Invited Graduate Artists 2010

As part of its commitment to contemporary art, the SSA has traditionally showcased the work of recent graduates from Edinburgh, Glasgow, Dundee, Aberdeen and Moray and this year is no exception. At each degree show members of The SSA Council select and formally invite two graduating students to exhibit at the following years Annual Show. This is an opportunity to show work alongside newly emerging and established artists in a prominent public venue. The students are supported by a council member to enable them with their arrangements and their work is featured in the exhibition catalogue and on the website.

We welcome them and look forward to exhibiting with them in the future.
Christopher Wood President

Anna Simpson Canelli
Edinburgh College of Art

‘Lucky Strike’ – created from match book covers reflects upon social evolution.
‘Mementos of a fond pleasure now existing as a reminder of latter day industries.’

Ben Fielding
Edinburgh College of Art

‘Pump Action Table’ – Mixed Media
‘Lost, still, sitting idle. Tapping fingers on my desk. I saw it in half.’

Craig Shepherd
Grays School of Art

‘Drift’ (detail)
‘I build images that try to approximate the movements and changes I see in nature such as waves, wind erosion or bacterial growth.  The build up of simple repetitive marks over time creates an image describing its own construction and lifespan.’

Eilidh Thomson
Moray College, Elgin

‘Existence’
‘Through my personal encounters with form in interior space I have endeavoured to interpret the mood, presence and space of the environment. I visualise the sense of history and abandonment of these spaces, as well as represent the passage of time. Human experience forms a central core of my practice, bridging the gap between what is real and what is imagined, involving the viewer as they navigate their own interpretation and understanding of the world through my work.’

Georgia Murray
Duncan of Jordanstone College of Art, Dundee

‘Primarily painting is a form of expression. I respond to the state of my psyche; generally my work juxtaposes feelings of confinement and liberation.’

Harriet Lowther
Glasgow School of Art

‘The Big Thank You Project’
‘Taking a life expectancy of 78 years in the UK, a person would say ‘thank you’ 133,225 times.’

Jonathan Richards
Duncan of Jordanstone College of Art, Dundee

‘Lytton’ – Acrylic paint on board with stretched linen
Dimensions (h x w x d): 122 x 20 x 80 cm
‘Panels of stretched linen extend from the gallery wall to form a
triptych. Manipulated skins of paint line the cavity activating the
negative space.’

Maximilian Slaven
Glasgow School of Art

Ordered alphabetically
Ordered by continent or country
Ordered by colour
Ordered by date of acquisition
Ordered by date of publication
Ordered by format
Ordered by genre
Ordered by major periods in literary history
Ordered by language
Ordered by priority for future reading
Ordered by binding
Ordered by series

Tina Hay
Grays School of Art

‘The themes my work addresses are consumerism, the economy, the environment and social culture. I explore these themes through the transformation of the found and throw away object but also through transforming familiar industrial materials. With this transformative process I have found that my work often evolves after it has been realised, having to embrace the element of change after the work has been conceived. I am continually considering how I as an artist can best serve my art and the environment.’

Selena S. Kuzman
Moray College, Elgin

‘Dionysian’
‘F’(x) = 0
My vehicle of expression is the body in an environment formed with three colours: white, red and black. The colours represent the transformative flow of life. One of the processes goes in the direction of tangible experience – to smell, to taste, to hear, to touch, expressed through the Dionysian principle – orientated to feel life. This principle represents primordial nature with no need of any additional description.
The opposite principle is the Apollonian one – with thought based on comparing and measuring. This provides the intellectual order with which we build culture and civilization. Stills from the video are individual works of art in their own right. The experience viewers have of the photographs becomes a reconstructing act of the video’s private events, which can never be completely experienced or understood.’

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