My name is Alex McNamee. Within my sculptural work I enjoy playing with material, the relationship between liquidity and solidity, and the tension between these states. I am intrigued by the state of the object caught turning from wet to dry - from a slippery and soft form to a dry, heavier and more permanent one. My sculptures are mostly made out of materials that are ephemeral or soft. But after I play, mix and manipulate these materials they appear to be made of something tougher, heavier, and more anchored.
Most people’s intuition is to place crisps or sweets like Monster Munch, Hula Hoops or Haribo onto our fingers when we eat them; the instinct that we have to play and test objects in relation to our bodies, the moment of ‘will this fit on my finger? Oh it does! Now I’m going to eat it!’ I cast two Monster Munch crisps in bronze, confirming this gesture of fitting the form onto the hand as a permanent one - and of making a different precious purpose for the crisp as a weapon, adornment, sculpture.
I have just graduated with a BFA from The Slade School of Fine Art London.
I think that the role of the art school today is to be a space where anything can me made or thought about but also that those thoughts and things are always challenged.
There are no rules? I submitted it because it’s cheesy, funny but also true for our art lives.
It says, “haters gon’ hate”. I think if someone goes into The Bloomberg New Contemporaries and asks, “What’s the point? Why?” then the exhibition will be generating a conversation or a question in the viewer’s mind and hopefully they will laugh or get angry. And at least they won’t have a chance to be bored.
My plans are to carry on applying to competitions, putting together shows and within the next year or so applying to an MA.
My name is Alex McNamee, I was born on the 12/12/1990 in Oxford which is where I grew up until I moved to London three years ago.
My most recent exhibitions have been:
LONDON|VIENNA|CALLING (Mile End Art Pavilion, London 23rd-29th Sept 2013 and Semperdepot, Vienna 17th-24th Feb 2013): I will be part of a group exhibition that will tour from London to Vienna.
The Independent A.I.R. (Silkeborg, Denmark, 14th – 19th July, 2013): I was an artist in residence and was part of a group exhibition in Silkeborg Denmark in August 2013.
BYOB Bring Your Own Beamer event (The Chapel at Oxford House, Bethnal Green, London, 13th June 2013): A group show. Where I projected a collaborative video with a fellow artist.
FOUR artists THREE bands TWO pounds ONE day (3-7 Mowlem Street, London, 26th Jan 2013, with three others I organised, curated, sold tickets and exhibited work)
My practice is centered on a notion of a new man – human – of/for the future. I use painting, performance and photography, as well as video and sound, to explore the capacity of each medium to create sensations and narratives elements to convey the life or mode of existence of this utopic and conceptual figure.
I am interested in the relationship between a concept of mode of existence, or way to live (ethics), and a notion of resistance – a resistance that is not explicitly political but perhaps “existential”.
I explore different kinds of blurring between sensation and narration; between fiction and reality, between the “fiction”/“conceptualization” of a utopic figure and myself; between the past, present and future; and between works in different mediums presented as installations, a blurring through which the more or less mythic narration of a future-oriented mode of existence is developed.
I recently completed a practice-based PhD at Goldsmiths, London, and now lecture in studio practice at the LASALLE College of the Arts, Singapore.
Give people courage (to experiment).
“The work of the most radical artists ultimately give to experience and narrate modes of existence, modes of sensing, thinking, and acting, modes of life which resist the present.”
There can only be one aim: to continuously re-develop new modes of existence, opened onto an Outside, from and through which experimentations take place. At a certain level of aesthetic experience, perhaps the highest level, the best of artworks narrate such modes of existence, the lives of extraordinary humans.
Unfortunately, I have not seen the exhibition.
Attain (what can only be badly described as) the utopia, now, here, in the present.
I was born in the province of Quebec, Canada, 1978, which I left at the age of 21, having since then lived in England, Italy, Sweden and China. I now teach Fine Arts Studio Practice in Singapore.
My name is Archie Franks, and I have four paintings selected for the new contemporaries shows; one showing fish in a tank, another depicting a mouse being ambushed by insects, one of a bloodied looking cake, and one of some root vegetables (looking a bit like tangled limbs).
I studied at the Royal Academy Schools, graduating in 2012.
My art rule is to do with complacency, and trying to stay clear of it. I submitted it to hopefully make it clear that making good work relies on being self critical, and pushing your practice, not being lazy, arrogant, or pleased with yourself. Making things and thinking about what you’re making. I think making anything requires a curious mix of megalomania and self doubt. The rule is for myself as much as anybody else.
I think this year’s BNC shows that art practices today are fairly diverse in terms of medium and visual language, and that artists aren’t concerned with a medium or stylistic based hierarchy. There is a variety of attitudes expressed about the world as well, no singular viewpoint, something I find interesting and satisfying. Hopefully people will enjoy the show, as I genuinely feel really excited to have my work shown amongst so many interesting artists.
I’m currently on a residency in Rome, which allows me to indulge in making paintings and not having to do any other work. My plans for the future include more of the same.
Born: London 1986
Bloomberg New Contemporaries, touring Spike Island ad ICA 2013-14
Hold the Fort! FORT-London 2013
Original Copy 3 Peles Empire Cluj Romania 2012-13
Original Copy 2 Peles Empire London 2012
Barbican Artworks Open London 2012
Original Copy 2
Royal Academy Schools Show, Royal Academy of Arts London 2012
Royal Academy Summer Exhibition, Royal Academy of Arts London 2011
Premiums, Royal Academy of Arts London 2011
Royal Academy Summer Exhibition Royal Academy of Arts London 2010
My name is Daniela Sarigu, I am from Italy, and I have recently finished an MFA in Fine Art at the Slade.
The work in the show is quite recent and has developed from an ongoing interest in the materiality of painting and actions like measuring and recording. It consists of two drawings on linen and a woven work.
I think that the role of art school today is that of creating the best possible environment for a young artist to develop his or her practice. This environment is optimal when it balances up freedom, criticism and the academic side.
