Peter Callesen

Peter Callesen does these amazing (!) papercuts! I really dont know how he does them though...

Celia Richards

Celia Richards does very delicate and conceptual work...

Matthew Raw

Wall
'I used the Berlin Wall and the Israeli/Palestine one as my two main research case studies to explore how walls divide people. 26 hand made bricks make up the 5m long and 3m high wall. Its size was a key factor in creating a ‘physical reality’ – designed to engender, in those who encounter it, an experience that is challenging and stimulates some of the claustrophobic feelings described by those who live in close proximity to such structures. Each brick is slab-built around a cardboard framework using especially developed crank paper-clay. Various techniques of applying text to the ceramic surface illustrate the language and findings from my research.'
Matthew Raw

Stefan Bruggemann

The Unwritten Image
Nicolas de Oliveira

For the conceptual artist neon is a means of public writing; it displays the text for collective reading, unlike the text in a book, which is essentially for private consumption. Stefan Bruggemann’s ongoing series of ‘Text Pieces’ shows an awareness of this dynamic. Moreover, the public display and nature of these works suggest a break with linguistic understanding, an argument that is underscored by Bruggemann’s ‘Obliteration Series’.

Through the employment of a form of public address, the statement is enhanced, and its weight is all the greater. We therefore assume the statement to be of a certain significance, an utterance beyond the ordinary. Additionally, the text is given a visual shape, a form that sets it out from the wall. Therefore, the statement tends towards the condition of a picture or object. Having been prised from the serried ranks of the text, the words turn into images. Furthermore, the words are illuminated, quite literally alight or burning, making a lasting (after) image on the spectator’s retina; we are usually warned not to look directly into light-sources as this places undue stress on the eyes. What shines brightly attracts us, but it also introduces the potential for momentary loss of sight or even permanent blindness. To see then, is to become temporarily blinded. We see nothing but the afterburn of the image, something that belongs in the past. And this image eclipses the present.

Anthony Gormley/Blind Light

One of the best exhibitions I have been to! The work of the artist is very intelligent and makes a lot of sense which I often can't find in contemporary art!
Antony Gormley's work centres on the body, as subject, object and place. The exhibition takes you on a journey through different kinds of space.
How do we react when disorientated? How do we relate to architecture and the built environment?
Within the exhibition space is defined by crowds and solidary figures out of concrete, steel, cast iron or lead. Sometimes only the voids where bodies could be are represented.
There is an outside part to the exhibition called Event Horizon. Life sized figures surround Southbank on rooftops and pavements.
A very interactive and impressive exhibition not to be missed! Especially the surreal experience in the blind room!

Jenny Holzer

At an exhibition in Luxembourg on her 'truisms' I discovered Jenny Holzer. Her work inspires me a lot as she uses different city landscapes at night to portray various political and social messages. I don't know if it is the message that stays in your mind or the image that she creates and that you then associate with the message, but it surely portays a good example for typographic meaning. Does the typographic setting influence the perception of the message?