Maximilian Slaven

Gallery of Modern Art (from "Piece by Piece") © Max Slaven


Hayward Gallery (from "Piece by Piece") © Max Slaven


Palais De Tokyo (from "Piece by Piece") © Max Slaven


Saatchi Gallery (from "Piece by Piece") © Max Slaven


Tate Modern (from "Piece by Piece") © Max Slaven


Maximilian Slaven Graduated from Glasgow School of Art in 2009 with BA (hons) Fine Art Photography

“Piece by Piece is an ongoing project in which architectural details from cultural institutions are collated as typology.
The project is developed as a museological archaeology of Institutional Critique, in which it is inverted on it's own terms.
A literal deconstruction along theoretical lines.”

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Felix Frith

© Felix Frith


© Felix Frith


© Felix Frith


© Felix Frith


© Felix Frith


Felix Frith Graduated from Glasgow School of Art in 2009 with BA (hons) Fine Art Photography


“Day-to-day assumptions can be crude and end up functioning as pursuits of security or functionality, a way to satisfy the fear of the unknown and the instability the unknown brings. They can be used as a practical structure of living rather than a philosophy of truth. Pursuits of the ability to live with the knowledge of life’s intrinsic ambiguities are therefore necessary.
The investment of emotions into icons or iconic experiences negates the need for a genuine response. By presenting images that incite an emotional investment from the viewer due to their suggested iconic nature and to somehow rob the viewer from such a satisfying response, I hope to create an atmosphere of anti-climatic search that supports an acclimation to this abstruse condition.”

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Isabel Arbeláez

Chrystalline Light (from "So it Goes...") © Isabel Arbelaez


Fluffed Stuffing (from "So it Goes...") © Isabel Arbelaez


Half Developed (from "So it Goes...") © Isabel Arbelaez


Surface Ice Crashing (from "So it Goes...") © Isabel Arbelaez


Wintering Heron (from "So it Goes...") © Isabel Arbelaez


Isabel Arbeláez Graduated from Glasgow School of Art in 2009 with BA (hons) Fine Art Photography

“So It Goes…”

“This body of work places emphasis on the aesthetic value of light and subject. How to create a sense of amazement, freshness to life and the photographic medium were main concerns. These images expound their singularity, their delicate renderings, their subtle likenesses. One is confronted with a point of view where there is indistinguishable treatment of animal (living), man (living), hybrid still life (imbued with life), background/foreground/middle ground (photographic life). It exudes ideas and feelings of polarities, cycles, sheer fulfilled happiness and amazement. This magic is fully grounded in death and solitude, where the gaze from one creation to the next or the gaze into simple abysmal nothingness (of beautiful tone) will seemingly float away in its treatment and spatial lightness.”

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Ralph Mackenzie

(Scanner Dance) 1m12s - Transit Cop by Beastie Boys © Ralph Mackenzie


(Mother's Lights) Living Room Ceiling © Ralph Mackenzie


(Mother's Lights) Master Bedroom Ceiling © Ralph Mackenzie


(Scanner Dance) Tri-Colour Composite © Ralph Mackenzie


(Self Portrait) Tri-Colour Composite © Ralph Mackenzie


Ralph Mackenzie Graduated from Glasgow School of Art in 2009 with BA (hons) Fine Art Photography

“My work is dedicated to the redefining of conventional fine art processes; questioning the methods that we perceive today to be the norm, and attempting to break these processes down to rebuild them into something new and unique. I work with basic technologies; seeking those that may be altered to serve a new purpose in its lifetime. To have a different voice. Many devices can lend themselves towards a hybridisation with other media, leading me to my “scanner camera” project: a camera device built with a conventional flatbed scanner as a receiver and a box brownie as the focussing device.

The technical limitations of the scanner camera were obvious from its inception. “Scanner Dance” exposes just one of these: the scanner's registration of movement. With the duration of the scan being one minute and twelve seconds, all of the songs in my own music collection of that duration were played whilst I danced in front of the lens, forcing the scanner to represent the movements in thick black streaks across the image at a rate of one image per song. The scanner's sensitivity to light and the necessity to have powerfully lit subjects led to “Mother's Lights”, a documentation of all of the lights in my mother's house. The scanner's inability to scan in colour has also led to colour studies in the form of filtered exposures and tri-colour composites to achieve a colour image.”

ralphmackenzie@hotmail.com

Elizabeth Wewiora

Sensory Deprivation #3 (from "The Things After The Physics") © Elizabeth Wewiora


Hand & Thread Series #2 (from "The Things After The Physics") © ElizabethWewiora


Untitled #1 (from "The Things After The Physics") © Elizabeth Wewiora


Still Life #1 (from "The Things After The Physics") © Elizabeth Wewiora


Sensory Deprivation #1 (from "The Things After The Physics") © Elizabeth Wewiora

Elizabeth Wewiora Graduated from Glasgow School of Art in 2008 with BA (hons) Fine Art Photography


"The Things After The Physics"

"Interest for me, lies in the ambiguity between images that may appear as the everyday, but also hints at the truly beautiful nature of our surroundings. Photographic focus on light, texture and colour can turn the ordinary into the extraordinary, whilst more staged imagery can work to change the view of an otherwise empty space. This is the nature of most of my degree show work."

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Caleb Churchill

Upsmacking (from "Horny Dog") © Caleb Churchill


Sunflower Feeder (from "Horny Dog") © Caleb Churchill


Horny Dog (from "Horny Dog") © Caleb Churchill


Flat Fat Cat (from "Horny Dog") © Caleb Churchill


Ascent (from "Horny Dog") © Caleb Churchill


Caleb Churchill graduated from Glasgow School of Art in 2009 with BA (Hons) Fine Art Photography


"Horny Dog"

"The images in this work are wide-eyed with lucid subjects. They are caught in a dream-like state. I wonder where the embraces have begun to begin and end. I have created images that embody the classic enlightenment with senders, receivers and something in between. They all become one with lyricism and rhythm, going from one image to the next with their myriad of associations. I have chosen not to define the muse while I allow her singularity whilst threatening to make her distinguishing features disappear. This is about trying to force a smile, to understand the essence of love and truth while reconciling sensitivity to the self.­"

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