Deniz Kazma’s journey seems to show that it is not. Like her art, her life is a “work in progress” nourished by tradition and modernity. Tradition because the Asian cultures are well anchored in her artistic DNA. Modernity because our reality is conditioned, transformed, distorted by a technological comet that upsets traditional landmarks and forces the artist to become fully aware of the new perceptual universes she creates and imposes.
Andrew Graves-Johnston
So, where to begin?
Way back in 1987 I attended a huge squat party in a Kings X disused bus garage hosted by the Mutoid Waste Company. Amongst the live bands, DJ sets, street theatre, and circus acts I was confronted with awesome mixed media sculpture. These pieces included cars, TV sets and found objects. Walking home to Brixton I thought “if they can make art like that, then so can I”. For years I was an Outsider Artist, even if then that term was unknown to me. Using mostly self-taught skills I’ve worked in the creative industries, art direction, puppets and props maker, worked with bands, and even stilt-walked in parades. Since 1990 I’ve participated in over 50 exhibitions and events.
Delighted to introduce Paul Blenkhorn to The FLUX Review Q&A’s.
‘For more than 30 years I have been working in the area of sensory stimulation with a specific interest in visual stimulation for children and adults with disabilities. My work has predominantly been with software to attract, engage and interact with people. I am fascinated by the light/colour of forms and their differing relationships to the objects around them. I believe that the nature of the light is somewhat different when it is emitted from a screen rather than reflected from a surface.
The Studio of Philip Michael Wolfson operates in that area between architecture, across the fields of sculpture and installation, experimental design, interactivity, film and art. Trained internationally as an architect, his studio maintains a fascination with and examination of the construct of space and form, while questioning its modern understanding thru the examples given by the early 20th century Modernist Movements, particularly, Constructivism and Futurism.
Though the works vary in scale, the studio achieves a re-positioning of this understanding in the context of embodiment, perception and projection. The works constantly evolve between static and dynamic models, shifting from objects to installations and design, prospecting new visual territories in the field of narrative object and space.
Gareth Jones first took to painting following his diagnosis with Bipolar Disorder, ADD, Borderline Personality Disorder and OCD.
After first being advised to try something ‘creative’ in a psychiatric hospital, Gareth then locked himself in a makeshift studio for months. When he emerged, he had developed a specific, autobiographical style which incorporated traditional painting techniques together with a more chaotic approach involving the use of various mixed media
For Ashima Kumar – Art is the freedom to live. Creating art is a risk we choose to take in the hope that we can soar to heights imagined and unimagined.
