GENERATOR Projects Take-Over presents an exhibition created by the Reunification Collective
Preview 5 August 6-9pm | 5 – 15 August
Features works by 11 artists based in Edinburgh, Glasgow and Dundee.
An exhibition predominantly focused on communicating with reclaimed eras, spaces and objects, through both audio and visual mediums. The aim of this exhibition is to present a variety of contemporary artworks that offer an insight into the passage of time. New meanings are explored in overlooked materials, be it behaviours, spaces or ephemeral objects, that hold specific importance to their respective times in history and culture. Through regenerating ideas, history has been brought forward into the present, challenging the idea of finite timelines. This creates the opportunity for dialogues with an audience, as they are encouraged to deepen their understandings of past cultures and history.
Charlotte Wilkie Sullivan is a multi-media artist who recently graduated from Duncan of Jordanstone College of art. She is interested in bridging gaps between instinctual and cultural behaviours, with a focus on questioning notions of the Human Condition. Through live and video performance, Sullivan has explored ideas of territory and how we as civilised beings make our animal marks on people, spaces or objects.
Her recent works focus on human sexuality; Sullivan is interested in how our basic desires are expressed through the senses, yet are suppressed or disguised by cultural phenomena. As a performer, Sullivan’s role as a woman comes into question. She chooses to address this by channelling the figurative spirits of female virility.
Natalie Doyle is a Glasgow School of Art graduate who’s work focuses on a keen interest in Sociology; how we function, integrate, what motivates us, fundamentally what makes people who they are. Recently Doyle has been looking towards the branding of spaces, cities in particular, arguably cultures as a whole. Furthermore she is interested in changes within the city, both its people, buildings and neighbourhoods, and how this impacts social structures and creates space for burgeoning cultural shifts. She is also concerned with dormant underground cultures and creating temporary malfunctions within given social contexts, thus challenging the validity and legitimacy of social behavioural norms and expectations. Her practice highlights these concerns by combining art and popular culture in various mediums in an attempt to create a portrait of a space, whether physical or metaphorical.
Fiona Beveridge is an Edinburgh College of Arts sculpture graduate who’s practice mainly explores human-object interaction, working with material that is primarily used to develop perceptions through the senses. Beverage is curious about synesthesia and how our different senses can blend together to create an idea of surrealism from simply looking at a specific colour or shape. She likes to playfully approach malleable objects and sensory products, investigating their texture and stretchy consistency. Although in reality they are not living, their disorganised pattern and form gives them lifelike qualities. Beveridge also feel influenced by elements of nature, particularly the growing process of plants and finds it fascinating how natural systems can adapt and alter their own structures to account for new forces and therefore form new orders. A therapeutic influence in projects is aimed at achieving visually stimulated experiences vitalised by colour and metamorphosis.
Lewis Bissett is a Duncan of Jordanstone College of art graduate who’s practice is influenced by
The Scottish language
Emphasis on the small details and
Karen Fleming recently graduated in Painting at Edinburgh College of Arts, Flemings work is influenced mainly by the domestic interiors popularised in various decades, particularly the wallpapers and textiles that were favoured at the time, alongside the design of common household objects. Continually researching the social history behind the development of design, Fleming is fascinated by the evolution of taste, particularly when comparing the austerity of the pre-war years with the more adventurous styles that became common in the 1950s and 1960s. As post-war society became optimistic, bolder colours and more flamboyant designs were common. As an artist I mainly focus on the colour itself, working with deliberately strong hues. Because the post-war years introduced the frivolous use of popular culture in pop art to revolutionary satirical shows on television, Fleming incorporate humour as a component of her artwork. In studying the effects of social attitudes on taste, Fleming has been drawn to family-orientated television, especially those that have gained negative connotations in the days before political correctness. But the thought of these domestic interiors reverberating with laughter has inspired Fleming to experiment with playful scenarios, such as creating her own miniatures of common household objects, offset against large, brashly coloured backgrounds
Lora Caffrey is a mixed media artist and recent graduate of Duncan of Jordanstone College of art. Originally from Belfast, Northern Ireland. The subject of Caffrey’s art, so far, references her hometown and the strong relationship she has with it. Caffrey’s work is a large collage of archive, memory, imagination, nostalgia, and she attaches a particular connection to ‘The Troubles’ in Northern Ireland. Caffrey communicates rational as well as irrational fears and seeks comfort in the intense situations and scenarios she devises within her work. Caffrey’s art endeavours to make sense of the absurd, the troubling and the dangerous.
Catherine Dickson is a recent graduate from Duncan of Jordanstone College of art, whose style is often figurative, recording actions and symbolic representations that are typically attributed to women. They are considered to be slightly warped reflections of how she views herself, and also the pressures placed on the female gender in relation to appearance and acceptance. Her work often utilises themes of repetition and the frequent destructive behaviour that is carried out in a bid to achieve beauty and gain approval. She reflects back her interpretations and attitudes by working across a range of media that includes: collage, photography, printing and film, which are often mediums adopted by advertisers. Using this method she is able to communicate a measured message conceptually, whilst the material physically represents the issues sensitivity. The tone of her work allows her to express a number of themes and forms, including beauty, self-doubt and performance. The result often appears rather dark, mocking and-at times-disconnected.
Natasha Kemp recently graduated in Painting at Edinburgh College of Arts, her current practice is about exploring and expressing feelings and emotions that are universally experienced. The work explores these emotions through use of materials, usually resulting in installations which are site specific. The work is full of energy and deeply rooted in meaning, which is often hidden within the context of the materials. The work often commands the space it is placed into and encourages slight interaction with the work and the viewer.
Lynne McBride recently graduated from Duncan of Jordanstone College of art. Her work explores the notion of collectively representing the self and subject through visual means. Heavily influenced by Sam Gosling’s ‘Snoop’, her ephemeral works explore the idea that in order to grasp an accurate portrait of someone we must look at what they unconsciously leave behind. In doing so we are given insight into the subjects education, cultural background, sexuality and gender that create an individual’s cognitive schema. Stripping back to the simplicity of everyday life by examining human, ritualistic behaviours such as eating, sleeping, cleaning and excreting and the way in which each individual performs these activities in a unique manner, has directed McBride to create autobiographical portraits and performance works using organic materials. The value of traditional portraiture is challenged through the use of unexpected material and the creation of works that give the viewer a better insight of the subject’s personal day-to-day experience.
Natalie Lyons recently graduated from Edinburgh College of Arts Intermedia Art programme. Recognising a distinct duality in her practice, she broke her work down into two separate areas, looking for that point where they meet and converge.
The work for Generator revolves around the notion of patience. Lyons was once told by a Mayan Priestess that if she had patience things would come together. Since that encounter the idea of ‘having patience’ has crept up as somewhat of a by-product in past works. By pushing this idea of patience to the forefront and allowing it a tangible space, the artist questions the need to bring a temporal notion into the physical world.
The artist invites the viewer to join her.