The Art Rule that I have chosen is not quite a rule in the strict sense. I would define it as an attempt at describing what art can be or perhaps its possible function today, in connection to my research and taste but also looking at history.
n this year's BNC edition there is a wide range of approaches and themes and the show is certainly not saying only one thing about art. If I had to chose a word it would be diversity. Coexistence of diversity.
My plans for the future include carrying on making art, researching more into aspects that I still haven't investigate fully like music and performance.
Daniela Sarigu was born in Cagliari, Italy in 1982.
She graduated in 2013 with an MFA from the Slade School of Fine Art.
In her work she uses drawing, painting, printmaking and film. Recent exhibitions include Jerwood Drawing Prize touring exhibition, editions 2012 and 2011.
She currently lives and works in London.
Esme Toler (b. 1989) is a sculptor and printmaker; she lives and works in London. Her work, which centers on the exploration of subterranean landscapes, oceanic imagery and animal behavior, is informed by an ongoing engagement with orthotics. The varying processes of orthotics provide her practice with a technical and visual framework. Toler’s use of materials often occurs on a pragmatic level, for instance, using tarmac to level a surface or sealing fabrics with silicon. However, her works are imbued with a sense of unease and displacement, they avoid conclusion and are purposefully fluid.
I am currently studying carving at City and Guilds art school.
To teach people new skills and allow exploration into the darkness of the unreal.
I believe in making.
There is an excellent collective way.
Continue making (and go to the desert for a while sometime)...
Esme Toler (b. 1989) is a sculptor and printmaker; she lives and works in London. Her work, which centres on the exploration of subterranean landscapes, oceanic imagery and animal behaviour, is informed by an ongoing engagement with orthotics. The varying processes of orthotics provide her practice with a technical and visual framework. Toler’s use of materials often occurs on a pragmatic level, for instance, using tarmac to level a surface or sealing fabrics with silicon. However, her works are imbued with a sense of unease and displacement, they avoid conclusion and are purposefully fluid.
She was recently interviewed for Numero Magazine with Hans-Ulrich Obrist, in July 2013 she performed as part of the V&A Friday late program. She is also giving a Saturday talk about her practice at the Serpentine Gallery this November.
The work selected by BNC for inclusion within the exhibition is related to an aspect of my graduating final show last June, which in the main consisted of a film, the medium that is my primary interest at present. The image presented in the New Contemporaries exhibition, originally appealed to me as it thematically tied into my undergraduate thesis. The phenomenon of ‘Pareidolia’, the most familiar example of which is to see faces within the clouds, interested me as being emblematic of the idea that as human beings, though we might try to interact with the world as something lying outside of ourselves, we are in the end confronted with our own likeness.
I graduated from Chelsea College of Art and Design in June 2013.
The role of the art school today is to provide a sympathetic, stimulating and free environment for like-minded people to congregate around.
Life drawing does not equate to art, but its message, to look at the world as you find it and not as your preconceptions tell you, has a value that extends outside of its practice.
I submitted this rule because I was recently thinking about what, if anything, I learnt from all the life drawing I did when I was a teenager.
It has corporate sponsors.
I plan to improve my German Language ability.
Faith, redemption and revenge lie at the forefront of my practice. Spanning painting, sculpture and collage I position myself between the dogmatic traditions of the past and the present infallibility of reason. Reconfiguring tabloid culture into the codes of British Romantic portrait painting, I attempt to suggest parallels between two incongruous worlds united by a potentially devious and questionable morality.
Tender and hysterical, sardonic and earnest, voices of black humor run throughout my work. These voices raise the question - what are the acceptable limits of belief? In an age of secularism and profanity where do we channel our faith? The everyday superhero, the talent contestant, the conspiracy theorist, the religious extremist and even the artist, are conduits for an experience of faith that is unified by a sense of absurdity. By asking what is beyond the pale, human need for belief is oddly re-affirmed.
I graduated from the Royal College of Art, MA Painting in 2012.
The art school is being forced to reclassify itself. The days when knowledge is exchanged for free are no longer with us. The worst-case scenario is that the art student will come from an obscenely small demographic – the implication is that the production of art in whatever form, will only be reserved for the wealthy. Obviously this a grotesque thought that actively needs addressing.
My art rule is “talk – action = shit” which is the title of a song by The Brian Jonestown Massacre. The song is about the eternal problem of someone who wants to make stuff but is happy to just talk about it instead.
At Spike Island I remember there was a strong video element to this years show, many of these films had a satirical voice that I enjoyed. But it’s far too early to start mining trends.
I have a solo show at Ceri Hand Gallery next year that I'm working towards, where in addition to making paintings, I'm currently producing a body of sculptural work, which includes a body building child and a St George's crusader.
Born, 1982, Worthing
Lives and works in London, UK
Title TBC, Ceri Hand Gallery, London, UK
The Walnut Tree, Chinashop, Oxford, UK
Mute and Impotent Before the Boot, Post Box Gallery, London, UK
Selected Group Exhibitions:
Painting Show Winter Projects, London, UK,
Implausible Imposters, Ceri Hand Gallery, London, UK
Creekside Open, APT Gallery, London, UK
The Harboured Guest, 4 Windmill Street, London, UK
Show RCA, Royal College of Art, London, UK
Backwards Man, CPG, London, UK
Memory of a Hope, Ceri Hand Gallery, Liverpool, UK
Polemically Small, Torrence Art Museum, Torrence, CA
Hello Paradise, Kingsgate Gallery, London, UK
Between a Hole and a Home, James Taylor Gallery, London, UK
Royal Academy Summer Show, Royal Academy, London, UK
Pretty Deep, The Royal Standard, Liverpool, UK
John Moores 25, Walker Art Gallery, Liverpool, UK
First, I should explain. It won‘t be easy, you have to tear down your old life, the life where you used two tons of steel to move you about. But you‘ll feel much lighter after, I assure you. It‘s a strange lightness though and not everyone is the compatible type. The only thing I know is that you can‘t scream for help like people do in the movies. It‘s probably just like drinking water down the wrong tube forever. You must try though, the transformation is attractive and uttermost.
