Responding to a call-out for emerging art, each of the six artists has been selected for their promise and skill by curators Adriana Cerne & Lindsay Moran. Leyden Gallery has shown its astute judgment in recognising emerging talent, as their perception in the past has produced artists who have gone on to both critical acclaim and commercial success.
With the development of each of Leyden Gallery’s Platform shows there is a fabulous opportunity for the public to both see and buy art from emerging artists at a critical early stage of their careers.
Haydn Albrow’s art stems from a curiosity towards using and combining materials leading her to specialize in creating installations which incorporate elements of photography, screen printing, casting and ceramics. Her intention is to show how our memory works, when we transfer one material onto another, leaving us to interpret an imperfect representation of the truth.
Anna Louise Cox’s practice consists in collecting organic material from her local environment and working with them, along with other materials such as thread and recycled paper. Her aim is to create a unique work of art not far removed from their original condition. Through the art of making, the artist is able to question the paradoxical nature of the human relationship with the rest of the natural environment.
Tanya Fryer is a topographical painter and textile artist, recording her journey through rural, coastal and urban landscapes in England and beyond. She uses fine liners, pencils and paint to capture the character, texture and colour of a city onto paper, recording her findings in a meticulous and illustrative manner. Tanya then develops and translates her work into textiles using screen print and hand embroidery.
Julia Keenan’s practice is explored through the composition of constructed hybrid objects, working within the mediums of sculpture, photography, drawing and collage. Her intention is to delve into the significance of objects, as teaching aids of their time, in response to the intriguing anatomical and botanical models of Dr Auzoux [1797-1880] that make up part of the collection at The Whipple Museum of the History of Science at Cambridge University.
Kuniko Maeda’s interest in sustainability and the material lifecycle resulted in her use of recycled paper, which then became the leading concern of her studio practice. By exploring the relationship between Japanese philosophy and craft techniques she found her clue in how to re-evaluate the use of materials and explore the underestimated beauty of everyday materials and waste.
Caroline Thake works as a fine artist closely linking both photography and text into her fascination with dreamworlds, imagination and their link to the unconscious. This led her to focus on the idea of an ‘impossible environment’, built through layering and saturation of image and colour. As a result the abundant layering of images within the flat photographic frame, succesfully mimic the intricacy and confusion of the world of dreams.