PEER FORUM at Cubitt
The PEER FORUM 2018 award at Cubitt has been awarded to artists Cleo Broda and JMC Hayes who will be working with Sinéid Codd, Soa J Hwang, Anne Krinksy, Eva Lis, Laura Moreton-Griffiths, Katia Potapova, Kristina Pulejkova, Cecilia Sjoholm, Alexis Zelda Stevens and Pandora Vaughan.
PEER FORUM at Cubitt
The group will be investigating ways of building on its existing peer-led activities to establish a forum for sustainable and supportive critique. Guest speakers will be invited to work with the group which will share its findings at the end of the programme.
Cleo Broda has a long-standing interest in public space, boundaries and how people interact with and make their mark on the spaces they use or inhabit. The 2017 series Props for Social Spaces, focuses on how we as individuals interact in public situations and social spaces, and explores our occasional unease with them. Building on this, her current research is around using play to overcome barriers in public space. She has worked on site specific art commissions in Bristol, Sunderland and Plymouth and exhibited at Danielle Arnaud Gallery, the Economist Plaza, Collyer Bristow Gallery and SPACE London as part of their LCN Showcase 2nd Edition. Cleo studied at Glasgow School of Art and has an MFA from the Slade School of Fine Art. She is a lecturer and has recently undertaken coaching training for artists funded by A-N.
The work of Sinéid Codd is a visual dialogue between the literal and the imaginative, in which she uses found objects as a source of enquiry in connection with place and time. Curiosity and experimentation, colour and layering are evident across her multidisciplinary practice, which spans the personal, the collaborative and the participatory. In images, objects and installations she invites the viewer to look closer and to navigate space as place. She has extensive experience as an artist educator with galleries, museums, the community, school and health sectors. Her work has received Arts Council funding. Sinéid studied MFA Printmaking at Camberwell College of Arts (2014-16). Recent exhibitions include: AP49, International Printmaking Research Centre, Macao, China (2018); Materials & Objects project with students with special needs in A New Direction’s ARTInclusive, Switch House, Tate Modern (2018); SPACE / LCN Showcase 2nd Edition, SPACE, London (2017); ARTSeville International Contemporary Art Fair (2016).
JMC Hayes is an artist whose multifarious body of work is dominated by one figure. The work revolves around the Fat Man, orbiting a mass so considerable it grounds it with its strong gravitational pull. JMC Hayes plays out an awkward contemporary relationship with Fatness and embraces him as an ambiguous and ambivalent carnival figure. The Fat Man enacts scenes that encourage a ‘revolutionary power’ of laughter. This display becomes an amalgamation of enthusiasms and measured satire directed at festive human behaviour and all its excesses, indiscretions and impoliteness. Paintings, installation and Performance combine to establish a landscape of celebration. JMC Hayes works towards a positive idealised festive body born of human cooperation. JMC Hayes gradated from the Royal College of Art in 2012, she has exhibited internationally and performed and exhibited with Bosse and Baum, London, Ceri Hand Gallery and Limoncello.
Soa J. Hwang is a British-Korean artist based in London. Her practice asks questions about images and illusions, and the truth suggested by using painting as a communicative method. Utilising various computational technologies as an extensive form of pictorial language, she seeks to extend the experience of a painting in pursuance of pushing them to go beyond itself, thereby reinventing painting as an evolutionary medium. Recent exhibitions include The 4th International Exhibition on New Media Art , CICA museum, South Korea (2018); Trajectories, Watermans Art Centre (2018); STOMACH III, Hoxton Arch Gallery (2017); London Creative Network_2nd Edition, SPACE (2017); She also has taken residency with Collusion, VR/AR Artists’ Lab, Cambridge(2017) . Soa J. studied MA in Interactive Digital Media, Ravensbourne, UAL (2016), MFA in Painting, Slade, UCL(2008) and BFA in Painting, Hongik University (2005) in South Korea.