The first step is to be ripe because then you are useful. Pay attention to age-defying Andie MacDowell, she does this very well. Andie stepped out in LA on Saturday looking as youthful as ever. I can tell you’re not as stable as you should be, but that‘s ok, latex is plunging. There are declines in domestic futures and the absence of strong buyers in the local scene has put your support under pressure. But we have faith. Mint green is such a nice colour and everyone will always like the snapping of medical gloves.
To have curves is not crucial but they are natural, and they are to many. A sheer blouse would be well placed, however ours cannot be dressed, instead they are crass and sat on crass-ness which is both brave and idiotic. To compensate they have been given a kind platform like fur but more condensed. As far as significant research has progressed we know that they are unconscious, leaving us to feel for them and we are glad to.
It should be noted that few find embodiment embarrassing, for these reasons it is advised to apply cold hand cream to the tips of the fingers before touching any surfaces. This will confuse boundaries. You may also touch yourself in this manner.
We‘re nearly there. It’s almost like the ocean, my head doesn’t tingle but it feels like more blood is circulating through my brain. It stimulates the same receptors that drugs, alcohol and sex do but the difference is there’s no chemical reaction, the receptors just become sensitive by themselves, enabling us to feel the feelings and sensations of the hands. Even if the ordeal is performed by the mind, the whole body gets dragged into the mess of it, yours and mine. Sort of like blushing, but a furious kind.
If you can‘t transform completely there are still things you can do. It is important to always be active, if you hear a song and it reminds you of a guy you like, send it to him. Always suggest getting a beer. For a little kick toss in a shot of something hard. Set a table outside in the yard, roof, or stoop and indulge.
Hannah lives and works in London. Alongside her own practice she also writes for and edits the feminist journal SALT. Recent exhibitions include FFM:HH, Frankfurt, SALT Issue Launch at LimaZulu and Vista-Suite, both in London.
Everything is on the cusp. Between life and death, heaven and earth, ground and sky, safety and danger, physical and immaterial. I am interested in means of controlling the body through medicine, alternative therapies, exercises, feng shui, torture devices and occult traditions. Making the work seems to be a form of autonomous, cryptic, ceremonial catharsis. Although endeavouring to heal the wounds of others, each action is ultimately egocentric.
My practice is adaptable, using drawing, objects, sound, painting and video. How do society and the individual cope with the frailty and finiteness of a person and their body, the cultural and clinical management of death? These vary through the customs of east and west, academic and pop, historical and present. I look across Chinese and European medical techniques witnessing the oddities of both – cures can appear bizarre and absurd. The work attempts to probe the line between desperation and the ridiculous, and the spaces and forms that fear of pain and mortality can push us to. What seems at first visually preposterous is actually a desperate attempt to grasp onto life.
To give people the confidence to make decisions, think and question. To provide a headspace, studio space, like minds, critics, support and guidance.
Recently, a lot of art seems cold and sterile – often ironic, cynical and defensive. This is a call for artists to put their hearts into their work, don’t do it for show. Be brave. Gush, cringe and weep if you need to. Feel it deep down, be sincere and care.
It’s ok to approach serious questions and issues without having to take yourself too seriously.
Find a studio. Find a balance. Do an MA. Get a mortgage.
Born 1990. Half British, half Hong Kong Chinese, brought up in Haarlem, Aberdeen, The Hague and London.
Having gained a First from The Slade, UCL (where I was awarded the Grocers’ Company Golden Jubilee Scholarship and The Clare Winsten Memorial Award), I am continuing to make and exhibit work.
In 2012 I designed and produced a permanent public sculpture for Wimbledon Station, commissioned by Merton Council. I have exhibited at various places, including the Grant Museum of Zoology, the Bloomsbury Theatre and Camden Arts Centre. At the UCL Festival of London & Literature, I gave a paper, ‘Over Under Tamesas Over Under’ as part of the conference, One Day in the City.
I have had long term involvement with UpProjects, the House of Fairytales and the St Pancras Community Centre, and am currently working at the Serpentine Gallery.
In my practice I utilise found and appropriated materials alongside more self-crafted elements to mimic the characteristic sensibilities of other objects and stretch potential frames of context. Whether aggrandising the mundane or destabilising a sense of self-importance, the resulting works aim to challenge notions of hierarchy and status exposing the transient nature of meaning and our habitual attachment to particular definitions.
My studio process involves a dynamic tension between ideas explored and the possibilities of materials to use. Many works come into being through an intensive scrutiny and incorporate some overtly considered aspect in their production or arrangement that appears at odds with an inherent ambiguity of overall purpose. A kind of tension within the attention, that seemingly hovers between absurdity and seriousness.
I graduated from the MA Fine Art course at the University of the West of England, Bristol in 2012.
The importance of the art school is that it provides a structure and time separate from the marketplace within which an artist can focus, develop and reflect on their practice.
‘Art is a thought crime’ – A reference to how the real work of art could be said to take place in our heads rather than the objects presented to us.
I think it shows a very diverse and eclectic range of approaches and possibly highlights a renewed interest in materials and qualities of making being used as conceptual devices.
I hope to find more opportunities to make and show new works. I’d also really be interested in doing a residency in a new location for at least a few months.
Born London 1977
Lives in Bristol, UK
I am interested in modes of behaviours within a family, physical and psychological equality or inequalities of power, mutual bonds which strongly affects who we are. Being a part of a family, we are being a part of a system which as every system can be both beneficial and oppresive.
What does it mean when an individual cannot be understood in isolation from one another but as a part of a bigger entity?
I wanted to highlight loneliness and anxiety and family as a carrier of those two states. I am interested in how those mental states are produced and why particular desires, feers and needs manifests themselves in relationships between people.
I graduated Royal College of Art in June 2013
Please see attached film from MA Final Show afterparty by Philipp Dorl.
Don’t spend more time networking than making work.
