Kim Shaw is an American photographer who lives and works in London.  In 2014, her first solo show, “Paper Ghosts,” was held at Jenny Blyth Fine Art.  Since then, her work has been shown at Soho Photo Gallery in NYC as a part of their international competition, Krappy Kamera, on three occasions.  In 2017, she was named overall winner. In 2018, Kim was nominated for the Royal Photographic Society’s 100Heroines, and in 2019 her work was included in the RPS Heroines’ exhibition in London and Blackpool. In February 2020, her work was featured in London Art Fair’s curated exhibition “Photo50.”  She has been featured in Huck, Photomonitor, BBC online, Uncertain States and the weekend FT.  In 2021, she was longlisted for the Photoworks Ampersand Fellowship.  Kim is the Director of Photofusion in Brixton where she oversees the artistic programme and an MA student at Central Saint Martins.

@kimshawphotographer

I am dedicated to accumulating counter-histories. I would like to say that I work with the crumpled heap. I am interested in entangling and disrupting linearities. I want to stretch the past into the future through the crumpled heap of forgotten/minority archives.

I am currently exploring karaoke as a mode of becoming, in which the screen opens up new potentialities of queer existence.

This is a space i created to play with the scale of my work, my paintings are quite small and seeing them so big makes me feel small, I also wanted to add a looped song that i listened to often while making these paintings.

This exhibition explores the idea of “home”. Four artists come together on a journey of understanding, defining their idea of the word through the work they produced. Same Shalaby, Margharita Demina, Clarissa Losciale , and Sasha Cherkas are artists from complete different backgrounds that are brought together to bring merge their realities into one universe. Using the actual physical “home” as a gallery space, they aim to allow the viewers to experience their own sense of identity within the framework of shared space. The viewer is invited on an interactive experience through a digital world that the artists have carefully curated.

When an animation artist encounters a video artist, their exchange unfolds solely through imagery. Fish, dreams, oceans, and various abstractions engage in a dialogue through an alternate medium. No words, no sentences—only a heart-to-heart connection observed within two video conference windows. Though physically distant, our souls draw near, transcending both language and the constraints of time and space. It is at this intersection that art intertwines, and our paths converge.

Rubbish Plateaus is an exploration of landscapes of potentiality. Working with layers, glitch, and assemblage in this way created ruptures in our methods of installation both on screen and away from the screen. In our practice, we are interested in the “nothing”, making use of physical and digital waste, which is often disregarded.

We cut the film “The Truman Show” into hundreds of pieces and use the One-click editing function from Capcut(TikTok’s editing app) to remake these videos into a whole. We chose the hottest music in TikTok but stretched it into 96 minute and all the special effects, montage, narrative and manipulation of time is added by the AI automatically. As a result, We can see how Ai choose and delete the part considered as “attractive” or “important”.

I’m interested in how colour, form, material and environment intra act. It can be anywhere. In a studio, in a gallery or in this case in woodland. It’s about the relationship between different types of matter in a continuum.

@thedevilinthedeepbluesea