Jerwood Drawing Prize 2016

Jerwood Drawing Prize 2016 – Review

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The Labyrinth with Personal Emotion (Lust and Death)

May 2003.  I walk through the automatic glass doors of St. Mary’s Hospital, Leeds. My eyes struggle to refocus under the cold exuberance of the fluorescent strip lights that held the building in a state of awful reverence. The stench of bleach burns the inside of my nose as if an antidote to the lassitude…

The Labyrinth within the Visual Space

A transformative freedom will be found in the Labyrinth within the Visual Space. The walls in which the guards become the prisoners and in which the prisoners become greater than their captive empire, demarcate and validate ritual space. Slave/Master – Master/Slave.  As a creature of imagination you are cocooned and cradled, (if it is a…

The Labyrinth within Natural Time

The Natural world as I see it now, is indivisible from how it was before and what it will inevitably become. Every living cell vibrates with a memory of each stage of its creation and evolutionary development. Every cell vibrates with a future echo of its own demise. These memories, these pre-faces and post-faces that weave…

A Disappointing Apocalypse

The Movers, sometimes known as the Metix, known often in less educated and angrier circles as Migs and Zooms; discussed in terms of Mitigants by the Liberal Press and the Swarms by those whom were sucking on silver spoons or their own feet at any given point; fenced in by The Reality, sent back by The Time, allowed to find their own ways by the Dream which served to briefly protract the Demise of the Fourth Union before the stamping feet, banner waving, screaming, red-faced, half-sighted Hordes, supported by the Provincial Privies (who gave some tawdry social credence to the violent, cuntish actions of the HEIL HEIL HEIL mobs) that suffocated the optimism of any person of heart, that turned the stomachs of those who could see how things would transpire if the restrictions continued.

Nomads & Orphans: International Mobile Photography

The images, uploaded to the social media sites then have an immediacy of consumption and exchange (social media sites are fundamentally amalgams of distribution, consumption and exchange). The Mobile phone artists will be able to see how many people are viewing their posts (consumption) and the exchange follows with people leaving comments, liking or sharing.

The immediacy of this operation, combined with the seamless integration of image and text into one message, creates a form of speech that restores the traditional relationship of photography with truth while at the same time causing photography to lose its separate identity and disappear into the amalgam of textual-aural-visual communication.