bloomberg New Contemporaries 2016 exhibition at the Bluecoat and later at London’s Institute of Contemporary Art. Reyes McNamara was awarded the South London Gallery Graduate Residency 2016-17 and her exhibition ‘Nowhere Else’ was exhibited in the first floor galleries in late spring 2017. Her work will be included in the exhibition ‘Language of Puncture’ at Gallery101 in Canada this Fall. Alicia is originally from Chicago and is currently based in London.
Holly Hendry (b. 1990, based in London, UK) gained her BA Fine Art at The Slade School of Fine Art (2013) and her MA Sculpture at the Royal College of Art (2016). Solo exhibitions include Arratia Beer, Berlin (2017); The Box at Pippy Houldsworth Gallery (2017); BALTIC Centre for Contemporary Art, Gateshead (2017); Limoncello Cork St, London (2016) with Kate Owens; Rice + Toye, London, UK (2016); Bosse & Baum, London, UK (2015); The Oval, London, UK; and Gallery North, Newcastle upon Tyne (both 2014). Recent group shows include White Rainbow, London; GL Strand, Copenhagen; Belmacz Mayfair, London, UK (all 2017); VITRINE, London, UK; The Royal Standard, Liverpool, UK; CBS Gallery, Liverpool, UK; Cowley Manor, Cotswolds, UK (all 2016); Turf Projects Space, Croydon, UK; Chesterfield House, London, UK; Salt + Powell, York, UK (all 2015), S1 Artspace, Sheffield, UK; and Sharjah Art Foundation, Sharjah, UAE (both 2014).
Mindy Lee studied Painting at the Royal College of Art. She was shortlisted for the WW Solo Award in 2015. Recent exhibitions include 2017: PIY PaintLounge, Sluice Biennial, Housework/Artwork, Number 13, London, Something Borrowed Arthouse1, London. 2016: In Infancy, Blyth Gallery, London, Once in a Blue Moon, Pod Atlantami Gallery, Walbrzych and Galeria OFF Piotrwska, Łódź, Poland. 2015: Sex Shop Transition Gallery, London and Folkestone Triennial Fringe in 2014. 2014:Things we didn’t have before, Pump House Gallery, London, On Innards, Blyth Gallery, London, Bodies that Matter2, Art Lacuna, London. Recent publications: On Innards, a collaborative artist’s book (bookRoom Press, 2015), The first bite is with the eye, Garageland magazine, (issue 18, 2015), Body Horror and Shapeshifting: A Multidisciplinary Exploration,(Interdisciplinary Press, 2014). Mindy Lee, Collage Magazine, (issue3, 2013). Up coming exhibitions: 2018: (solo) Mindy Lee & J.A.L-B, Perimeter Space, London, Making Painting, Amorbach, Germany and Oqbo Gallery, Berlin.
Tenant of Culture is the name of Hendrickje Schimmel’s (NL, 1990) artistic practice. Hendrickje uses this name to refer to her position as a cultural post producer rather than autonomous creator. She recently graduated from the textiles MA at the Royal College of Art. Her background in womenswear largely determines her subjects of interest and choice of material. The central object in her practice is the garment; found, made, wearable or sculptural. In her work, she examines the notion of the institutional archive: its functions and themes such as preservation and decay, storage, display and cultural hierarchy. The question that fuels her research is: how do we determine what should be saved, stored, preserved and protected? Using the phenomenon of fashion as an allegory for the transient, she looks at the contradictory relationship between the archive and trend, the fleeting and contingent versus the durably preserved.
Previous PEER FORUM Groups at Camden Arts Centre
PEER FORUM 2016
The PEER FORUM group selected for Camden Arts Centre in 2016 included Josie Cockram (Lead artist), Anita Delaney (Lead artist), Victoria Adam, Gabriel Stones, Isabel Mallet, Richard Lockett, Lauren Godfrey, Amanda Loomes, Jamie Bracken Lobb, Mat Jenner and Paul Gwilliam