'Memoria Technica' (Wimbledon MA Interim Show at The Nunnery)

'Memoria Technica features work by MA Fine Art students from Wimbledon College of Art.
Curated by Christina Millare, Memoria Technica focuses on the use of primary memory and nostalgia instigated by the works within the exhibition. The artists’ works are envisaged as manifestations of the individual (artist’s) memory, deciphered and understood within the spectator’s understanding of shared experience and cognitive recognition.
The space thereby becomes an accomplice in creating an environment that encourages active reminiscence. Both elements (the artworks and gallery space) act as distinct components of the ‘memoria technica’, an overarching apparatus that encourages the act of reminiscence to take place.
Memoria Technica will be showcasing work crossing the boundaries of painting, drawing, printmaking, textiles, film, sound, sculpture and installation.'

http://newsevents.arts.ac.uk/event/memoria-technica-ma-fine-art-interim-show-part-1/

Karin Mamma Andersson

'Karin Mamma Andersson's paintings seem to be filled with familiar everyday things, interiors, landscapes and human figures, but their atmosphere is strange, inexplicable, even unnerving. The original choice of subjects in her works arises from the world of dreams, myths and art. "Snares and mines - in the midst of the familiar," writes the Director of the Moderna Museet Lars Nittve in the exhibition catalogue.

Many of the works on show at the Kunsthalle portray spaces, people and frozen moments, as if they were psychologically charged scenes from some chamber play. Karin Mamma Andersson's characters are often lost in their thoughts and turned away from the viewer, whereas allusions in the works to other paintings and art history imbue them with a throbbing presence. The scenes in the paintings seem arrested, caught in an intermediate stage between waiting, achieving and forgetting. The images live in their own curious universe.
Karin Mamma Andersson's paintings are first and foremost about images - mental images and memories, all kinds of images without any objective reference. The dimensions of time and space are unsettled, interiors and exteriors are turned upside down, and memories and amnesia are combined. Karin Mamma Andersson's painting technique is inclusive: from soft and smooth brushstrokes to harsh and grating gestures, from thick layers of colour to runny, transparent paint. Alongside the figurative, the paintings always have an abstract level; the realistic is complemented with the surreal.

http://www.artknowledgenews.com/Karin_Mamma_Andersson.html

Michael Andrews

The Promenade (1958)

'From the beginning of his career in the early 1950s, Andrews's work was characterised by intensity of observation and exacting technical virtuosity. He described painting as 'the most marvellous, elaborate way of making up my mind'.

It was his firm conviction that some sense of the world and our place within it can be formed from reflecting on human nature. For that reason, his abiding subjects are people: the rich diversity of human behaviour and the complex relationships that exist between individuals and places. Even when people are not physically present in his work - as in his paintings of balloons, fish and certain landscapes - his images are redolent with human significance.

For Andrews, the activity of painting was a way of asking questions about 'the nature of being' and it contained the potential for sharing whatever insights were gained. Towards the end of his career he observed: "In painting, through a process of definition, I realise how I am disposed - it is reassuring to know. As none of us are so different we can share this realisation. . . hence strange consolation."'

Written by Paul Moorhouse and Ben Tufnell, Tate

http://www.tate.org.uk/britain/exhibitions/andrews/

Bloomberg New Contemporaries Entries

Caperer's Cottage (2012)

Melanie (2012)

She's Behind You (2012)

Breakfast (2012)

Breakfast II (2012)

Grandpa (2012)

John Moores Entry

Basil aged 22 (Oil on canvas)

Memory Poem

Created, Captured, Stored,

Past times that are continuously adored,

Buried, Fleeting, Floating,

Equivalent of unspoken

Grasping, Wishing, Waiting,

For those points of re-creation,

Pleading, Longing, Aching,

Demanding instant gratification

Search, Retrieve, Retain,

Why are some lost and yet others remain?

Projection, View, Recognise,

A built-in cinema lies behind the eyes

Laugh, Cry, Feel,

Dwell on the photocopied moments that are revealed,

Sense, Regret, Miss,

Live for this bliss to reminisce.

R. F. Jeffery (2012)

Lucy Gunning

"This is a time for me to reconsider drawing in relation to my practice. 'Drawing' for me embodies a particular approach to working, an immediacy, a fluidity and a tentativeness that I enjoy - a movement towards an end and then a movement back from there, so that it remains an approach rather than a highly polished, finished thing. I am interested in parallels between drawing and filming: hand-held fluidity, already framed and edited. How recording something with a pencil or a camera isn't so much a way of capturing an existing thing as creating a new one." (January 2002)

Ananda Serne

Moyra Davey

Sara Slee Brown

'I create my work by combining images of the known world around me with those of my imagination. My unique experience and perspective, combined with my painterly technique of manipulating digital scans and photographs produce beautiful and evocative images that depict my personal spaces, dreams and realities.
My work reflects my ideas, feelings and experiences as daughter, sister, wife, mother and grandmother; also the lessons I've learned as a breast cancer survivor. I have come to love and appreciate the essence and beauty of ordinary objects and everyday things. Several years ago I discovered the power and beauty of digital imaging. This medium has shown me a new world of shapes, textures and light. I have created some of this work by placing favorite objects on a flat bed scanner. In others I have used a digital camera to capture an image which I can then rethink, manipulate, refine or combine with other images. Sometimes the alteration is very simple and slight. Other times the image is reworked many, many times to create something entirely new.'

Field of Lace

http://www.sarasleebrown.com/index.html