┐ Sonja Bäumel, growing a second skin └

© Sonja Bäumel, Embroidered Tattoo, 2007 The embroidered tattoo is part of the fashion collection “Slow down…”. Latex layers have been revived, reinterpreted and transformed into a skin. A skin embroidered with local tradition. © Sonja Bäumel, Crocheted Membrane, 2008/09 “Our skin has a second layer of skin. A layer full of life, which serves as a membrane for exchange. This body membrane is made from the same substance as the world. The human body does not end at the skin, but invisibly expands into space. The hidden membrane exists between our body and our surroundings. We can enter this … Continue reading ┐ Sonja Bäumel, growing a second skin └

┐ Sara Rahbar └

© Sara Rahbar, Untitled, from the series Love arrived & How red, photography, 2008 © Sara Rahbar, Trapped in Dark Night with Nowhere to Run, I Have Died a Million Times Every Night in this Bed (left) + Kurdistan Flag #5 (right), from the series Flags, mixed media + textiles, 2005-2010 © Sara Rahbar, Solitary (left) + Anonymously yours (right), from the series Confessions of a Sinner, mixed media, 2011/12 Rahbar seems to meditate on the flag like a monk would stare at an icon. “It represents my father and so many, many promises and hopes of tomorrow … It … Continue reading ┐ Sara Rahbar └

┐ History is written by the disobedient └

© Sofia Silva, (sketch detail), from the series The Protester, 2012 I heard of a darkness, descending upon the old archive of words And the muffled whispers of the elders drowning in the midst of the long rows of obedience This you must know to be true brother: we are the dead. The weeping past and his wretched son soon will be victims of their own doing All else follows And when all is done and the night is purified of all these thoughts, I will sell you as you sold me All else follows It’s by death I am … Continue reading ┐ History is written by the disobedient └

┐ Sabrina Gschwandtner └

© Sabrina Gschwandtner, Hula Hoop, 16 mm film, polyamide thread, 2010. Watch & See exhibition, Gustavsbergs Konsthall, Sweden, 2009. © Sabrina Gschwandtner, Quilts in Women’s Lives (left) and What is a Dress (right), 16 mm film, polyamide thread, cotton thread, 2009 “My quilts utilize film footage from early Feminist documentaries. I re-work these narratives by sewing them into new configurations and adding in my own footage. The source of the historical footage is the Fashion Institute of Technology (FIT), which recently de-accessioned the 16 mm films in their library. Anthology Film Archives took some of FIT’s films into their archives … Continue reading ┐ Sabrina Gschwandtner └

┐ Mary Stark – Searching for Celluloid └

Abandoned, discarded, unwanted film is woven into handmade artefacts and photographic prints are created in the darkroom from constructed negatives. Time becomes an integral element, with each print or object measuring a duration of film. This recent work explores the materiality of photography and film in the digital age and creates a dialogue between the still frame and the moving image. Mary Stark is searching for celluloid. It’s an exploration that, paradoxically, began in the digital space. “I was interested in working digitally with video,” says Stark, who recently completed an MA in Photography at MMU. “Then I realised that, … Continue reading ┐ Mary Stark – Searching for Celluloid └

┐ Julie Cockburn └

© Julie Cockburn, The Veil, Embroidery on found photograph, 2011 © Julie Cockburn, The Astronaut, Embroidery on found photograph, 2011 “The loss of, or manipulation of, the human face is the most disturbing and fascinating aspect of Cockburn’s work. These faceless or masked portraits me of John Baldessari’s manipulated mass-media images. He often used colored dots, or other means, to cover faces, interrupting the viewer and de-personalizing the image. But Cockburn’s photographs seem to have the opposite effect. She often embroiders or cuts out shapes into a complex pattern, and this record of tedious physical labor draws me into her … Continue reading ┐ Julie Cockburn └

┐ Elizabeth Ingraham └

© Elizabeth Ingraham, Resilience, from the series Skins “My subject is skin: flexible and emotive, superficial but essential, protective but vulnerable. A boundary. A border. A membrane. An organ. A commodity. A pelt. In this on-going series of work, I am exploring how expectation, desire and convention—our own and others—form casings which shape our deepest selves and which become so familiar they seem like our own skin. My skins are physical, emotional, cultural. Their fabric is a social structure as well as a textile, and their fabrication requires translation and invention as well as construction. My skins are garments—not clothing … Continue reading ┐ Elizabeth Ingraham └