Artists in residency at school to exhibit work

Christ's Hospital has been running an Artist-in-Residence scheme since 1984.

Thursday, 30th June 2016, 1:00 pm
The three Artists-in-Residences at Christ's Hospital

The role of an Artist-in-Residence at Christ’s Hospital allows artists to develop their own art practice by generating a body of work whilst passing on their skills to students and staff alike. They teach all ages, imparting their expertise and every student that studies art, works with the residents at some point.

From Thursday June 30 to Friday July 22 the three current Artist-in-Residences at Christ’s Hospital will have an exhibition of the work they have produced whilst in residency, entitled Three of Something in the art school at Christ’s Hospital.

Rosanna Catterall is a Sussex-based artist, graduating from a BA in Fine Art at Falmouth School of Art in 2012. She won the Midas award and Wilhelmina Barnes-Graham travel to Italy scholarship upon graduating and has exhibited in both the UK and internationally. She was an artist in residence at Tenjinyama studio in Sapporo, Japan and will also take part in the interdisciplinary residency at Hospitalfield, Scotland this summer.

Rosanna’s work is grounded in an open enquiry into the nature of practice, preparation, waiting, failure, and non-conclusion. Her interest in practice as the main event rather than the public or conclusive result of build up or preparation underpins observations in video, sonic and sculptural manifestations.

The structures of tennis and baseball become vehicles for encountering practice. Considering the aesthetics of sports equipment, the routines, rhythms and rituals individuals undertake as part of their practice are components she has specifically engaged with.

Looking at failure as a positive conclusion within a platform where success in the performance of the game is often the end goal has led to video installations with elements of projection that offer an alternative viewing platform.

Using projection outside of its 16:9 and 4:3 aspect ratio constraints has become increasingly important in the work, as well as an investment in how sound will function alongside these video installations. Producing sound in a more material context through allowing physical objects or vessels to manipulate the sounds alongside its digital alteration is often important factor.

Kit Mead is an artist who has been based in Scotland and England over the past few years. His practice articulates the presence of different temporal experiences by exploring the dynamics of uncertainty and transition created in the changing representation of environments and objects along with the collapsing boundaries between the real and the virtual.

He produces durational and experiential installations along with digital video-based work that contain compressed information via non-linear narratives, repetitive structures and irrational cuts allowing moments, histories and locations to entangle and intersect in the attempt to create forms of time travel.

Since graduating in Fine Art from the Cumbria Institute of Arts his work has been presented nationally and internationally. Recent solo and group shows include; Advert, Glasgow CityScreen, UZ Arts, Glasgow International, Glasgow (2016); Since 1984, Christ’s Hospital (2015); Caldewgate, University of Cumbria, Carlisle (2015) Southside Art Trail, Dress for the Weather, Holmwood House, Glasgow (2015); East End Transmissions, The Pipe Factory, Glasgow (2014); Making History, Colombo Art Biennale, Goethe Institut, Colombo, Sri Lanka (2014).

Amelia Phillips is a Fine Art Printmaker who graduated from Falmouth University in 2014 and is a former pupil of Christ’s Hospital. Upon graduating she has shown her work in both group exhibitions and solo shows throughout the UK.

When asked about her work, Amelia said: “As an observer and as an artist I have always had a deep interest in the world of decay and deterioration; constantly on the lookout for objects and surfaces that have been transformed and weathered by man and by nature.

“I think the worn appearance of these things appeals to me and engages me because one gains a sense of time and history; they have a past, discharging unknown stories and an element of surprise.

“One wonders how they ended up in such states of chaos. In my present practice I explore decay and the process of decay; I try to discover beauty in the unconventionally beautiful and to show how the deterioration of surfaces and objects can be truly fascinating, compelling and sublime in expression and appeal. I work in the realms of printmaking to visually explore my concept.”