[Please see attached sound file: The wildest Place on Earth, Sounds from Jungle.]
[Please see attached picture of a woman with cats.]
Joanna Piotrowska was born in 1985 in Warsaw, Poland. She received her MA at Royal College of Art in London. Selected exhibitions include: The Suspension of History at Basement Project Space in Cork, XV Call Luis Adelantado in Valencia, Family Politics at Jerwood Visual Arts in London, Bloomberg New Contemporaries 2013 at Spike Island and Institute of Contemporary Arts in London. She took a part in learning place program in Former West conference at Haus der Kulturen der Welt in Berlin. In 2011 she was awarded Genesis Foundation Scholarship. She is selected for The Catlin Guide 2014 which showcase the latest crop of Britain's most talented new artists.
Now aged 23, I graduated last year from the University of Wales Newport, achieving BA Hons in Photographic Art. During 2012 my work was exhibited in Platform, Graduate and Videoholica festival in Bulgaria. During 2013 I have been selected for Bloomberg New Contemporaries, and was awarded the Gold Medal for Fine Art at The National Eisteddfod of Wales; as well as appearing in the Catlin Guide: an introduction to the top 40 most promising artists in the UK. After being commissioned by Bristol based organization Hand in Glove, I produced work for a solo exhibition at Motorcade/Flashparade in March 2013. I am currently working as an Arts development assistant at The Vale of Glamorgan Council.
My work questions the need for a current evolution in modern day consciousness…to be fully conscious is achievable by anyone, but for centuries it has been lost under layers of thinking and analyzing which have arrived alongside the human condition to be fully identified with the mind. The mind and its ‘voice’ has become a very destructive tool. This voice is explored in my video The Lilies of the field.
In more recent work, I question whether modern man’s obsession with thought has triggered an immense separation and lack of empathy, allowing humanity to carry out horrific atrocities against his fellow man and create havoc on the planet in the name of greed, possession and progress. My work attempts to challenge the current state of the world by highlighting the dysfunction of the human race - to shake the insanity out of the man and jolt him into a reawakening. With focus on humanity’s desperate need to reconnect with nature I look back to the origins of human worship… the importance of mother earth, and her later subordination; and how harking back to these ancient teachings may be able to help us with our current environmental and spiritual crisis.
University of Wales, Newport (Now University of South Wales)
Since the rise of tuition fees, I believe the question of the Art School and its role will move further into the limelight. I feel lucky with regards to my Art School experience, as the Photographic Art course at Newport (University of South Wales) encourages a freedom of expression and prepares you for what comes next. Personally, I believe my University experience was vital to my artistic development. However, it seems a lot of Art Schools put a lot of emphasis on the quality of sketchbooks, proof of research and the fulfillment of rules and criteria. These ‘rules’ can likely detract the student from the real reason for making art; the art world is not run by timed modules with certain criteria and an expected result. These methods may be necessary in a school or college, but University should encourage a freedom and individuality, with focus on the artist’s own creative aims and aspirations. Perhaps with the recent rise in course fees, Art Galleries and organisations will take a greater role in the cultivation and nurturing of the young budding artists who are hoping to break into the industry - without paying all the fees which arrive alongside the Art School.
‘Artists are our modern-day Shamans’
This ‘Art Rule’ was the title of my university Dissertation - I formed an argument whether artists can be society’s healers the way the Shaman in ancient tribes would have been. I concluded that art can be used as a catalyst for societal and spiritual change; this is the motivation behind my own practice.
Seeing as BNC is a wide and varied selection of recently graduated artists, surely there is no better way to grasp the direction art is heading. The work in BNC 2013 addresses so many current issues; covering politics, wealth, religion and mentality.
Artists appear to be getting more comfortable with finding elaborate, interactive and imaginative ways to convey their personal ideas to the viewer. And in many cases creating artwork to raise awareness and create change – this is becoming easier and more accessible due to advancements in digital media and through our modern methods of effective online sharing.
I am currently at the beginning of a two-year Internship as an Arts Development Assistant for the Vale of Glamorgan Council. After this I am looking at doing a Masters to further develop my own Art Practice.
Born in Bristol, 1990, Josephine now resides in Cardiff after achieving a BA Hons in Photographic Art at the University of Wales, Newport. Apart from being selected for BNC this year, Josephine was also the winner of the Gold Medal for Fine Art at the 2013 National Eisteddfod of Wales.
My name is Julia Parkinson, I’m currently studying at the Royal College of Art having graduated from Camberwell College of Art. I primarily make large scale steel sculptures, which have some sort of ephemeral element, either enacting itself out in or upon them. The works’ primary threads are materiality, transformation and time.
Art schools today help artists understand the narrative that came before them and the possibilities that exist ahead.
My art rule is, (in response to the Warhol quote) “don’t just do anything you can get away with”. Picasso iterated this when he said, “inspiration does exist but it has to find you working”.
Today’s contemporary artists are practicing at the limits of what art might be. Bloomberg New Contemporaries exemplifies this.
Plans for the future: Build a more direct relationship with specific landscapes, ultimately exploring how I can work on-site, creating work in the place the work’s about. And no doubt yet more steel!
Julia Parkinson graduated with a Ist, BA (Hons) Sculpture, from Camberwell College of Arts, in 2012. Recent group exhibitions include Territory; Liverpool Independents Biennial, 2012 and Future Map; Lethaby Gallery, Central St Martins, UAL and Bloomberg New Contemporaries. She is currently undertaking an MA at the Royal College of Arts in Sculpture.
I’m Kate Hawkins. Although I paint I don’t really class my self as a painter. Increasingly the canvases and their structures seem to situate themselves more as sculptures or drawings, or in some cases both. I think about my work in terms more related to performance, as this was my point of departure. I’m also interested in spectatorship and its relationship to performance, theatre, action and passivity. My PhD is titled Sites of Action. I ask if painting can be performative without being theatrical in Michael Fried’s terms and what this means for spectatorship specifically.
