Play: Late 2005

Thursday 31 May 2007

Late 2005

So I searched round and contacted other artists working with the materials and processes of collage & assemblage. I already knew Maraget Wyllie from a project I organised called A Construct of Time, site-specific to The Ancient House in Ipswich. While spending some grant money on documentation of my work the photographer Doug Attfield, I came across images of Jevan Watkins Jones' work, so I contacted him. I hadn't yet met Emma Johnson properly, I think. I am told that I interrogated them to some extent, as I found it fascinating how differently we all worked in response to materials and objects, and I wanted to know more and more. So the project was underway. Some of the work at this time revolved around books, I picked up on Jevan's shedding of paper and Emma's 'obsessive' repetative process work.

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Steve Joyce

I am an artist and lecturer who works independently on arts projects as a curator and often working on Site-specific projects with others.

Metaphors, context and presence are recurring interest of mine. Working with objects and specific materials allows me to explore responses to presence and remoteness. I am intrigued by changing perceptions and like to play with the processes of encounter and contemplation. The use of disparate objects, forms or unusual configurations in the work creates a discontinuous image that allows the viewer to engage in personal interpretations.

The work I produce tends to be varied, although I work with collage & assemblage in some way, I also work in printmaking, photography and create installations. This is because I am constantly interested in processes and create new tasks, challenges or problems to overcome.
(steve Joyce 2007)

My work can be seen on:

www.stevejoyce.co

http://www.axisweb.org/seCVPG.aspx?ARTISTID=13054

http://www.creative-freelance.org.uk/

Emma Johnson

My work deals with issues of deconstruction and transformation, the recycling of materials, and the ambiguity of communication - as well as the obsessive repetitive actions used in the making of the work. Found objects are reconstructed into artworks which stand as a tangible and symbolic presence of the information contained within, but are virtually unreadable.

The work questions perceived symbolism by removing objects and images from their original context, deconstructing and recycling found materials, and rendering them "useless", or using them for something other than their intended purpose.

Even conceptual aspects can come from the materials themselves. Found objects are chosen for their inherent qualities – history – use, collections.

On a personal level, it is within my nature (a) to hoard / archive objects, and (b) deconstruct / destroy them. As an inherited trait, this interests me a great deal: not only do the objects themselves contain a history, but so does the obsessive way in which they are treated.