Laura Ansell

Deconstructing the life cycle

Laura Ansell: 'Synapse Snap'

Laura Ansell’s work draws heavily on cellular and molecular forms and cellular activity- particularly their attenuation and extinction.

The pieces have an innate human quality, yet they are executed initially with precision. The end result is down to the  autonomy of the materials, as if it were governed by biological instruction.

Intended as snapshots of the human condition, the result is a suspended state of division, destruction or proliferation, like a medical slide or sample– the cycle is not complete.

Wayne Keown

Fractured minds, fractured places

Wayne Keown: ' The all-seeing eye'


Wayne Keown draws on a fascination with derelict buildings, in particular, formerly institutional or civic structures.

It is here that a feeling of safety contrasts sharply with the uneasiness of imminent disaster- with the elements taking their toll on the integrity of the building’s fabric.

This contrast aims to draw a parallel with human memory and emotion– where one can easily elate but equally, another can tear the mind apart, rapidly.

This work merges the remnants of these memories and uneasily draws them to the surface, allowing the viewer a fractured glimpse into the mind.

Oscar Parasiego

The truth and the lens

Oscar Parasiego: 'Flowers'

Oscar Parasiego: ‘Flowers’

Oscar’s practice explores the truthfulness of photography and the inability of the medium to capture the complexity of human self-reflection.

Some of the themes explored include identity, communication, emigration, death and relationships.

The artworks evoke surrealist aesthetics creating powerful and playful images, always in need of the observer to complete the journey.

Kat Hayes

There are no straight lines in nature

Kat Hayes: 'Untitled (pink)'

Kat Hayes body of work echoes the architectural and man-made and how this is pitted against our notion of what constitutes a natural environment.

The sterility of the spaces we construct and inhabit are ordered and sanitised, as we seek control of our surroundings. We are born of an organic, messy and fluid process and nature is a formidable adversary, as it reclaims our constructions as rapidly as we leave them.

Yet, as a species, we seem to yearn for order– grids, straight, clean lines dominate our built environment. So which is the more ‘natural’?

Emily Watkins

Hybrids and negative space

Emily Watkins: Eden

Emily Watkins: Eden

Emily’s current body of work explores the concept of the hermaphrodite within mythology and nature. It also seeks to challenge the notion of patriarchal religious figureheads within western culture and the traditional absence of the feminine.

By not removing the masculine entirely, these pieces aim to balance between male and female form. The absent feminine is represented by negative space, in the chasms and openings in each piece. The male elements protrude and pierce the space around the object.

All pieces reference naturally occurring hermaphrodites, reworked in industrial materials.

Emma Jane Whitton

Erection, demolition, effacement, eradication

Emma Jane Whitton: 'Woman geometric 1"

Emma Jane Whitton: ‘Woman geometric 1″

Emma Jane Whitton considers the commanding role that design assumes in our daily lives.

A major influence is the constant dramatic upheaval and turbulent political climate of Latin America, exemplified by architect Francisco Salamone whose absurdly erectile and aggressive translations of ambitious political directives now lie, often abandoned, all over Buenos Aires province.

Placed on a knife edge between the celebratory moment of technological success and inevitable fall, the work examines when the physical presence of structures begins to subsume and supersede the ideologies that brought them into creation.