collide |kəˈlīd|verb [ intrans. ]hit with force when moving

Will Clifford,
Sarah Evans,
Bettina Furnée,
Catherine Hemelryk,
Hayley Lock,
Rachel Oxley,
Mark Ross and Caroline Wright
Founder members of:

C-O-L-L-I-D-E-R , an artists' collective brought together by Escalator, the pioneering talent plan from Arts Council England. have been awarded funding to research and develop new work with a focus on locality, communication and the notion of encounter. C-O-L-L-I-D-E-R will show at Wysing Arts Contemporary: PRESENTS, Wysing Arts Centre, April 2010.

collide |kəˈlīd|verb [ intrans. ]hit with force when moving : she collided with someone | two suburban trains collided.come into conflict or opposition : in his work, politics and metaphysics collide.ORIGIN early 17th cent. (in the sense [cause to collide] ): from Latincollidere, from col- together+ laedere ‘to strike or damage.’

Saturday, 20 March 2010

caroline wright

My work includes live performance, site specific and durational pieces, working in mediums as diverse as glass and gold as well as the human body, I have made work for cities and rural spaces, for galleries, theatres, churches, on desolate uninhabited islands and for audiences of 100 and of 1. I am interested in human communication, control and power and the effect of outside influences and experiences on our actions and behaviour. I bring the passion of an artist to use art to re-imagine the ordinary and to take my audience to places of the imagination and the extraordinary.

In my practice, consistent concerns are the voice, communication structures, control and hierarchy, the extraordinary. Ritual (using the modern interpretation of repetitive action) is a one key element and some durational performances exploit this factor. Site is a major influence on my work and working with and within an audience is also important leading to interactive work that is constructed to engage the public on an emotional and physical platform.

Sunday, 7 March 2010

Hayley Lock

Hayley Lock

Narratives, local histories and myths

My practice is based on reproduction, reconfiguration and souvenirs. The reproductions I create focus on entwining existing works and objects with aspects of life in modern day society. Recently I have focused my interests towards hierarchical and fantastical subjects of monarchy and noble folk as well as the narrative. My work is derived globally from a cross – cultural mix of folklore, slang and imaginary alternative secret societies with its roots to date based alongside traditional Dutch, Spanish, English, French, Italian, Swedish and Japanese portraiture.

My work includes collage, digital manipulation, photography, sculpture and sound, exploring the possibilities of extracting stories of the imaginary, of mythology. My practice involves reconfiguring existing works through the 2 dimensional form and moving them forward into a 3 dimensional realm with an openness to expose myself to other ways of working.

My practice tends to be multi – layered. My practice concerns the everyday in terms of hierarchy, taste and status derived from snippets of conversation. The mediums that I use are also a deliberate mix of high and low - brow. The mix of good quality and everyday cheap materials sit awkwardly or perhaps comfortably alongside the glitz of sequins and glitter.

The titles of the works are also symbolic. These are reworked versions of overheard snippets of everyday conversations. The language used has been deliberately selected and translated for hierarchical ‘taste’ referencing and the texts chosen to title the pieces are amalgamated within the narrative also.

I am constantly looking at new ideas of how, where and what to show regarding new work and I am interested particularly in the non - physical route as well as the physical. I currently see my work as becoming extensively global in terms of this way of working (i.e. the Internet) and I intend to travel extensively worldwide. My practice involves the constant use of the Internet in terms of making and exposing work.

I am interested in the role of technology in art – making and exposure as well as the authorship in the practice of contemporary art. I am also interested in the need for the physicality of making and showing work.

Monday, 1 March 2010