Winchester School of Art
To encourage and incite action, even in the form of the smallest gesture. And to remind artists they have a responsibility (if only to themselves).
‘Choosing your own platform’
I didn’t submit it. Was looking for more of an oval shape. Only round bubbles seemed to be available.
I don’t know yet.
To eat more fruit and vegetables. And be generous.
Born 1980, Southampton. Lives and works in London
Winchester School Art/Southampton University, Practice-based PhD (Scholarship) 2010-2013
Slade School of Fine Art, UCL, MA Fine Art (Painting), 2004-2006
University of Edinburgh, MA (Hons) Fine Art (Painting) 1998-2003
Escape the Esplanade, Limbo, Margate, 2013
The King Of Hearts Has No Moustache, Gallery Vela, London, 2012
My Brother is a Hairy Man, (2-person) George Polke, London, 2011
Anarchy is Ordinary, Bischoff/Weiss, London, 2008
Harpies & Queens, Ritter/Zamet, London, 2007
SELECTED GROUP EXHIBITIONS
Bloomberg New Contemporaries, ICA, London, 2013
HYPERLINK "http://flatness.eu/home.html" \o "Go to http://flatness.eu/home.html" http://flatness.eu/home.html, curated by Shama Khana, 2013
Bloomberg New Contemporaries, Spike Island, Bristol, 2013
Picture / Tableau / Screen Visual Symposium, Herbert Read Gallery, UCA Canterbury, 2012
Object Subjects, Silverman, San Francisco, 2011
Two Sidedness, KultureHouse, Stockholm, 2008
2(007) Pranvere, National Gallery, Tirana, Albania, curated by Charles Danby, 2007
Goods to Declare/MFA International, Tel Aviv, Israel, 2006
I was self-taught until my Postgraduate Diploma at Chelsea College of Art and Design in 2010, ahead of my 2011/12 MA in Fine Art. My first public sculpture was installed at the main entrance to Harefield Hospital, Middlesex, in December 2010, sharing ground with work by Antony Gormley and Grayson Perry. My sculpture for the smoking terrace of the Ivy Club in London was mentioned in the Evening Standard's 2011 list of Sexiest places in London... for illicit liaisons. Previous commissions included work for Nicolas Roeg's film, Puffball, in 2006. This year, I won the Selector’s Prize in the Creekside Open 2013 exhibition selected by Paul Noble at APT Gallery, and have shown work with Schwartz Gallery and Hanmi Gallery, both in London. In September 2013 I commenced a practice-based MPhil/PhD in the field of sculpture at Chelsea College of Art and Design, supported by Chelsea Arts Club Trust.
I’m Laura and for New Contemporaries I have two pieces, Boney P and (grill) Wobbler.
I’ve just started making new work for my MA at the Royal College, but I made these two pieces in my final year of my Ba at the University Westminster.
It’s a playground for us (students) to make work, make mistakes, friends (kinda corny but true) and question everything and sometimes nothing.
I think my art rule was: making art is making art, because you asked for a rule.
I think it shows a return to the artists touch; be that a handmade crudeness or a sense of humor.
To make more work and travel.
Laura O'Neill (b.1990, UK) lives and works in London.
2013-2015 Sculpture, Royal College of Art
2009-2012 Mixed Media Fine Art, University Of Westminster
2013 Bloomberg New Contemporaries Spike Island, Bristol and ICA, London
2013 Bombast Bombast, London
2013 Nature Reserved GV Art, London
2013 Small Things Arena Gallery, Liverpool
2013 Ornament Bombast, London
2013 Now-Or-Whenever The Old Ambulance Depot, Edinburgh
2012 Punch Clock Savvy Contemporary, Berlin
2012 Nought Anew: Sculpture Mile End Art Pavilion, London
2012 Height X Width X Depth Five Years Gallery, London
2012 Kunst Grad Press Play House, London
2012 Level Three 101 Gallery, London
2012 ForDarnley Road Gallery, London
2011 I Was Hungry Thomas A Becket, London
2011 2100D Orange Dot Gallery, London
2011 00:00:00 Five Years Gallery, London
2011 The Guardian Aug 13th This Weeks New Exhibitions, Skye Sherwin
2011 Saatchi Online Magazine Aug 5th Top 10 Shows in London, Rebecca Gerard
My name is Lauren Cohen, I am from the east coast of the United States. I have been living and studying in London for the past year.
I am currently getting my MA at the Royal College of Art.
After receiving my undergraduate degree, I spent four years outside of the institution. For me, the most important part of graduate school is to be able to have engaging dialogue with other artists. The feedback I have been receiving has been integral to my practice.
I'm not sure if the work in the show can speak for all art being created today, but I appreciate how there seems to be an unpretentious tone throughout the exhibition. I don't get the feeling that the work takes itself too seriously, which is refreshing.
I hope to do some artist residency programs after I graduate.
