Damaris Athene’s practice explores corporeality and abstraction of the human form. Julia Kristeva’s writings on the abject fascinate her and she plays with the push and pull of seduction and disgust she speaks of, confronting our shared mortality and the notion of our bodies as pure matter.
Wysing has a number of studios available at its rural site, including a unique live/work studio, and artists are able to occupy studios for up to five years.
Jack Cornell has a multi-disciplinary practice that heavily relies on engagement and collaboration through workshops with galleries and educational institutes. His work crosses numerous subjects of curiosity, but most prevalent in his practice is the investigation into our relationships with technology.
Philip Cornett’s practice embraces mixed media installations that include video, sound, and performance. He is currently collaborating with Paul Kindersley in their LOTUSLAND project, inspired by artist Jack Smith.
Emanuela’s work is currently preoccupied with issues relating to power, inequality and gender inside and outside the art world. Taking inspiration from the everyday and current international affairs she instinctively reacts to communicate how our society imprints on us beliefs that constrain our way of thinking.
Ben Doherty makes sculptures and multimedia installations that inhabit the edges. Representation begins to give way to the uncanny or unknown as structures and objects hover between absurdly interpreting reality and downright defiling it.
Robert Foster uses a multi-disciplinary practice to explore the nature of learning and the systems that govern how information is formulated and exchanged. Acting as fragments or clues, his works ruminate on the way in which abstract knowledge is collected, ordered and decoded.
Bettina Furnée’s work is specific to a location, duration or situation, and is often produced as a body of work in different media, relating to one project. She uses language as her primary material, and the content of the work is generated through research, or produced in collaboration with participants.
Grounded in process Naomi Harwin’s practice observes the relational qualities of objects and forms in correspondence with space. Considering how we organise information within systems of knowledge, Harwin reflects on how we might comprehend objects through the aid of models and images.
Laura Hindmarsh is visual artist working between Australia and the UK. Her work is process led and often interrogates its own mechanisms of production to the point of exhaustion or collapse.
Mae is a movement, visual and sound artist making multi-art performance interfacing movement with visual and sound material; experimental visual pieces with film, photography and drawing; and sound art with found objects and sounds.
Florian Roithmayr works with sculpture to generate and trace material transformations in the processes of making. The ambition in his work is to register the consequences of one surface or material yielding another through capturing the unexpected gestures that occur in the gap between mould and cast. His work consists of materials that create each other the moment they are put together.
Emma Smith has a social practice that is both research and production based and responds to site-specific issues. Using an inter-disciplinary approach, including organised events, performance, participation, sound, props and text, she explores relations of people and place. In particular she looks at the ways we are in relation without necessarily being aware that this is the case.
Soheila Sokhanvari is a multi-media artist whose work is rooted in her Iranian heritage as a reflection of her experiences of loss of homeland in her childhood entwined with political events and collective trauma.
Wilf Speller is a visual artist and filmmaker living and working at Wysing Arts Centre,Cambridgeshire, UK. His work is concerned with the politics and ethics of image culture. Wilf's work examines processes of knowledge transfer and production, often representing the patterns and structures of his own research in the work itself.
I am interested in the intangible knowledge embedded in timeless things (colours, swings, carousels, kites, roses, apples and toadstools). I am not afraid not to know. I acknowledge that I am often a stranger and that things are in a state of constant flux.
Caroline Wendling's work explores ideas of place and belonging through drawing, print and three-dimensional constructions. She attempts to give material form to the complex interconnectedness of our mental landscapes and the actual space we inhabit. Through this exploration she hopes to link memories with future aspirations and, somewhere in between, find 'home'.