Theresa Poulton: I was influenced in the choice of media because I was working from home, the materials I had to hand were limited so I chose paper for the first work and board for the accompanying painting. The scale of work I could make within my home/work environment and the size of the exhibition space and the number of artists exhibiting pushed me towards a smaller scale work. Although separate paintings, one framed and the other free from restraints, it was important to create a dialogue between both works.
Abi Freckleton: It wasn’t really a process of design, I don’t really work like that (coming up with an ‘idea’ and then executing it). The work was a process of exploration, like all my works the exhibited elements were the remnants of that process. I spent a lot of time deconstructing, manipulating and dismantling the image I was given – reproducing the colours, mixing them up, looking at the individual shapes, etc. I used the image almost as a material, experimenting with it to try to find an interesting interpretation via material thinking. However, in the end most of these experimental works did not ‘make it’ into the final work. The final work represents a kind of story – an abridged story anyway – of the process. It links together one particular part of this exploration (getting the colours matched in a diy store) to ideas/motifs in my own practice (water, gesture, light, reflections, waves) as well as a dream that was triggered by it (or at least that is what the work postulates!).
Eveleigh-Evans: We discussed which elements of the image really spoke to us. We spent a lot of time talking through the forms and colours and how they created space and emotion. We drew the work, printed it and made a room (A4), imagined being inside the painting, then made drawings based on the forms we saw. That progressed to coloured forms based on the painting, and models of various configurations of forms alongside materials tests until we settled on the final response. As the painting felt architectural to us, we discussed what the earliest architectural forms were, and used that to work through a space language that could respond to Theresa’s work.
James Ellis: I first looked for the elements in Heroic Sublime that stood out the most to me, in order to integrate them into my response. These were the order and geometry of the composition.
I also tried to interpret the meaning of the sculpture. It felt to me like the spheres attached to the central element, all at an equal distance from each other, were a representation of our current situation at the time. They seemed to be a metaphor for the social distancing laws that had been introduced by the government to keep us all apart.
I wanted to express the need for us all to work together in my artwork response. I kept the same placement of spheres as in the photo of the sculpture, but extended the spheres into larger shapes that would hide the central structure whilst also linking all the spheres together. I wanted to show the importance of us collectively taking charge of the situation to create a better normal, rather than letting other people rigidly decide our future for us. By linking the spheres together, there was no longer a need for the central supporting structure – we could be strong and free in our own network of support. I also used the same bright colours as the spheres in the original work, growing the shapes in such a way that the vertical balance would still be maintained in the composition.
Catriona Beckett: In the first week, I spent a lot of time thinking about my given image. At the same time, I considered my own work that I had recently been making in the studio. It made sense to think about how the paintings I had been making could answer, in some way, to the image I had received. Thinking about the presentation of the paintings, I edited some paintings together, repeated them and collated them into a new digital painting. I was fascinated by the golden ceramics of Abi’s piece, so I followed a process of digitisation to create 3D objects inspired by them.