Over the course of this year’s degree show season, CR readers will be guest blogging reviews of shows up and down the UK (and beyond). Here, Olivia Domingos visits the Loughborough University Fine Art show
I wanted the show to throw me into some sort of frenzied search through the unknown, the culmination of ideas resulting in ordered (or unordered) chaos. Maybe unsurprisingly, this wasn’t quite the case. The show was good, with a couple of individuals standing out as being more progressive in terms of media and curation. I think what it lacked was a surpassing of boundaries, an excitement of new things being done. It was however, nice to see a varied show; the influences of peers and tutors not overtly present throughout. Common themes were those of play and form, both were well executed. Difficult is the resolve of three years worth of work as an exhibition rather than a portfolio but something that a couple of people seemed to do with particular ease.
Jessica Wiper makes sculptures that are fragile, each element dependant on the other for balance. An orange is held in place behind a slab of minty green plaster and green glitter, fixed at the top of the wall with orange cords. The use of plaster and the placement of the sculpture force me to think of all the disastrous consequences that could occur. I imagine a glitter filled floor speckled with mint shards of plaster; an orange rolling hopelessly across the scene. The play around the idea of consequence is perhaps inevitable when working with materials in this way. Her work is engaging and Jessica’s space was one of the few that was curated strongly as a show in its own right.
Claire Sage creates objects to encourage play. And they went down a treat with visitors to the exhibition. Big cushiony forms fill the space and force the viewer to consider the relationship between object, body and the way we respond to both within our immediate proximity. They work well as design driven objects; playful and functional, they allow the viewer to test boundaries between themselves and a given object. These particular objects have lead to endless photographs on facebook of visitors twisted up in the forms, posing for the camera. They have definitely achieved their intent and function which was that of play.
Aaron Soleci draws. A lot. And they’re funny. His exhibition space is a mass of colour; Barbara Streisand’s face catches my eye before it is drawn towards a message to his mom telling her he’s fine. He quotes Shrigley as an influence and the parallels are visible; both in the seemingly ad hoc production of the image and the straight forward humour they contain. Aaron’s drawings are funny and honest. They don’t carry any airs and graces, which is refreshing and allows them to be digested in the same manner. Their aesthetic quality varies from child like to detailed; perhaps a documentation of his (self professed) fluctuations of mental state. Aaron also raps.
See more from the show here
Buy the current print issue of CR, or subscribe, here
The July issue of Creative Review is a type special, with features on the Hamilton Wood Type Museum, the new Whitney identity and the resurgence of type-only design. Plus the Logo Lounge Trend Report, how Ideas Foundation is encouraging diversity in advertising and more