Extra Leg Room

P J Broadhurst

After twenty years of psychiatric nursing, I felt a need to express my thoughts on the fascinating subject of 'madness'.

There is no universal definition of madness, what we define as mad changes with current trends, medical discoveries and philosophical ideology.

In researching this subject I have discovered a link between what a society treats as Other (negatively different to the norm), and what describes as mad, I intend to challenge this.

I hope the objects I have created will open a dialogue, not only about the effects and 'treatment' of madness, but also of what we consider 'mad' to mean in our current society.

Currently in the second year of a Fine Art degree at Bradford University, I have become obsessed with the subject of ceramics. I have begun a love affair with the medium of clay which I plan on developing into a long and passionate marriage!

Cat Westgarth

I have been examining the ever-changing concept of male beauty.
The art critic John Berger once noted in his definitive book, Ways of Seeing, that in western art of the last 200 years, 'men act and women appear' - usually naked. However, in Ancient Greece and Rome, the male body was praised as the epitome of beauty and the female form was concealed.

Using print techniques, I have sought to celebrate the male form as athletic and graceful. These are traits of a contemporary form of masculinity, dubbed by the western media as 'metrosexual' - successor to the Greek ideal.

I have also interpreted a modern day Eros (or Cupid). The term erotic derives from his name. In antiquated painting and sculpture he was depicted as a blossoming teenager. But in present-day society, for the possible reason of being mixed up with a cherub, he is now represented as a young, sweet-looking boy.

Beauty is, by most accounts, an instinctive and personal matter. But sometimes, due to the influences of art and the media, it can also be an intellectual and cultural phenomenon.

Jennie Crawford

Dreaming of the mountains...
The sublime experienced from a tent,
Evening mists rolling up the valley,
Towering rock walls and the sound of waterfalls,
Waking to a cold damp sunrise and a glorious day

Walking and camping in the mountains or by the sea, nature’s indifference to man may be experienced at first hand. Waking up to ice, thunderstorm or torrential rain, the sublime may be experienced in emotions relating to fear and danger as well as to spectacular beauty. My work explores liminality: boundaries which may or may not be passed through; the infinite which may be experienced in a rockpool or waterfall, or the blurred edge of the sea, viewed as a definite boundary from above.

I paint in oils, both in the studio and in the open air. My original prints are also prepared in the open air, for example working on an aluminium plate on glacial moraine. This is done to try to record the essence of a particular place.

In this exhibition, I have tried to show different decisions I have taken about how to express the landscape; abstract or realist, in paint or print.
Thank you for taking the time to view my work and I hope that you enjoy it and will leave a comment in the book.

Hollie Harkin

The themes in my work include:
- 'Poor art'
- How certain objects can be 'overlooked'
- Collections
- Archives

My work investigates how poverty and the act of collecting are connected in an intricate and interesting way. I grew up with a dad who never threw anything away or wasted anything, embarrassing me in the street picking up pennies off the pavement. He keeps vintage tins full of old coins and can't throw batteries away. This has inspired and affected me hugely and I want my work to stand against a society full of consumerism and ingratitude.

I'm very concerned with the materials that I use in my work and how I use them, I'm interested in paper, fabric, thread and found objects and part of the process of my work is that I try not to buy my materials from a shop but instead gather and collect these things. My materials might come from the street, a skip or just be something I find around the house.

How I have presented my work is integral to its language and at the moment its presentation is quite experimental. Each piece of work cannot work on its own, it only works together as a collection.

Sally Wilford

More often than not our idea of a portrait is an exact likeness of the physical self. I set out to do just that when I made my portrait drawings all taken from photographs.

I began to question whether or not there was any difference between what I had produced and the original image, was there any point?

After experimenting with 'blind' drawing and a series of layering techniques, some of which can be seen in the album, the work took a new direction. My investigation of the portrait became more focused on the self and somehow, always with portraiture in mind, the destination reached is that of the urban landscape.

Self portraits or not? Perhaps they are because that's what I intended them to be or perhaps not, because really I just enjoy painting gas towers, pylons and high rise flats.

Further Images





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