b. 1985, Bridgeport, CT
Lives in London, UK
If Painting Is Dead I am the Air Bomb That Blew It. Patricia Sweetow Gallery, San Francisco, CA
An Inoperative Mythology. Blyth Gallery, London, UK
Bloomberg New Contemporaries, Spike Island and the Institute of Contemporary Art, London, UK
Multiculturalism Is Dead. Interact Gallery, London, UK
Exploding Cinema: Besides the Screen. Goldsmiths College, London, UK
Auction X: Artistic License. di Rosa, Napa, CA
Land of Magic. Bedford Gallery, Walnut Creek, CA
SK10. SK10 Gallery, Skowhegan, Maine
Skowhegan School of Painting & Sculpture. Skowhegan, ME
JAB. Patricia Sweetow Gallery, San Francisco, CA
I'm Scared Because There's Only One of You. SoCha, San Francisco, CA
Drawing in the Margins. Swarm Gallery, Oakland, CA
Blood Bath City's Annual Art Execution. Anton Art Center, Mt. Clemens, MI
ANJE II: All-Media National Juried Exhibition. 621 Gallery, Tallahassee, FL
Royal Academy Schools
My Art Rule: 'You are The Artist you're searching for'
Born: 1985, Plymouth
Post Graduate Diploma, Royal Academy Schools 2009-2012
First Class BA (Hons) Winchester school Of Art 2006-2009
Royal Academy Schools London, 2012
Institute Of Contemporary Arts, London, 2013
Multiplied, Christies, London, 2013
Bloomberg New Contemporaries, Spike Island, Bristol, 2013
Sydney Nolan Trust, Wales, 2013
Slate Projects, London, 2013
The Zetter, London, 2013
Post Graduate Printmaking in London 2012 (A survey of London Art Colleges) Clifford Chance, London, 2012
Blood Orange, London, 2012
Re-make/Re-model, Chelsea Future Space, London, 2011
Summer Exhibition, Royal Academy of Arts, London, 2011
Line, Poppy Sebire, London, 2011
Premiums, Royal Academy of Arts, London, 2011
Winchester School of Art, 2009
Hyde Laundry, Winchester, 2009
Winchester City Mill, National Trust, 2009
Clifford Chance, 2012
Line, Timeout, 2011
Bloomberg New Contemporaries 2013, Spike Island, 14 September - 10 November
Multiplied 2013, Sponsored by Christies, London, 18 21 October
I have the material, the urge and the tremor of metaphors to work with. Discharging images originated from a modern brain that has been feeding on a multitude of forms and meanings. Corrupting good intentions I use a codified language of painting and sculpture to let the work emerge from a realm of possibilities and let one thing lead to another.
Chelsea College of Art and Design (recent)
Bringing artists and others that might say something useful closer to each other.
Art Rule: 'Do everything at the same time.'
I am a great advocate of doing things all at once when making. It pushes the brain in unpredictable ways. After that I need to concentrate and finish the job. This art rule is a reminder of the fact that this is how my brain seems to work best when making. When I paint I think of the other thing as opposed to the thing I actually started painting. This makes things unpredictable and exciting. In all other aspects of my daily activities I forcefully have to be in the know, but when making a painting, a drawing or sculpture or anything else that is not working for a boss or money, I do everything at the same time until it's right again.
Attitude becomes form and context.
Do everything at once until I get to the good stuff.
Maarten van den Bos is a London based painter and sculptor. He works with the force of evolution to let the work evolve until form creates new meaning.
After studying Biology at Wageningen University (NL) and Fine Art and Education he moved to London to do his MA Fine Art at Chelsea College of Art and Design. He works and exhibits his work from his studio in Bermondsey, London.
b. 1989, Cape Town, South Africa
Lives and works in London
2013 Dreamtime: New Surrealism, Mirus Gallery, San Francisco
My name is Menna Cominetti, the work in the show are 3 pieces all titled Then Again. They were made a while ago now, and at the time I had a lot of things lying around the studio - I guess the pieces alter between 2 and 3 dimension, the italicised marks are a kind of hybridised writing, and the clay magnetised to the steel is a rough thingly thing butted up against a surface similar to a fridge door.
University West of England.
I think a lot of art schools might set themselves the task of broadening the conceptual horizons of the students that go there, getting students to 'think differently'. But it's funny how after you leave, a lot of people task themselves with undoing exactly that. You can understand why all these free and alternative, artist led educational programmes are cropping up - there is a sense people want to avoid the professionalisation of art practice which pervades through alot of art schools now. If art school does have a role, it is to lessen the bludgeon of the 'professional art world' and remain free thinking discursive spaces, though perhaps that's a bit romantic.
Coffee and bread are two things I have everyday, and if you're an artist you might ingest art or thoughts relating to art everyday too. It's not a rule exactly… If I were to re use a 'rule', I like Dan Rees' 'keep your art soft and sweet, you may have to eat it', imagine trying to scrape shavings from a Richard Serra on to your toast, that would be horrid!
Is that BNC's criteria? It's hard to generalise in a show with so much variety, but alot of the work seems to really stand up for itself, I wouldn't even say that there are any discernible trends aesthetically - nothing looks like anything else, but a lot of works do share sense of humour. Perhaps it's the attitude thats common, a particular wit, rather than a way of making something.
To carry on with coffee, bread and art, move to London and use less spray paint because I think it's ruining my lungs.
Menna Cominetti born in London 1989, is a recent graduate of UWE Bristol and has just completed the UWE Graduate Fellowship of 2012-13. Recent exhibitions include; Dumb Shadow at Supercollider hq, (Blackpool), Sucessone (online takeover) bubblebyte.org, Bedrock, Motorcade (Bristol), and After Aperol, Cofu (London).
I am a German born artist and my work is one of many tools I use to evaluate what I find along all kinds of adventures, no matter how exotic or ordinary they are. From small scribbles to large sculptures and installations, my works map the discoveries I make in foreign territories in the city or the Southeast Asian Rainforest. opheliafinke.com for further information.
It’s Central Saint Martins.
Art school is the perfect base camp to prepare the next exploration-tour and sharpen my machete before returning to the Bolivian Jungle (our school is incredible well equipped).
There are no rules in art- apart from this one.
I heard that the ICA-exhibition this year was a greater success than any touristic ICE-expedition to Siberia. So BNC proves that art today is very exciting.
Ophelia Finke was born 1991 in Frankfurt, Germany. She studied BA Fine Art at Central Saint Martins. She lives and works in London.
I want to take already existing components of the world and re-format them into a visual dialogue that suggests a former use or interaction. I am interested in how an object can perform in multiple ways, exploring the possibility of sculptures that can reflect the ubiquity of the readymade or industrial, whilst acting as autonomous objects via a process of appropriation or remaking.
Through numerable processes including casting, digital printing and metalwork I have been trying to create a relationship between objects that hints at narrative and creates a context for the sculptural aspects of the work. I have been considering the body as a direct way of implementing these narratives, bringing in recognisable elements that can stimulate a response or trigger a visual recollection.
By inserting hand-holes into sheets of aluminium or adorning a cast radiator with a necklace, I want to allude to a physical encounter with the works whilst directly questioning my own relationship to them and asserting my position within them.