Anne Krinsky works across analog and digital media – painting, printmaking, video and photography. Geographical, historical and visual research underpins her recent practice and she has made installations in response to materials in archived collections in the US, the UK and India. Her recent work investigates the ways in which built and natural structures change over time. Krinsky’s solo projects include: From Absorb to Zoom / An Alphabet of Actions in the Womens Art Library, a site-specific digital print installation at Goldsmiths, University of London (2015) and Tropical Thames, a digital print installation commissioned by Canary Wharf Arts for the Crossrail Place Roof Garden (Totallly Thames 2017). She created Tide Line Thames, a video collaboration with Tom Pearman, for the Thames Tunnel Shaft, Brunel Museum, London (Totally Thames 2017). Krinsky has received two Grants for the Arts from Arts Council England and an Artists International Development Fund Grant.
Eva Lis often works site specifically, responding to a space by moulding and transforming it into something surprising. Currently she is developing the more poetic and meditative aspects of her work by exploring metaphor in her found-object based, reflective sculptures. Recent pieces experiment with optical illusion and levitation. They seem to confront and deny their own weight in a somewhat heroic and pathetic fight against gravity and their utilitarian function as a way of exploring the metaphor for (artistic) struggle against the gravity of everyday life. Previous site specific public pieces explored social issues, examining processes of creating power structures and looking at cultural and moral values with the aim of generating a public discourse on complex critical issues. She graduated from UCL Slade School of Fine Art with an MFA in Sculpture. In 2017 she received a prize for best British-Mexican art collaboration in the UK awarded by the Mexican Embassy.
Laura Moreton-Griffiths’ work explores what it means to be human at a time when human rights are so at risk. She is particularly interested in whether or not machines will be able to escape our social misogynies and what this means for the design of future. In 2017 she began making proposals for humanised robots and AI, collaging together ideas and images from the past and stuff that is happening now. Shamelessly borrowing from history and culture to visualise what we define as human using the robotic as a metaphor. Drawing, painting, objects, photography, digital collage, film and performance. She recently exhibited a sewn canvas M4 tank at Pillow Talk Uniqlo Tate Lates at Tate Modern, and a short film about branding and right wing ideology in Altered States with The London Group. In September, works will travel to Cumbria, Northumberland, and Co Durham with Craft+Conflict, Rural Touring Scheme. She is in her second year of the Turps Correspondence Course.
Katia Potapova is an emerging artist originally from Latvia, now living and practicing in London. She works across photography, drawing, and text in an attempt to explore her urban surroundings. Currently, she is working on an ongoing project about Tottenham (an area in North-East London) as a way to understand the complexity of London as a modern metropolis as well as her own experience and identity as a London dweller. Katia studied Interior and Spatial Design at Chelsea College of Art, where through studying ways of architectural representation she started forming her own drawing and visual style.
Kristina Pulejkova (1988, Skopje, Macedonia) is a London-based multimedia artist who works at the intersection of art, science and technology. Working mainly with moving image and installation, she aims to build a subjective narrative based on data and principles from the scientific disciplines of astronomy, physics, biology and ecology. Her main subjects of interest are time, ecosystems and mechanisms, looking for connections between man and machine, the organic and the mechanical. Her works have been shown at the V&A, The Science Museum, SPACE gallery, Museum of Contemporary Art (solo show), Skopje amongst others. Selected screenings include MAK, Vienna, ArtCOP21 in Paris, Up and Coming Festival in Hannover, Het Glaspaviljoen in Eindhoven, Tricky Women in Vienna, Film:riss in Salzburg. Kristina is also an Art and Technology Programme Manager at SPACE, London.
