The winning artists are:
• Terry Shave is awarded the £3,000 purchase or commission prize sponsored by the Heslam Trust.
• Jodie Thompson wins the £2,000 Professional Development award for an emerging performance artist.
• Scarlette Homeshaw takes home the £250 Drawing Prize sponsored by Good Old Drawing.
The evening was an opportunity to view the exhibition, and watch a performance of ‘Huaca’ by Lincoln based artists collective Dug and an appearance by the acclaimed ‘Doom on Brother’. Angela Samata, project manager of John Moores Painting prize also gave a presentation and held an open discussion.
Maggie Warren from The Collection said:
“Angela’s presentation drew on her four years’ experience of managing the John Moores Prize and focusses on curation and selection, selling work and the benefits and outcomes of Open exhibitions for artists and the arts sector.”
Background the on the winning artists:
‘My recent painting, all triptychs and produced in series of three, involve inspections of place, particularly places that I know well and revisit time and again. These places include real and imagined locations, and other artists work. They also include reinventions of my own work destroyed in a major studio fire in 2000. These ‘places’ are a negotiation of who we are and how we deal with our own personal identity defined by place.
I attempt to deal with identity, loss, memory and notions of choice or fate. I am interested in those liminal moments where we are on the threshold of moving into another place, those sensory thresholds that are at a point of intellectual and visual negotiation with ourselves. The three part works offer options and potential narratives. They stem from my early film-making career combined with my interest in early medieval painting. The triptych format provides a possibility of ‘moving on’ through visual negotiation or ‘test’ as well as recognition of visual ‘pollution’ clouding our way. The material is significant too. I use photography with painting, concluding with layers of tinted resin. The high gloss finish seduces but also offers a visceral challenge to the viewer.’
Terry Shave studied at Loughborough College of Art and the Slade School, London. He now exhibits regularly in the UK and abroad. His solo exhibitions include, ‘Loaded’ at the Ikon Gallery, Birmingham; ‘Reloading’ at Real Gallery, New York and ‘Closer than you Think’ at the Bonnington Gallery, Nottingham. He has won prizes in the John Moores painting exhibition in Liverpool and the Unilever Award in London.
Shave is currently Professor of Fine Art at Nottingham Trent University. He was a founder member and is currently Chair of UK Young Artists, a young artists support agency based in the East Midlands.
‘Working primarily in performance and specifically encompassing on-going persona performance, a ‘living-sculpture’, I base a parodied narrative around what those in the contemporary art world already know, utilising knowledge of artistic clichés and artist attributes. The artist checklist: impenetrable, academic language, strict black and white uniform, private view omnipresence, ubiquitous red lipstick and red wine in hand. I combine all of these attributes to define a persona immediately recognisable but transparently vulgar, pushing the self-aggrandising of contemporary art to a nauseating level.
It becomes an embarrassment. Taking things at face-value it promotes the farcicalities or the art world. I attempt to take what I see in contemporary art but place it in new surroundings, to test whether it holds its validity. It obstructs and insults the audience whilst the artist simultaneously self-destructs to join them in the mire she has created for them. By dismantling what I have built up myself, my work challenges an audience to enjoy a piece of work at face value. Employing popular and familiar music to exploit pre-conditioned emotional responses, my performances utilise songs as a means of instructing the viewer how to feel at any given moment. I’ll sing to you, show off my figure, speak in luscious, intellectual rhetoric and be everything you asked for in an artist, and now realise it wasn’t exactly what you’d imagined.’
Born in Hull, 1986, Thompson currently works between Nottingham and Hull. Her work has been shown in various venues in these locations such as the Hopkinson Gallery, Nottingham and Nottingham Trent University. Thompson graduated this year from a Fine Art degree at Nottingham Trent University.
‘The exploration of, and personal attachment to, specific interior and exterior spaces are the driving force behind this work. Every piece finds its origin within the shell of the building that I will eventually call home. This space, though currently uninhabitable, has been in the making for ten years and under construction for the past three. Evidence of this family undertaking permeates all aspects of my life, and the static building has become fascinating to me.
I create reductive linocuts from hours of observations. The prints are snap shots of interior spaces. Colours vary from print to print because I approach each space individually, as these prints bring forth half a life time’s worth of emotional involvement. The prints represent a journey through layers of process. This also makes me feel more connected to the original space, having to carve away sections of lino in order to add another layer to a print. It is an interesting dynamic and representational of the necessary compromises made while trying to build a home. Within the composition of every print there is at least one window. The new build is inundated with them; they act as a means of culminating the inside and outside worlds. The same is implied within the prints: merging an internal space with the landscape it adorns. Even the mark-making feels organic, as most of the prints show skeletal wooden wall structures interfering with the space and obscuring the window views. The wooden structures feel like areas of living forest, your eye moves through the woodland in search of natural light and the outside environment.’
Scarlette gained a BA (Hons) degree in Fine Art, from De Montfort University, in 2012. Homeshaw’s work has been shown at the Independent Arts Centre, Leicester, in the group exhibition, Friction, 2011; and in London at the printmaking and photography exhibition, 3 Degrees, 2011.
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