Of those picked each year by Bloomberg New Contemporaries, some will flourish in the arts (past exhibitors include David Hockney, Paula Rego, Damien Hirst and Mona Hatoum), others might choose different paths, but the hope is always to foster a creative community that supports those setting out as the next generation of creatives. We spoke to three artists on the opening night of this year’s exhibition, Kate Fahey, Seungjo Jeong and George Ridgway.
This year’s Bloomberg New Contemporaries was judged by Alan Kane, Anya Gallaccio and Haroon Mirza.
Kate Fahey is concerned with slowing down how we interact with images. In the age of Google, where our consumption of the visual divorces us from context and meaning, Fahey seeks to reappropriate photographs that have become lost or degraded through continual sharing. Her background in printing leads her to consider the surface of her work, the texture and nature of the paper she uses, returning tactility and poetry to digital images. The result is Cumulative Loss, a hauntingly beautiful digital collage imbued with symbolism.
South Korean artist Seungjo Jeong creates pared-back canvases that explore the relationship between viewer and artist through the almost abstract evocation of objects. His paintings draw on the aesthetics of everyday technology, the shapes that, for example, make up a tape cassette or speakers, without referencing particular brands so that the viewer can project his or her own feelings and memories on to the image. Jeong explains to Studio International what drives his painting and his latest Interface series.
George Ridgway graduated last year from the Glasgow School of Art. His work traverses painting and installation with an intuitive ease as he subtly translates music, movement and the forces of the natural world into paint. We spoke to Ridgway about his practice and the fluid nature of his work.
Bloomberg New Contemporaries 2016
Institute of Contemporary Arts, London
23 November 2016 - 22 January 2017
Interview by EMILY SPICER
Filmed by MARTIN KENNEDY
Kate Fahey: interview
Kate Fahey is concerned with slowing down how we interact with images. In the age of Google, where our consumption of the visual divorces us from context and meaning, Fahey seeks to reappropriate photographs that have become lost or degraded through continual sharing
Matt Copson: interview
Emerging artist Matt Copson’s alter ego is a vengeful fox named Reynard. Using ancient European folklore as inspiration, Copson has created a character that is both hateful and pitiful. Reynard has many manifestations, but at this year’s Bloomberg New Contemporaries exhibition he takes the form of a stylised drawing that changes colour hypnotically, accompanied by a voice-altered diatribe performed by Copson himself. With Reynard growling menacingly in the background, we spoke to Copson about his work and influences.
Milou van der Maaden: interview
Dutch artist Milou van der Maaden graduated from the Slade School of Fine Art this year and instantly caught the attention of the panellists selecting for Bloomberg New Contemporaries with her entry From A Head to A Head, a video piece exploring a range of cultural and social issues centring on the complexities of colonial history, repatriation and diplomatic relations. We spoke to Van der Maaden about her work and what it means for an emerging artist to be included in such a high-profile, highly selective exhibition.
Charles Richardson: interview
Recent Slade graduate Charles Richardson has hit the ground running. This year, in addition to his inclusion in Bloomberg New Contemporaries, he won the coveted New Sensations prize.
Marie Jacotey – Dolly
One of this year’s Bloomberg New Contemporaries, 26-year-old, Paris-born Marie Jacotey is exhibiting 58 drawings on plaster in this, her first solo exhibition at the Hannah Barry Gallery