Cecilia Sjoholm is a London based artist who works with a variety of techniques and materials. Her drawings and paintings often feature beeswax. Metal, MDF and plywood are used for three dimensional work. With an educational background in fine art, interior and architecture, her art practice is focussed around the concepts of structure, scale and spatiality. Central to the work is an ongoing exploration into the notion of perception of volume and flatness. Often starting with a systematic approach and using a structure as a basis, she is interested in how to disrupt or re-configure this, using subjective and intuitive methods. By this process she is searching for the tension that can occur when a system is undermined, collides with itself or ceases to exist. Her recent / ongoing work includes site-specific art pieces in Gothenburg, Sweden (Trapphus and Threshold, as SjoholmPhillips). She has taken part in a number of group exhibitions including Components selected by Artnumber23 (2018), Creekside Open 2017 selected by Alison Wilding at APT galley (2017), monoChroma at the Crypt Gallery (2016) and What is the Point? at Mall Galleries (2015). She recently a participated in the London Creative Network artist development programme, run by SPACE.
Alexis Zelda Stevens works across installation, sculpture and dance. Her work is increasingly exploring psychological states and processes, like the halting, and sometimes failed, momentum of loss and mourning; and the particular energetic qualities of boredom. At a time when there is increasing focus and daily exposure to virtual and simulated experience, she is interested in foregrounding physicality and its role in our experiences as both expressive and structural, especially where our relations to others are concerned. She is interested in the relationship between the real and the artificial, materiality and scale. Live work is fundamental to Alexis’ practice as both a medium and a generator of ideas for static works. The work is informed by research into the experience of physicality on a micro level carried out through dancing (contemporary Limón and Cunningham techniques, and partner dancing) exploring: gravity, contact/partnering, how one thing can lean on, impact on or give weight to another, and qualities of energy, what happens when these qualities meet. Her work has recently been commissioned by Metal, Southend; shown by SPACE, London, and Scaffold Gallery. Manchester; and featured in artist book Psycho, produced by Broken Grey Wires. She is one of 70 artists to receive an a-n Artist Bursary in 2018.
Pandora Vaughan is a UK/Canadian artist practising in London & Berlin. She is currently exhibiting in a Brandenburg forest as part of ‘Wilde, Welt, Wald’ with BBM arts collective. Recently, mobile, transient habitations of place, rather than permanent settlement, have been the focus of her installations. She is interested in spatial confinement, land use, power and the occasional failure of collective memory in the public realm. In her practice she prefers to use vernacular traditions and techniques for the social history they represent and the way they speak to a wider audience. Her frequent use of living material in the landscape is connected to human dependence on plants. Recent exhibitions include ‘Out of Space’ (solo + book launch) at The Horse Hospital, London (2017), LCN Showcase, Space, London (2017) and Grrrr!2 Truth Machine, London (2017), She has collaborated with architect Huw Owen on public space projects in Wales since 2003 and currently with Exitstencil Press on a visual history of Crass. She holds degrees in Fine Art, Art in Architecture and Landscape Architecture.
Previous PEER FORUM Groups at Cubitt
PEER FORUM 2017
The 2017 PEER FORUM at Cubitt was awarded to lead artist Rose Gibbs who worked with Clare Bottomley, Clare Bottomley, Kim Dhillon , Andrea Francke, Ross Jardine, Susan Kelly , Helen Knowles, Sara Paiola, Sophia Marinkov Jones, Stephanie Wehowski, Hermione Wiltshire , Paulina Yurman in the Peer Mentoring group ‘Labours of Love’. The group explored the notion of a “labour of love” as it affects artists, carers and parents, and what is at stake psychologically in this work – where it is manifested in art works and art practices. They looked at how art can be used as a tool of affective labour, in collaborative projects. Looking back to art history the group considered works exploring affective labour, the maternal and how the use of the body, the domestic, and the intimate – vital aspects of affective labour – are spoken about within art discourse. They explored the taboos around these subjects, and the strategies artist have use to exploit or explore those taboos.
PEER FORUM 2016
The PEER FORUM selected for Cubitt in 2016 consisted of: Larry Achiampong, Beverley Bennett, Appau Junior Boakye-Yiadom, Evan Ifekoya, Shepherd Manyika, Jade Montserrat, Ima-Abasi Okon and Nicola Thomas