Christina Chow

 
 
 

With a background in traditional drawing my work attempts to push the boundaries of my skill through an exploration of contextual practice.

My research has recently focused on installation art and explored how everyday items can evoke different personal responses from an audience. Inspired by the act of encounter as an art form, I've considered ways that an environment can inform the context of objects and in 2020 I introduced sculptural forms into my traditionally two-dimensional practice.

I find mundane objects fascinating. Often they are discarded once they are no longer appealing or useful instead of being repurposed. By placing these overlooked objects in unexpected environments, the surroundings provide a critical context and can engage the viewer in new and unexpected ways.


Chromatic Aberration - The Encounter, 2020
Acrylic on cellophane

Chromatic Aberration, 2020
Acrylic on cellophane
775mm x 800mm

Chromatic Aberration, 2020
Acrylic on cellophane
775mm x 800mm

Chromatic Aberration, 2020
Acrylic on cellophane
775mm x 800mm

Leopharma, 2020
Graphite on cartridge paper
297mm x 420mm

0.10%, 2020
Graphite on cartridge paper
297mm x 420mm

Brink, 2020
Oil on canvas
455mm x 610mm

 
 
 
 
 
Gracia Haby

I have been collaborating with Louise Jennison since 1999, making artists’ books, collages, large-scale installations, prints, drawings, zines, and various tales. Besotted still, it appears, with paper for its adaptable, concealable, revealing nature, we use an armoury of play, the poetic and familiar too, with the intention of luring you into our A(rtists’ books) to Z(ines).

As artists and wildlife carers, our practice frequently concerns the natural world, addressing themes of conservation and biodiversity. Our home-based studio is also home to our wildlife shelter, Tiny but Wild.

I collage with words about dance for Fjord Review.

http://gracialouise.com
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Clyde Chong

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Inhee Chung