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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”.

Photography

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.”

___________

Painting

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

____________

Illustration 

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.