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Crabapple
This is Meg's 3rd Artsweek, again exhibiting as part of the Crabapple group. Over the last few years she has concentrated on self-portraiture as a means of image construction. She uses herself as a model for all her work - exploring the use of photography to illustrate emotions and themes, or to suggest narrative.
Previous collections have included Scarey Movies, Seven Deadly Sins (see right) and Heavenly Virtues.
The series of work for this years Artsweek is the telling of stories from the lives of three different fictional women. The pictures portrays their actions and apparent reactions to events that have previously unfolded but not necessarily directly told through the photographs.
Meg likes to leave her viewers guessing - putting their own interpretation into the work. Who is this woman? What has happened to her? What might be going on?
Rose Hallam hand-paints wood, and uses photomontage, to make distinctive, original jewellery. The use of colour and fine detail are essential to the work, which is both abstract and traditional in design. The jewellery is light to wear, and uses sterling silver findings.
A photograph supplied by a customer can be transformed into a personalised piece of jewellery.
thrown pots
Adrian took up pottery a couple of years ago. under the tuition of Gill Hedge. He regards himself as very much a beginner, relying on Gill not only for help and advice in throwing and turning, but almost entirely for glazing and firing.
In September he set up a pottery workshop in Eynsham with Sue Raikes (see below). This means he can do more potting, and experiment with glazing and firing.
Adrian's enthusiasm for digigraphs came from his delight at being able to by-pass drawing (a low skill area for him) and paint with photographs, enabling him to build up an image very different from a photograph - more like a painting perhaps, but different from a painting too.
Click on the link for more about digigraphs.
Marjorie has always had an interest in photography, as her father was a professional. When he died, Marjorie decided to learn how to use his camera. Gradually updating his equipment and finally succumbing to the digital age,
Marjorie now combines her love of gardening and travel with her photography. Major influences are Robert Mapplethorpe and Georgia O'Keefe.
thrown pots
Like Adrian, Sue is fairly new to throwing and her work owes much to Gill Hedge's teaching, glazing and firing. Sue and Adrian (see above) have set up their own workshop in Eynsham - but they still have much to learn!
Sue has been experimenting with hand built ceramics at evening classes for a few years. Recently she has begun working on flower holders for Japanese ikebana flower arrangements.
Sue's development of digigraphs arose out of her experience with the process of etching; if you change your mind with an etching, you can't go back and undo what you've already done. With Photoshop on a computer, you can use Layers, in the same way as in etching, to build up depth and composition, and you can delete them (temporarily or permanently) as you change your mind or develop your ideas.
Gillian has been hand building delicate pots at evening classes in Oxford for some years. But her relationship with pottery is much older. As an archaeologist specialising in Greek and Roman archaeology, pots are an important part of her work and research.
Back in the 21st century, Gillian is experimenting with new techniques and new materials, and will be exhibiting thrown pots and porcelain.
Tamsin has been a keen photographer since creating her first dark room at the age of 17. She trained as a Graphic Designer, and now lecturers in Art and Design at Oxford and Cherwell Valley College. This photograph is from a series of eight entitled "Bluebottle", in which Tamsin explores the idea that photography is a process of 'painting with light'. Through optical distortion of the subject and the use of a limited colour palette, Tamsin has created a dramatic collection of abstract images. Although taken digitally, they have not been manipulated by computer. The images are printed on canvas to create a juxtaposition between the normal conventions of the printed photograph and of traditional painting
