THE GLASSHOUSE
(TOP - 3)

DSC02996.jpg

Anna Skladmann

London, UK

Anna Skladmann’s practice interrogates the mythologisation of nonhuman nature, and the relationship between plants and technology. She uses a scanner to capture arrangements of flowers, leaves, and fruit, adding water to the machine’s sensitive surface. Slow scans are used to create ultra- detailed high-resolution images, flecked with digital glitches caused by tiny movements or light leaks.

Anna Skladmann (b. 1986, Germany) combines photography and scanning techniques to reflect on aspects of contemporary life as well as explore notions of nature and society. Having received her MA from the Royal College of Art and her BA from Parsons School of Design, her work has since been nominated for the Prix Pictet and Paul Huf Award, and has also won the Arles Photo Folio Prize.

 

Blackberry from the series 'Paradise Is Not Just a Place' (2021)

Chromogenic Print mounted on Aluminium Oak Wood Frame

H. 90 x w. 123.88 cm

Edition 1 of 1 (+1 AP)

Available to purchase

AS_PARADISE_BLACKBERRY.jpg
4 Avocados wall sculpture.jfif

Joshua Aubrook

London, UK

4 Avocados (Wall Sculpture)

Earthenware

H. 22 x w. 27 x d. 7 cm

Available to purchase

Yangdzom Lama

London, UK

"The theme behind this embroidery is interconnectedness. Everything in the universe, in nature, is linked with one another, and is therefore equal. This, to me, explains why practising compassion is so important. However, a lot of humans seem to consider our species to be the most intelligent, the most accomplished. This leads to disconnection between ourselves and other creatures. As a result of this disconnection, our planet’s health has crumbled due to a significant loss of biodiversity."

 

"Octopuses have been studied by scientists, and shown to be brilliant and highly intelligent animals that have consciousness. The purpose of the octopus in this embroidery is to acknowledge the different but equally valid intelligence these animals possess and to therefore remind ourselves of the importance of valuing a deep connection with nature. Just as the octopus balances planets on its tentacles in harmony with the universe, we can also view nature in a balanced, compassionate way."

Cosmic Octopus

Embroidery on purple velvet

H. 81 x w. 120 cm

Available to purchase

Cosmic Octopus.jpg
DSC02683.jpg
Hollow earth Vase (face A), 2022, ceramic, 41x24(cm), 800, Maria Roy.png

Maria Roy Deulofeu

London, UK

 

Maria Roy Deulofeu started experimenting with ceramics made out of the soil in her own backyard in South London as a way to make the implications of the quality of the soil transparent. As an attempt to foster her relationship with soil and her immediate environment, she decided to embark on an archaeological mission in her garden. Through excavation, Maria identified and collected different types of soils, artefacts and ecofacts that she categorised based on the geological strata at which they were found. With the excavated material she created a collection of decorative vases and used the found artefacts to ornament the surfaces. Through this method, she found a way to reflect on how soil has long been neglected.

Maria (Barcelona, 1993) is a London based artist who's practice explores craft through sustainable materials extracted from archaeological and biological methods. She graduated with BA in Arts and Design from Escola Massana in 2017 (Universitat de Barcelona) and later with an MA in Material Futures at Central Saint Martins in 2019 (University of Arts of London).

Hollowed Earth

Local clay, stones, glass, metal, debris and ashes

H. 41 x dia. 24 cm

Available to purchase

Emily Stapleton Jefferis

London, UK

"My sculptural work primarily involves clay which I am drawn to as a result of its plasticity, tactility and intimacy within our daily lives, along with the alchemical processes by which it becomes ceramics. Along with my own body I look to inspiration from the botanical and geological, zooming in on the overlooked or unseen, extracting the wonder, beauty and strangeness that exists just out of sight. I investigate the relationships between the microscopic and macroscopic, drawing on the real landscapes around us and the science-fiction worlds existing within our imaginations. My work is simultaneously familiar and alien."

 

"By re-contextualising the macro and micro of the natural world I aim to provide an escape from the anthropocentric perspective humans are locked within. I hope this transformation of the viewer carries an ecological message of kinship with even the strangest incarnations of life."

 

Emily lives and works in London. She  graduated with an MA in Ceramics and Glass from The Royal College of Art in 2018, where she was awarded The Griffin Scholarship and The Eduardo Paolozzi Travel Award. She has exhibited her work alongside fellow artists, notably at The British Ceramics Biennale and at Modern Design Review Gallery. 

(Top)

Husk 2

Hand-built stoneware, glazed

H. 25 x w. 26 x d. 24 cm

Available to purchase

(Bottom)

Husk 1

Hand-built stoneware, glazed

H. 20 x w. 20 x d. 20 cm

Available to purchase

Husk I, 2022, Stoneware clay and glaze,approx  25x26x24cm, £780, Emily Stapleton Jefferis
Husk II, 2022, Stoneware clay and glaze, 15 x16x18cm, £660, Emily Stapleton-Jefferis.JPG
DSC03005.jpg

Amelia Kirby

London, UK

"My current practice materialises the intangibility of landscapes. Specifically exploring topographic formations and depicting the physicality of space. My work is place-specific, concerned with the unreliability of memories and experiences, these rugs partially represent fictional landscapes in relation to a real place of personal significance. All threads of my practice explore the potential of land as artistic material."

"The process of tufting produces complex textiles, the textures, tones, and intricate designs gesture to the land they characterise. The pleasure of being consumed within a landscape is quite instantaneous despite the hidden histories and layers. The laborious task of tufting seems an appropriate methodology to reveal and discover what’s beneath the surface. The invisibility of topography is something that is felt more than it is seen, translating topographic maps through rug making serves as a way to make landscapes into tangible objects; conceptually forming these alliances between the process and the geomorphic ‘thing’ it represents."

Amelia Kirby is a London based artist, studying BA Fine Art in her third year at Central Saint Martins, UAL.

Ivinghoe (2021)

Needle punching. Monk cloth, cotton yarn

Four hand tufted and embroidered circular rugs, each: 20 x 20 cm

Available to purchase

The_Way_of_Things_2019_mixed media on  wood panel_25x20cm_£300_Tara Leaver.jpg
Torrential_2019_mixed media on wood  panel_18x13cm_£250_Tara Leaver.jpeg
Solitude_2019_mixed media on wood  panel_18x13cm_£250_Tara Leaver.jpg
Beneath_the_Rising_Mist_2019_mixed media o n wood panel_30 x 30cm_£450_Tara Leaver.jpg
Screenshot 2022-05-03 at 19.22.59.png

Tara Leaver

Cornwall, UK

"I'm happiest near - or preferably in - the sea. I immerse myself in the multi-sensory experience of it, taking photos above and below the surface, looking and feeling into the abundance of life and movement amongst the waves. In the studio, liquid, dynamic paint layers of varying consistencies are combined with fleeting, but more carefully drawn, or carved, glimpses of recognisable elements of aquatic life. I work until every piece expresses what feels like a truth about the pleasures and surprises of immersion in wild water."

(Top Left)    The Way of Things

Mixed media on panel, framed   /   H. 25 x w. 20 cm

Available to purchase

(Top Right)    Solitude

Mixed media on panel, framed   /   H. 18 x w. 13 cm

Available to purchase

(Bottom Left)    Torrential

Mixed media on panel, framed   /   H. 18 x w. 13 cm

Available to purchase

(Bottom Right)    Beneath the Rising Mist

Mixed media on panel, framed   /   H. 31 x w. 31 cm

Available to purchase