As the weeks are rolling by the influx of work coming our way is something to make us proud.
To celebrate our first deadline at “New Chapter Art’s” we are showing you our considered critique of a selection of work that has been submitted and that we the judges feel fits the criteria of “Hidden”.
With the unflinching eye of the soothsayer, Considerate Trespassing provides a guide to the forlorn calmness of abandoned and derelict buildings. Cameras may paint with light and shade, but in the hands of storytellers such as Considerate Trespassing they are also eulogies and engender the kind of melancholia that can only come from good art, rather than ferment resentment or encourage reactionary responses such as ‘these should be knocked down’ there’s a softer, more thoughtful response that comes up swimming through the butter scotch light. The erstwhile people who once populated these spaces are all the more present in their absence: the chair by the window never to be sat at again; the tools forever to be left on the work bench; the soaring baroque of church arches glowering over empty black floors, all imbue the photographs with a haunting glow.
Considerate Trespassing says, ”I believe that my work fits in with the brief of “Hidden” perfectly as my subject matter is the many abandoned and derelict buildings around the U.K. The places that I visit are not normally seen by the general public and are hidden from our view. I want to show people what’s inside of the buildings that they may have seen a hundred times and thought, “I wonder what it looks like in there”, or for the people who say that somewhere is an eyesore and needs knocking down; to show them that these were a workplace for someone, a place to meet, a place that meant something to someone at one time. You could say to open people’s eyes to what’s around them or even to inform someone of somewhere they didn’t even know existed.”
York based gay artist Mark Haddon is fascinated with the authentic experiences of elusive people and how layers, self imposed or externally imposed, can obscure them. Widely travelled and with a muscular approach to painting honed from a Steinbeckian existence, Mark returned to York and has begun a new series of paintings based on concern and respect for those who have ‘dipped below the radar’. His paintings possess a stylised cinematic quality and echo with Kerouac-esque refrains.
Says Mark, “My artwork represents the experience of the marginalised members of society who frequent the beaches and the benches of the Cote Vermeille, who spent large parts of the day outside observing and commenting on what they see around them. Their histories are deep and full of detail and in spite of their visabilty through their circumstances- sans domiciles fixes (SDFs), remain ignored and discounted.” Mark has a keen eye for the dispossessed, the ‘hidden’. He is a sensitive, witty and stylish painter, and we are very much looking forward to seeing him add to this intriguing series
Sheffield based illustrator Shelley Hughes deconstructs the concept of the ‘hidden’ with the aplomb of the punk, the sensitivity of the poet and the chutzpah of the performer. Her work, once seen, is instantly recognisable: it’s almost as if in its confidence it gives the impression of having been part of the wider pop culture for a decade. But it hasn’t. This is about as confident as an emerging illustrator gets, and it’s thrilling to see her hit her own groove so quickly.
The pictures speak for themselves: the lips parted, blank eyed face of jarringly childlike figure in the presence of a dead bird; the luminous bejewelled angel wings of a weapon wielding vandal, perhaps fresh from this year’s riots; the solitary pensioner in his living room, simultaneously emanating bereavement and stoicism, sitting in a room where the framed photo of a smiling woman engenders as much comfort as it does grief. Shelly points out how, ‘the pictures are concerned with what is hidden, the hidden truths and hidden emotions.’ The ‘beneath-the-surface’ turmoil is all the more powerful for it being suggested rather than explicitly skewered.