The works echo the everyday and through use of colour, form and material I want to reveal recognisable forms and fabrics, whilst other elements remain ambiguous through the process of remaking. The visual language created from one medium to the next can entirely alter our way of looking at an object and the everyday can become elevated to a higher status.
I am currently studying at the Royal Academy Schools
Although the form of art school is evolving dramatically in response to the cuts in funding, the role it provides is essentially still to offer a place in which emerging artists can develop and build a practice within a critical discourse and importantly among peers.
The art rule I submitted is a quote from Virginia Woolf; “One cannot think well, love well, sleep well, if one has not dined well” I don’t really make rules in my work but I thought that this is a good rule in general.
I think that the work in this year’s BNC is really exciting and shows a group of artists that are critically engaged in both the materials and processes they are using.
I’ve got another two years of my post-grad so I’ll be working hard in the studio and hopefully that will continue when I leave.
Rebecca Ackroyd (b. 1987 Cheltenham) Current city: London
Gross Weight, Marsden Woo Gallery, London (2013)
Selected Group Shows
Art Britannia, Miami (2013)
Surfacing, The Griffin Gallery, London (2013)
Material Matters, The Drawing Room off-site project at UBM HQ, London (2012)
Magnitude - Real Gold Event, 19 - 23 Kingsland Road, London (2012)
Odds Against Tomorrow, Bearspace, London (2012)
The Face of the Shape, La Scatola Gallery, London (2011)
Print Now, Bearspace, and SW1 Gallery, London (2011)
2012 - 2015 Post Graduate Diploma Fine Art, Royal Academy, London
2007 – 2010 BA Fine Art Byam Shaw School of Art, London
My name is Shelley Theodore. I have two film based works selected for Bloomberg New Contemporaries 2013 Exhibition:
Madame Boussieux Looks, 2013
Super 8mm transferred to digital video, 41 sec (looped)
Silent (black and white), 2012
Super 8mm transferred to digital video, 2 min 18 sec (looped)
My current practice includes drawing, collage, photography and film. What brings the work together is a concern with ‘the act of looking’ as a means of training attention on my own experience and indirectly the viewing experience. The main focus for this attention is a desire to bring overlooked sometimes uneventful aspects of lived experience into view but not in a straight forward or documentary way.In this way through photography and film I have explored spaces that have become part of my daily encounter with the urban environment. Bringing the work into the exhibition space is for me an opportunity to revisit the place and space of the work seeing again the potential in the act of looking.
Camberwell College of Art, University of the Arts, London
Budget cuts have meant that in many art schools there is far less than the ideal one to one student time with staff and visiting artists, critics etc. and predominantly group based learning only. These changes have lead to disappointments and frustrations. My recent experiences in art education have encouraged me to see the art school as having more of a role as facilitator of spaces for discussion of ideas and exchanges in practices. In this way more process orientated. Graduation is less of an end and more of a beginning. I can see why many artists are choosing not to pay the high fees and opting for creating self directed independent learning. This feels like in many ways a loss of the ideal art school as a place for experimentation and freedom.
‘You cannot fake the process of your own arrival as an artist. It’s not a “look” to achieve in your work, and you cannot will it into being.’ (Rebecca Morris in conversation with Raoul de Keyser, March 2013 issue of Artforum)
When I unexpectedly came across Rebecca Morris’s article in Artforum I quickly jotted down a few words. Thinking about my Art Rule prompted me to return to my notes and to the above quote. I remembered the effect of experiencing the work of Raoul De keyser. These words struck a chord with me in terms of a process that I had been going through with my own work. What I like about this statement is the implication that ‘not knowing’ is just as important as knowing.
Humor, attitude, emotion, beauty are current preoccupations. There are no real restrictions in terms of medium.
Diverse subject matters and mediums.
My short term plans involve pursuing opportunities to exhibit my work through group exhibitions and submissions alongside a studio practice. MA Fine Art studies have opened up new experiences, networks and professional development opportunities to build on in the future. My longer term goal is to work towards a one person show. I would like to develop my film based practice in order to have a larger body of work. I would like to curate a group exhibition.
Shelley Theodore (b.1958 Brisbane, Australia) currently lives and works in London. She studied BA (Hons) Fine Art at Goldsmiths, University of London (1992-1995) and MA Fine Art at Camberwell College of Art, University of London (2010-2012). An artist working across of range of mediums, she has 2 film based work selected for Bloomberg New Contemporaries 2013. Recent exhibitions include The Salon Art Prize Exhibition, Matt Roberts Art, Crash Open, Charlie Dutton Gallery and The Jerwood Drawing Prize Exhibition (2012). Moving Image South: John Smith and CCW Graduate School, HMV Curzon, London, and Paradox Urban Fabric 2, Cork Ireland (2011), Deptford X Fringe Award (2010), Creekside Open, APT Gallery, London, selected by Jenni Lomax (May 09) and Mark Wallinger (June 09).
Simon was born in Switzerland in 1986 and he currently lives in Geneva. He studied at Goldsmiths College and at HEAD, Geneva University of Art and Design. Awards: Swiss Art Award, 2011 / Prix Suisse de la Performance, 2011 / Kiefer-Hablitzel prize, 2009
Solo Shows: Margot’s Life Zelig Lausanne, Switzerland, 2013 / Simon Senn - Videodromo Atelier dell'Arco Amoroso Ancona, Italy, 2011 / Participatory Panopticon CACT - Centro d’Arte Contemporanea del Ticino Bellinzona, Switzerland, 2010 / Simon Senn Galerie Nicola von Senger Zürich, Switzerland, 2010
Group shows (selection) : A Small Hiccup, Grand Union, Birmingham and The Newbridge Project, Newcastle, 2013 / Bloomberg New Contemporaries 2012, ICA - Institute of Contemporary Arts, London, 2012 / Lust and Vice. The seven deadly sins from Dürer to Nauman Kunstmuseum Bern, Switzerland, 2010 / Timing Centro per l’Arte Contemporanea Luigi Pecci Prato, Italy, 2010 / Complete control Apex Göttingen, Germany, 2009
I was born in 82 in Brisbane, Australia, and was raised on the Wild West Coast of the continent, Perth. I now live and work in London.
