Abbie’s work explores the juxapostion between the everyday and the staged. She works across multiple platforms including performance, video, and installation. Abbie has an ongoing interest in the relationship between her body and the space it inhabits, she explores this through movement, choreographic objects, and architecture. In this work she uses choreographic objects to effect her movement, she questions how and why we move this way?
Title - Promenade, 2020
Digital video 2:36
Location - Otterspool promenade
Credits - Angelo Madonna Edited-Abbie Bradshaw
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Long Intervals of Horrible Sanity
My artwork is a psychedelic, dystopian shipwreck I imbue with a sense of melancholy. I invent uncanny, layered worlds that revolve around remembering, isolation, and darkness masquerading in themes of comfort and nostalgia. In my latest video, Long Intervals of Horrible Sanity, there are two separate videos that play at once. The left-side is fast moving and manic whereas the right-side is slow moving – showing a character working on the same activity for the duration of the video. The videos are presenting what I feel are the dualities of life under lockdown. Essentially, I act as a medium filtering current events; news stories that occurred between the months of March-August of this year in particular.
Layers of images were smashed together. In doing this, I have disposed of both figure and ground. The overall frame was discarded in an effort to create what is known as the post-cinematic affect. With the use of After Effects and Premier Pro, I created multi-layered videos that act almost like cognitive-affective maps. These maps work in tandem with one another and in such a way that they connect either a set of belief systems or a set of concepts which depict emotions attached to each concept.
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Bod _ j _ ect - 2020
Between Video and sound installation and Live Performances.
In terms of artistic intentions, I have always considered my work as an ongoing research on visual, sound and material. Although, the focus has been mainly on the relationship between sound and objects, recently I started to experiment with the bodies/humans playing with bodies/non-humans in space.
The main objective is to bring a sense of connectedness (the state of being or becoming connected and having a close relationship with other things or people) by using technologies – advanced and non.
Bod_ j _ect has been conceived as an ongoing experiment dedicated on how to enter in dialogue with the materials of an object and with ‘them’ create different affective dynamics. For this project has been extremely important for me not to force this encounter into a given product, but instead learning to follow the process of the experiment as it was developing.
I believe, in fact that in doing this I have been able to reach instances of balance between the human object, the non-human object and the sound and at the same time to document them into short affective video-performances.
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‘Run me down and tie me up,
I’ll hold myself together for you!
Pick me up by my handles and not my hair, please?’
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Cos Ahmet’s work and research interests have always concerned the body. The question that he has started asking, and subsequently informs his work is, ‘how to be this body now?’. His new concerns address the body as medium, material, site and skin. The body becomes a specific site, with the notion of having its own architecture, the skin becomes this ‘other body’, and the body performs sculptural gestures through activating the objects choreographed by the body.
Curious Being, 2020
Digital video, 12mins 33 secs
Choreographic object, performance, location Crosby Beach
Film credits: Angelo Madonna, Gary Finnigan. Edited by Cos Ahmet
Sound credits: © Vumes Plutten / Free Sound
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I am primarily an encaustic artist who focusses on the natural environment to inspire subject matter which then taps into emotional states. The environmental scenes are abstracted to convey and examine thought processes and emotions as well as time and transition and sensory perception. In lockdown my focus has changed to working on small acrylic pieces as this is what was available. These also follow similar themes. The most recent piece tree blessings was created in response to the lockdown and restrictions associated to explore community and remembering in the climate of isolation and absence.
Tree Blessings - This piece is an installation which explores absence - linking into the traditional practise of tying ribbon around trees to remember those far away or dead. This was inspired by the isolation and distance which was part of lockdown life. The installation currently is a place for people to gather and meet in a contrast to the distancing and absence.
Big Wax - This is a piece made of parafin wax on a metal backing plate - 3ft square. it is part of a piece that developed by examining texture and how forms and colours merge. The key word for the series this is part of would be transformation.
Cherry Blossoms - Acrylic paint experimental piece focussing on impressions of spring blossom. It is 7in by 5in and is acrylic paint on canvas.
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Waiting
Digital video
3min 37sec
May/July 2020
minimal, reductive, isolation, separation, alone
A Change in Outlook: five hill cloths, this protocol, what can we say
We have reached a tipping point
Threads which colour the sky
Progress remains elusive
Are investors paying attention?
What are the implications?
The systems are unchecked, unchanged
Who in nature is our ally?
The hill stands as it has always stood for 10 billion years
Unthreading and rethreading frames of reference
Time unfolds
in the boardroom a decade of discussion
hasn’t resulted in much
Underneath the foundations the water rips out the sand
From makeshift homes in tented communities
Obstacles remain
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Objects are used as gateways into different sets of work that aim to illustrate a bizarre stream of consciousness. Digital imagery and hand drawn imagery are intertwined to create a space that lies somewhere between the real, the virtual, and the bizarre, whilst referencing a punk DIY history of feminist processes of which imagery is appropriated and the domestic is repurposed.
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When Matter and Me Met
When a matter has no known cultural or instinctual human ties, or, when it holds little knowledge predispositions, that is when it is most intriguing to me.
A two-element work
that discusses the transition
of material and physiological
changes of state caused by
time, pressure and temperature
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Institute of Art and Technology