100th Monkey : Artists feed

Timothy Fisher

Bryony Moore — Tue, 06 Nov 2007 9:56:10 +0000

I often use a process in my work that is indicative of growth in life and in nature.

Within each process I decide on a predetermined rule with only a vague knowledge of the out come.

The nature of a material can dictate the way a work evolves and influences the end product.

Within each process there is often an unexpected factor and therefore a certain amount of unpredictability.

It is important to me to create a process that has a natural end; an artwork which is complete not because I say it is but because it completes itself.

I avoid subjectivity or aesthetic choices not because they are innately wrong but because of the way in which they can compromise the process and take clarity away from the end product.

The materials involved in a process often reflect the context or history of the space in which they have been placed.

The process is as important to me as the end product.

Andrew Lim

Andrew Lim — Sat, 03 Nov 2007 18:50:05 +0000

I use man-made materials in my work, often used or second-hand, to create sculptural installations by the establishment of a set of rules for their construction, and then following these rules to their natural conclusion, this is usually when the structural integrity of the form would be compromised and the form would collapse with another iteration of the rule, or when the physical constraints of the site stops the form from being able to grow any further. With the interrelationships of the objects that I choose, often they are impersonal and standardised, I seek to create sculptural forms that are organic and quite flowing, sometimes I disrupt the form with an intervening variable with unpredictable results, and this variable could be with another object or a feature of the site such as a wall or a radiator. The structures respond to the architecture and history of the site with the objects that I use having a history with the site in which they are situated, either in a past usage of the building or they are discarded elements found within the building. With the devising of the rules for growth the final form of the structure is determined by themselves, and gives my work an experimental edge because I can never have a predetermined idea of what the final form will actually look like, even the smallest changes can have a radical effect on the final outcomes.

Joanne Masding

Andrew Lim — Fri, 02 Nov 2007 7:05:06 +0000

I have a fascination with edges and attempting to define where edges are. The horizon is merely the edge of the earth, and can only ever be far away, yet we view landscape as if on a vertical plane in front of us which has little relation to the ground we stand on. Likewise we consider the sky as above us, yet it begins after the edge of the ground. I place objects together to form temporary situations that mimic these oddities and therefore highlight them. I am primarily concerned with how we view our surroundings. Notions of flatness lend themselves to painting. As I have been considering archetypal specimens of landscape rather than specific places, romantic connotations are of interest. The use of toys gives my work a playful feel, and an idea of faux-naivety is carried further through replications of simple, childlike drawings of landscapes and buildings.

The process of making the sculptures is often quick, involving no permanent fixings, just gravity. Few actions are used to form an arrangement.

Alongside this process, I spend time inscribing a pseudonym of ‘jo-hann’ onto all the objects in my collection. I find this near automated, never ending task beneficial with regards to thinking about my work, and although it may appear pointless, time which passes whilst doing it is spent purposefully rather than wasted.

Bryony Moore

Bryony Moore — Fri, 02 Nov 2007 7:05:12 +0000

Taking into consideration the context of a place where my work is shown, I like to take a situation and shift it slightly, in order to provoke a new view, or more sustained observation of something which might normally be overlooked in day-to-day life.

To me, the idea of spending time - how the days are whiled away, is an intriguing one - the reality of sifting through all this humdrum stuff.�

I would like to question the idea of doing nothing. Can we ever really do nothing? In connection with this I am interested in what is assumed versus what is actual - the impossibility of knowing but also of preventing oneself repeatedly making assumptions based on what is seen or heard.

Suzanne Smith

Suzanne Smith — Fri, 02 Nov 2007 7:05:00 +0000

I dwell on�the�mundane trauma of social interaction, quietly obsessing�on the line between irritation and arousal.��

Elements of control run through my work:�the dictation of�rhythm, alphabetising images�and striving for manual perfection through the handmade.��I�am interested in humour as a coping mechanism, in gender-specific codes of behaviour and the joy to be had in ever-so-slightly�inappropriate action.

In general my practice is driven by the beauty of the definition of a feeling and the relief at being able to point at it.