I would introduce my practice as fundamentally dealing with the question of making in the context of today's post-crash, post-Holocene reality. I am interested in making as a form of visual and material sabotage, transformatively hijacking imagery and material in order to expose or force a re-reading of its pictorial and material qualities in relation to cultural, historical, environmental and political forces.
For my contribution to this year's BNC, I'll be showing, due to logistical and institutional issues, what is an excerpt from a larger sculptural work that originally included a portable petrol generator that powered the work on show in BNC, as well as dozens of bottles of Volvic's flavoured and non-flavoured range of bottled water decanted with unleaded petrol used to refuel the generator.
Because the audience will only have access to an excerpt, there's little point in me talking about the work as it was originally exhibited. However, what the audience will see is a light-sculpture (It Was All Ephemeral as a Rainbow, 2012) that hijacks the language and materials found in historical as well as more contemporary forms of phenomenological and spectator-as-participant based sculpture. Using rather minimal but inventive means - mirror, neon, scaffolding and f-clamps - the sculpture produces the illusory and spectator-contingent perception of a horizontal circular rainbow. Placed around the sculpture and recapitualting the circular rainbow motif are six plastic water bottles decanted with unleaded petrol, whose coloured caps collectively make up the spectrum. These bottles were purchased from the same service station where I got the petrol required to run the generator and in turn power the light sculpture, which per litre were - and in fact happen still today to be - more expensive per litre than the price of unleaded petrol.
Goldsmiths College, MFA Fine Art - graduated 2012.
I believe the role of an art school is to teach students that art cannot be taught - that there's no conceptual schema or material procedure to making "art". At best, art school should both offer the time and allocate the resources to students to be able to question why they make and want to continue making art at that particular historical moment.
I didn't submit an art rule simply because I don't believe one should be asked to submit or be submitted to any rules in art.
In all honesty, I think BNC 2013 - like all previous instantiations - probably tells us as much, and perhaps even more, about the aesthetic tastes of this year's selectors as it does about art today.
But if it has anything to say about art today -taking this to mean UK-based art, of course - it's about the diversity of the nature emerging artistic practice in the UK at this very moment, as well as, very healthily, how complex and contradictory all of it is when seen together.
To keep making, simple as that.
Born 82 in Brisbane, Australia.
Now lives and works in London, United Kingdom.
Recently completed the MFA programme at Goldsmiths College, London, UK (2010-12); shortlisted for the Nina Stewart Residency at the South London Gallery, London (2012), the 2013 Mark Tanner Sculpture Award, UK, as well selected for British New Contemporaries, UK (2013).
Selected recent exhibitions: "Vanguard" - Action Field Kodra, Parallel program of the 4th Thessaloniki Biennale for Contemporary Art, Jewish Museum, Thessaloniki (2013), "Tacit Material", RM Gallery and Projects, Auckland (2013), "Intensive Care or Such Urgent Times We Live!", News of the World Gallery & Enclave Gallery, London (2013), "The Freedman Foundation Travelling Scholarship for Emerging Artists Exhibition", Kudos Gallery, Sydney (2012), "The Future Feels Like a Phantom Limb", La Scatola Gallery, London (2012), "Anthology", Charlie Smith London Gallery, London (2011).
b. 1979, Edinburgh, UK
2012–14 MFA Contemporary Art, Edinburgh College of Art, Edinburgh
1998–02 BA Fine Art, Slade School of Fine Art, London
2013 No Lemon No Melon, Embassy Gallery, Edinburgh
2012 The Ghost in the Invisible Bikini, Briggait Project Space, Glasgow
2011 We All Own a Mona Lisa, Birdcage Gallery, Newcastle upon Tyne
2010 Let’s All Gorge Ourselves at the Love Feast, Sunbear at Glasite Meeting House, Edinburgh After the Planners, Lyre & Anchor, Edinburgh
2007 Young Athenians, Athens Biennale, Athens
Tom Worsfold, 23, from Cambridge. I sometimes make paintings.
Royal Academy Schools
Pretty important really. Thinking space.
‘We fill pre-existing forms and when we fill them we change them and are changed’ - Frank Bidart. Painting’s function and functioning is always up for grabs. This is not to rule out objectivity: but as an activity, it represents a space for an attitude to fill. That’s why it’s great.
‘Art today’ is quite broad. I guess, as every group does, it begs for conclusions and similarities to be drawn across the work, but really there’s quite a lot of diversity. It’s quite colourful.
Carry on painting as long as I can.
Born 1990, Cambridge, UK
2013–16 Postgraduate Diploma, Royal Academy Schools, London
2009–13 BA Fine Art, Slade School of Fine Art, London
2013 Bloomberg New Contemporaries, Bristol, London
2013 Slade Degree Show 2013, London
2013 Duet, UCL Art Museum, London
2012 Date Night and Popcorn, Lewisham Art House, London
My name is Yves Scherer, I am a swiss artist based in Berlin and London and I'm showing a piece out of the series "Untitled" 2013.
RCA Sculpture 2nd year
Finishing School, a residency in Paris and then try to live in New York for a while.
Yves Scherer, born 1987 in Switzerland, lives and works in London and Berlin. Recent and upcoming solo-exhibitions include "Evolution & Comfort" Almanac Projects London, "SKYLINE" SSZ-Sued Cologne and "Nail Care" Times Bar Berlin. Groupshows include: "SUNSET" The Sunday Painter London, "Regionale 14" Kunsthaus Baselland CH, "Weekend @ Cleo's" Cleopatra's Greenpoint Berlin and "Grand Opening" GillmeierRech Berlin.
Yves Scherer is a 2nd year Sculpture student at the Royal College of Art London, from which he will graduate in June 2014.