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The Anise Gallery's graduate show opens this Friday, 29 August and runs through to 21 September.
Installations, animations, copperplate etchings and photography transform London’s Anise gallery in 2014’s Summer Graduate Show. Four talented young artists have been chose to encapsulate Anise Gallery’s ethos in compelling and stimulating ways through their own diverse methods and media.
In the form of moving image, Alida Sayer’s Source evokes a space that is ambiguous, both in scale and location. Contained in time, it is in fact just one possible reading of an entity that exists purely in digital space. Trapped in a loop, silent, eternally germinating. Having graduated with a MA in Sculpture from the Royal College of Art earlier this year, Alida adopts an archaeological approach to her work as she feels her way through her subject.
Playful architectural constructions from Ana Gold will dominate the floor space of the gallery as they provide a uniquely physical method for hanging her documentary photographs. Resembling the size and colour of the real life spaces from where the photographs were taken, they offer a place in which to dwell and imagine. Recently graduated with a BA in Fine Art from Central St Martins, Ana looks to the subconscious compositions within our homes; toothbrushes quietly conversing in a corner, plates snuggling on a drying rack – capturing moments of relaxation between the residents and their ‘things’.
Using the paradoxical nature of the colour blue to highlight the way in which, on the one hand, the urban landscape is dismembered, whilst on the other, it has gone through a process of careful reconstruction, Felicity Hammond’s Restore to Factory Settings was awarded this years Metro Imaging Award. Having just completed her MA in Photography at the Royal College of Art, Felicity’s photography stems from an inability to apprehend the industrial landscape of London, before the shift into culture and architecture as industry, Restore to Factory Settings refers to a system that has both ended and begun.
Focusing on how the values of society are articulated in architecture and public spaces, James Seow’s latest etched and inked copper plates depict some of the most iconic public spaces in extruded structure-like form. A motif of geometric forms and horizontal and vertical lines runs through Always Feel Safe (Extrusion Series). The work attempts to forge a personal sense of order and meaning from rigidly controlled social and political structures and the turbulent disorder of the contemporary cityscape.
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