42 New Briggate, Leeds
Helen Armstrong Bland
Reconstructed Histories, Collage and mixed media, 2014
A small book structure that explores places visited, real or imagined and family unknown, a story of adoption and a life unrealised.
Chapeltown Memory Map, Print, 2015
A memory map of walks through Chapeltown, Leeds. A map that indicates possible futures, as well as significant past events. Memory shaping the future as well as the present.
It’s like it’s the 70s, Digital photograph, 2013
The images I submit for consideration for the Imaginary Museum are selected from 'CollaborArchive' a body of work examining the archive as a space both physical and conceptual, and the relationship with nostalgia, memory and loss,.
The CollaborArchive is the result of an interdisciplinary exploration into the nature of collecting and archiving. The work consists of a collection of samples, documents and ephemera, an archive of resolved pieces and an archive of the project in the form of a blog.
HOARD item #H011, Photograph of rejected elastic bands, 2013
Rejected elastic bands collected for HOARD which documented every item of rubbish from my art practice during 2012 that would have otherwise been thrown away.
Means of production, Photography, 2014
My work explores the ideas, artefacts & processes of industrialisation & modernity as they resurface in contemporary culture transformed by technology & globalisation.
Presence, Artist’s' book, 2014
'Presence' is an artist book containing seven photographs which document an empty family home in stasis. Tidy, ordered - human presence is felt, not long departed, memories abundant.
Legends of Recall and Amnesia, Manipulated found Image, Digital Print, 2015
Using the language of cartographers and with found images, this work examines the personification of memory and forgetfulness which manifest in the form of gods and goddesses through history and ancient cultures.
Anna Fafaliou and Maria Katsika
All I Can Remember, Installation / mixed media, 2015
Living in a consumer society, we tend to understand ourselves through our belongings; thus we associate emotions and feelings with materials and objects. Objects can be perceived as emotionally charged pin points on one’s timeline, providing proof of one’s existence, even when a memory is uncertain.
In this installation called “All I can remember”, I aim to create a personal map by connecting myself to key items of my personal belongings. This is a way to explore my interest in the notion of “personal identity” in relation to the “cultural artefacts” that we tend to collect.
Charlotte Victoria Furness
Anatomy of the brain, Illustration , ink , paper digital colour, 2014
Influenced by the Victorian maps of the heart , the anatomy of the brain takes a look at what might go round a love lorn ladies head.
Journeys, Internet Art, 2014
‘Journeys’ combines different sky views from different flights combining visceral alterations referencing a point in time in a person’s life. Housed on an Internet platform, continually rotating (one rotating left, the next right) these moments live beyond the actual time and dimension from which they were captured.
Timeline, Artist’s book, 2015
Printed pages from artist's book 'Under Sweeping Skies'. The image shows artefacts from C14th - C20th found in a Yorkshire longhouse superimposed upon a blueprint of the footprint of the house. The facing page is a print of the Will of a former inhabitant of the house on transparent paper. Prints of steel sculptures of parts of the house can be seen through the page.
Traces, Found photograph, digital media, 2014
'The moment you take a photograph of something, 3 minutes later it something that no longer exists. Moreover, photography kills and replaces us all. It replaces you after your death, when your relatives no longer remember precisely what you looked like without looking at a photograph of you. It definitely kills you when someone picks up your photo and no one knows who you are'. - Christian Boltanski
The development of this work was based around memory, recognition and how the medium of photography function with regards to these things. The initial photograph was found in an old job lot of vernacular snapshots, it was originally a posed family photo. A memory, a snapshot of loved ones, a moment in time that has been preserved but cannot be known by the viewer.
But what does a photograph become when it is lost and then found by someone else? I used eye-tracking technology to record the way that a current viewer looked at the subjects of the photo. The diagram is the path the eye took when that person is first shown the image. It is the process of them trying to recognise the people in the shot. It represents our individual and collective attempts to record and preserve our memories in the digital age and the fact that these preservations may outlast our lives, and the lives of those who knew us. They become traces of strangers who once lived.
To present this idea, the family were digitally edited out of the original, leaving just the background, and were replaced by the diagram from the eye-tracking process.
Memory Knot, Knotted cotton rope, various thicknesses, 2015
Memory is a dense impenetrable mass with no easily discernable beginning or end – full of knots, signposts and prompts which are all linked together but frustratingly inaccessible. The knots are sequential, all tied into one continuous thread – but in this ball of our memory they become interwoven. We see glimpses of detail, but the full sequence remains entangled, buried.
Dr James Lattin
The Vanishing Isle, Postcard, 2015
Stories of an island or isle which appears at infrequent intervals have been a feature of conversation in Angarth for many years. In order to consider these in more detail, the Museum of Imaginative Knowledge has undertaken a survey of small islands in the Western Borderlands, while also recording accounts of the so-called Vanishing Isle.
Martha Jean Lineham
The Blue Guide, Paper, collage, Photoshop, 2014
Adopting the title of one of Roland Barthes 'Mythologies' essays, this collage explores the ethereal pretense of the popular travel image. The fragmented blue skies are hand cut from out-of-date travel guidebooks and brought together in a single heavily saturated archival image.
The Swatch Series, Digital Image, 2014/15
6 images from The Swatch Series.
A playful exploration of colour in the artists environment - documenting tones, light and vibrancy. Each image in the Swatch Series holds with it a recollection of place and and a connection to a memory.
Each Swatch can be collated and categorized in many different ways, including colour, environment, lighting or memory. Furthermore, the colour swatches and their new possible matches stimulate links from past imagery to present experience, sparking new ideas and exciting thought patterns.
Aphra L. Z. O'Connor
Abutment, Manipulated digital photograph, 2015
The manipulated images draw parallels between industrial design and my perception of space. The kaleidoscope designs create a link between un -natural repetitive pattern and the effects of the geographical environment I find when exploring the industrial estates. The industrial objects define the landscape in my home of Yorkshire, and their juxtaposition in the repetition is a way of changing and re-defining that landscape.
This series especially looks at psychogeography and the way in which bridges bring together the pedestrian and transport. The modification of the images invents a strategy for both to exist continuously.
Hiroshima, Photograph, 2014
In Hiroshima, together with everyone else, I photographed the ruins of the Prefectural Industrial Promotion Hall, now known as the Peace Memorial or the Atomic Bomb Dome. Alongside it, small origami birds festooned the feet of a sculpture. Ephemeral, subject to be blown away by wind or dissolved by rain, these seemed a fitting reminder of, and monument to, transience, and of the importance and delicacy of life.