Mirna Sarajlic Abstract

Mirna Sarajlic is influenced by the early vanitas paintings which are primarily concerned with the impermanence of man and his earthly pleasures in the face of death. It urges the viewer to consider mortality and to repent.

Her process includes the set up of still life using food which holds symbolic meaning such as grapes, which have Christological reference (cf. John 15.1). Incorporating dead pollinators such as the moth aims to on the one hand, show the viewer our British species which are in rapid decline and on the other hand, to show that in vanitas insects are suggestive to the transience of life. By the use of photoshop Sarajlic is able to form a swarm of moths which appear to eat away at the fruit, hinting at good versus evil. The next step in the artist's process is to paint the image which then obliterates any imperfections.

Inspiration comes from artists such as Michelangelo de Caravaggio, Georg Flegel and Francisco de Goya, as well as the contemporary works of Sam Taylor Wood and Bourke de Vries.

liz H Abstract

Entomophagy and Sustainability.

The project i am currently researching is Entomophagy (human consumption of insects) and sustainability and how this practice might be used in the future as a sustainable food source. This research will explore the issues that surround the practice of Entomophagy. This will include the psychical, societal and psychological problems that must be confronted to achieve sustainability. This will specifically target Entomophagy’s relevance in the Westernised world.

Firstly i began to investigate Entomophagy in developing countries to attempt to understand where and for what reasons Entomophagy was practiced, my findings were that Entomophagy is a ritual that is engrained within most of the cultures through tradition.  However the Entomophagy practices studied were not for sustainable usage but for pleasure like most other foods. This type of relationship with insects is evidence that Entomophagy can successful practice. I aim to explore whether these concepts can be materialised into the Westernised world.

I will investigate this through photography, print and film which will explore Entomophagy as a westernised practice. The aim is to expose and inform westernised people of alternate ways to sustain themselves and alert them benefits of Entomophagy.   

Marios Fournaris Abstract

“Creation Out Of Nothing”


Marios Fournaris approaches contradictory meanings which while they seem to approximate each other in conflict, finally end up being the resultant that completes the harmony of the total. His objective is to search, use and emergence visual data that have an intense symbolic character and simultaneously are friendly in each conceptual interpretation.

More specifically what concerns him is the matter of rhythm and its connection with the sense of harmony, symmetry and isochronous. The rhythm as element of music, intricately linked with the parts of melody and harmony, represents aspects of universe and life. The visceral rhythm for example, corresponds to seventy beats of the metronome. Everything that moves away from this timbre distinguishes decay, disease and chaos. In order to visualize these matters Fournaris make use of materials that, on the one hand, are hard in appearance and feeling (wood, metal) and, on the other hand, converse with each other in a contradictory and paradoxical way in an action-reaction relationship. Quite often in his methodology and practice includes procedures such as combustion, the repetition of morphological elements and now in this project the growing of plants, incorporating data of biological science in his work.

Artist seeks the language of images that are sharp similar to Orthodox iconography, but that refers to the aesthetics of Kounellis, Beuys and even to abstract thought of Malevich. His aspiration is to create a visual environment that arouses in the spectator an intense association with the element of reflection.

Jean Floyed - statement for 'A Matter of Process'

I explore the influences of childhood in my work - the process of socialisation and how this lays a foundation for our lives, leading to the psychological places in which we live as adults. A primary aim has been to create an outer experience of inner places, investigating the inner world of ‘self’ and its relationship and boundary with outer and ‘other’. I’m intrigued by the idea that it is not just particular events that occur during childhood but the atmosphere of the home that can have a huge influence on us, an atmosphere made up of endlessly repeated patterns of behaviour.

active tool for discussion on (curatorial) issues

During the install for 'A Matter of Process' have a look at the Manifesta 9 Coffee Break (this Friday and Saturday in Genk) and on the WWWeb via
http://www.livestream.com/manifesta9coffeebreak

Manifesta Coffee Break is a recurring public meeting which functions as an active tool to discuss the concepts and working methods of the Manifesta biennial editions. The Coffee Break involves a meeting between artists, curators and theoreticians who together explore significant questions raised during the curatorial process of Manifesta 9. This takes the form of presentations of their works, lectures and round table discussions. On December 9 and 10 speakers and participants from Belgium and abroad including Jeremy Deller and Phil Collins will meet with Manifesta's curators in Genk. The main topic of discussion in these two days is "The Contemporary at the service of the Past".

David Aitken Abstract

Expanding Extras

Today’s film experience - post cinema release – involves a large accompaniment of peripheral works that are named ‘bonus features’. These extras have a potential to break out of being simple additions and becoming something creative themselves. They also bring forth transparency to creative production.

This project will look at how these supporting items might be used to create an idea of a bigger piece in people’s minds. This piece may be a film, but may also be any created work involving groups of people working together; such as a TV programme or a magazine photo shoot. The onus is on the viewer to decide in their minds what has been created.

The project involves the creation of evidence that mimics ‘bonus features’ placed in a gallery environment. The evidence contains behind-the-scenes footage, cast interviews and production stills that blend together to create the notion that a piece has or is being made. By placing the ‘bonus features’ in a gallery space, it highlights their own importance at the same time utilising them to answer the problem.

Jessica and Mona

Photograph by David Paul Aitken

Image made from a scan of a large format negative