These desktop backgrounds were created as part of a series together with “The Thing”, shown in Room 6.
My aim was to balance a very repetitive and mechanical drawing process, with an organic development of form. I have developed the colour palette to match the background function of the images.
Blob is a direct product of its surroundings. Blob changes its structure in response to its environment. It is a gooey, uncomfortable and alien-like creature. It absorbs and digests information, appears everywhere and looks different depending on the place it has appeared in. Blob is a final point and a conclusion of what is around it.
Both the human mind’s images and the memory can be a temporalities. The subconsciousness can be envisioned as a flow, which is absorbing and changing forever and ever. I draw the basis of creative activity for the audience, an un-concretisation, symbolic and an atmosphere of motions, to create some kind of mood in unconsciousness for audiences to feel the life.
Emma works around social issues. Previous projects include communities and mental health, the decline of industry, the juxtaposition of wealth and poverty, the glass ceiling and organ donation. Her current project aims to get people talking openly about mental health, particularly psychosis. Her next project is related to justice.
Spirituality, folklore and magic are always swirling around in Belle Kushner’s Illustrations.
These desktop downloads are examples of her dreamlike (or nightmarish) artwork.
Download the intense patterns and playful portraits for your desktop, tablet, phone or smart watch background.
Futile Devices (cotton and wool)
In a world now made of pixels I need something to touch. I touch myself. I touch you. I touch all my futile devices.
Lauren’s research themes are Astrophysical, designing sculptures to survive extreme circumstances. In her desktop download pack she includes sculpture and textures from her ‘Surviving a Meteorite Impact’ series such as ‘Origami Meteorites’ and ‘Meteorite Trampoline’.
Download to your device and prepare for impact.
‘Iris Vulcana’ (2020, double-layered steel plates, acrylic paint, 130 x 25 cm)
The first object of a series of jumping jack puppets that showcase female strong women and bodybuilders of contemporary times and the very beginnings in the 19th century. They are originally intended to be a jumping jack puppet. Until they are finished please feel free to create your ‘own’ cut out puppets that I have provided for you as a Desktop Download. Enjoy!
These images reference my video work titled ‘wonderings of a cadaver (Is The Cadaver Synonymous with the Ghost?)’ where I explore the question in a nonsensical monologue whilst considering the obsession with documenting everyday life. The plastic toys are collected from the traditional Taiwanese children’s lottery-game Chuō chuō lè.
These desktop download images offer iterations of a digital collage originally realised as screenprints. Composed of video stills taken from an earlier piece exploring the interaction between a friend and a giant iguana, and photographs taken at a metalworking expo, “Dewlap” is part of a body of work exploring invented taxonomies.
| Extreme beauty |
Working inside the LGBTQIA+ underground scene in London, in this project Miguel Martim (he/she/they) explores the concept of no normative beauty and ways of self-expression, through documentary photography. Part of this photo project has been included in several episodes of VOGUE’s “Extreme Beauty” documentary.
My pieces invite the viewer to arrange their own narrative from the vague painted images presented to them. They are screenshots of a wider story and it is now the viewer’s job to give them a new context.
In my original performance work, the broken mirror not only symbolises the fragmentation of the screen, but also represents the reconstruction of the relation between the ego and the other. These downloadable images are obtained by capturing the texture of my broken mirror.
Wet on wet technique unfolds units of light referred to as colour wavelengths. Units of time referred to as colour traveling through eye, mind, and unconscious reaction. The natural physics to the human eye compacted in a form static process of some time ́s motion.
In 2011, NASA launched the spacecraft, Juno, to Jupiter to collect information and images. In Roman/Greek mythology, Jupiter was unfaithful to his wife, Juno, having an affair with Roman Goddess, Io. To hide himself, he would transform into a dark cloud. However, Juno was able to reveal Jupiter’s true nature.
How do you catch the soul of a forest? Through her use of natural pigments and soil from the forest, Briggs strives to create an artwork inspired by the sense of connection one feels
from being in nature. When experiencing a painting in person, we would get the sense of its materiality, see the brushstrokes and feel its size in relation to our body. For Transference TV, Briggs brings to us the tangible aspects of making a painting through her short film, using the digital realm to enhance the sensory experience of painting.
These paintings are created using site specific audio recordings as the impetus, by constant evocation of memories pertaining to each of the identified sites. The images are either parts of the paintings that are significant in their own narration of specific memories (with respect to the audio stimuli) or the whole
painting itself. The identified sites are London, UK and Bangalore, India.
By recreating movements and catching details into nature: I want to invite people to be part of this fragmented and contemplative narrative. Made by blurred boundaries, psychodynamic composition and nebulous representations: pace of altered consciousness for making humans parts of something universal.
A selection of sketchbook explorations. Print,
paint, collage and digital manipulation interlaced with a blend
of my free writing and contemporary fairy tales.
Current research themes are, family identity, popular culture,
creativity and motherhood.
This series of photographs are from my own sense of Trypophobia. The patterns and small holes on bleached corals make me abhorrent and scared. Therefore, I re-edited a few clips from my original videos and photographs into a striking digital animation to present my feeling of Trypophobia.
Painted with Cabbage, chlorophyll and soil, Shivani Mathur explores how we can be mindful of sustainability, even as we explore frontiers of technology that lead mankind to growth and
Still images, I can see them moving. How can the water the sea become still? I can hear it, I can feel it. My deep psychic sinking again – A chaos to remember, to forget, to remember.
These images are created with nothing but body heat and heat from various light sources of the space I exist in.
Block the light and you cannot see.
Nobody sees me in the room I reside in.
But my existence matters and so does yours.
Carry these in you as a reminder of that.
Images as spaces where new images can appear. Follow the instructions and play with your idea of empathy. What do you project on the matter around you? What do you create? How can a playful attitude affect you?
3 of these drawings were inspired by neural stem cells differentiating into something new. Patterns of connection exist across the universe, from mycelium networks, to ravines and branches, the internet and even the patterns of light and dark matter. The final painting is my dog, Maxi, who I love drawing most of all.
It is not about fantasy or encouraging blessing, it is about fragile, failure, absurd, illusory, and also a sort of existential vitality.
This wind sculpture is based on observations of the air swirling, hugging and circling in and around my back garden. Taking a scientific, emotional and experiential approach to my explorations and observations, this piece represents my interpretation of this invisible and often ignored natural element, and the fluid dynamics inherent in the oceans and rivers of air we experience everyday.
As an opposition of a natural display, the effect may lead to a redundant feeling for the whole image. This is intended as a sign to alert the existence of an interface, how it works and how the presentation of the interface can be damaged or occupied easily.
I PAINT WHAT I SEE
We don’t know ourselves, and we can’t even see ourselves.
In this ceremony, I try to explore “I”.
In the process of ink and visible skin contact, perhaps I discovered the visible and invisible “I”
In these artworks, I am exploring my experience of belonging as part of something greater than myself, both physical and spiritual, through the symbolic representation of the cosmic egg and visualization of the blurring boundaries of individuals merging in a crowd.
This work is a part of an ongoing investigation into how to communicate what is it feels like to live/deal with chronic pain, disability, rapidly declining mental-health and overwhelming external stresses in a time of isolation and uncertainty.