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EXHIBITIONS

Evidence

A collection of artefacts relating to the practice of the MA Fine Art class

We propose an exhibition of objects implicated in our work; images, sculptures, text, installation and props. This exhibition will be contained almost entirely within the confines of the two display cabinets in the corridor at the west side of the Holden Gallery.

The objects that we will exhibit will be clues to, and evidence of, our practice as artists. They are things that we talk about in our work, and use to make our work.

The setting of the display cabinet takes these artefacts from the context of the studio to that of the museum collection. We present the history of the process we use to make our work.

We propose this as a public introduction to the work of the MA students, and as an index with which to decipher our forthcoming work.

Tania Amador turns her camera on herself in explorations of the body and its reception of pleasure and pain. This takes a narrative form in the video Tied Up In Me.

Through an ambiguous relationship with her famous namesake, Kylie Brackstone’s work makes an equation between everyday life and the culture of celebrity. Here she exhibits the first and last letters of her name. These painted wooden letters have been used to spell her name out across a hillside in Glossop.

Craig Bullock’s work has been described as supernaturally mundane. His installation Cupboard (in the area between the two cabinets, and including a fragment of wallpaper in the left-hand cabinet) assembles a mysterious group of objects in a way that is both considered and improvised.

Placed on top of the cabinets, part of Julie Del’Hopital’s installation The Wind Was Blue In The Tree That Day uses a branch that fell from a tree in Alexandra Park, Hulme, sometime before Tuesday the 20th February 2007. A photograph from the same project is also shown in the left-hand cabinet, and a smaller branch, painted blue, in the right- hand cabinet. Made in collaboration with Craig Thomas.

Mike Ferguson uses everyday materials to make sculptures that often have a kinetic element. In its original installation his Copper Pipe Extension is part of an active plumbing system.

Anne Fox-Kelly’s White Book has had its original content of images and text about saints and icons obscured and altered by the application of wax and paint.

Simon Jones’s photographic work defies seemingly naturalistic landscape imagery through its use of man-made or treated elements. In his photograph Obscured By Distance he combines in a single exposure a real sky with a landscape built using model-makers scenery.

Jessica Longmore shows two pieces of raw sheep fleece cast in resin, as yet untitled. They are installed on a bench that forms part of her studio furniture. Her work is concerned with the sculptural meaning and character of tactile materials; and the possibility of rendering such materials intangible and unreachable.

Daksha Patel makes work that considers the aesthetic qualities of medical practise. Here she shows Various Medical Instruments, and in the right-hand cabinet two of a series of circular colour inkjet prints that show such instruments in interaction with the body.

David Price builds scenarios or subject matter for his work out of art-historical or literary foundations. Both the Constructivist Marble Run Track Section (right hand-cabinet) and the text-piece There In The Spaceless Space of The Words (left-hand cabinet) have been used in the production of films and photographs.

Sarah Sanders negotiates the common ground between the personal and the historical. The seven seven-inch records she displays here are accompanied by a pamphlet of microfilm copies of covers of the Guardian newspaper from the day of their release.

For more Information about MIRIAD's MA Fine course www.miriad.mmu.ac.uk/graduate/taught/route/1013