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Papamali Christiana.

'Bus Stop.' 

106X83cm, Mixed media Painting.

Athens, Greece.

"bus stop" represents the transitional process of identity disintegration, were the subjects’ regressive phantasies, schemas, archetypes and social roles are incongruent with the socio-cultural demands. A social scene where the subjective interpretation of one’s’ own experience contradicts the artefacts of conformism and the cultural models of “normality”. A marginal situation which makes the actor aware of the fact that he is not just an actor and the game rules have been self-imposed in an effort to counter the dynamics of the dominant culture.  The splitting processes of a symbolic game becomes an integral part of his identity and pushes him towards role engulfment and self alienation. 

Irina and Silviu Szekey.

[advised to relax their muscles, the instruments are just sophisticated mirrors of spectacular 

applications ]

Collage / photomontage on book cover / 26 X 22.5 cm unframed

UK

The ability to choose images containing within themselves the seed of their own destruction must not be influenced by the presence of manipulative hands in a room unpopulated by objects. We could tolerate tables and dust and maybe a few grammatological grimaces, but not the locked drawers and wooden puppets incapable of uttering the form of thought reliant on self-postponement and interior monologuesfolding and refolding the same infinite page.

Jonathan J. Kelham.

'Tree & Dressing.'

35 mm Slides & Slide Projector.

Bristol & London, UK

Tree & Dressing focuses upon the ambiguous borderlines found within children’s illustration, between the traditional associations of such images [quaint/innocence/purity] and the point in which the image begins to insinuate an ‘adult’ atmosphere [violence/sexual perversion/exploitation]. Characters appear and disappear reframing the unfolding narrative in various suggestive directions, producing an ambiguous atmosphere.

Simon Farid.

'Editing Grant Shapps.'

Installation. Multiple inkjet print-out on A4 office paper, blue tack, founds newspaper clippings and online. 

London, UK.

Simon Farid makes work about alternative identity practices, investigating and enacting instances in which people operate under multiple administrative and social identities. Grant Shapps, an influential UK member of parliament, has more experience than most at operating under other identities. Here Farid focuses on Shapps’ Wikipedia editing skills, and attempts to hijack one of Shapps’ many identities as a result. 

Katy Wallwork.

'CSA Series (Performances in the store cupboard/Avoiding Customer Service Assistance)'

3 x photographic prints, each approx 20 x 16 cm.

London, UK        

“The focus on work as the arena in which the individual can, with the proper self-discipline, will his or her own self-development and transformation continues to be affirmed today … The worldliness of, for example, unruly bodies, seductive pleasures, and spontaneous enjoyment poses a constant challenge to the mandate for such focused attention to and diligent effort in properly productive pursuits”          

Kathi Weeks The Problem with Work; Feminism, Marxism, Antiwork Politics and Postwork Imaginaries

While working as a Customer Service Assistant (CSA) in a regional museum and gallery I found the disjuncture between the positive, ambitious, self-motivated person required by the job advert and the mundane reality of the monotonous rigid role striking. Feeling bored and frustrated I started setting myself small challenges to keep my own creative work going while being paid as a CSA.

Although generally unsupervised, CSA’s were expected to adopt the mindset of management and remain professional in their work at all times so this project became a private game where I had to make as many small interventions and secret performances as I could without being caught by management and without completely alienating myself from my colleagues.

Exhibited in A State of Un-Play will be three photographs documenting this series of works. 

Kayla Parker.

'White Body'

Digital stop-motion animation / 2009 / 1 minute / colourDirector/producer/animator: Kayla ParkerSound design: Stuart Moore

Plymouth, UK.

The figure of a small white doll grows from a ball of modelling clay, is cut and sewn shut, and then buried and ‘reborn’, among a nest of white granulated sugar and the dark stain of slut’s wool - the fluffy dust that collects under furniture and along skirting boards.

Benjamin Poynter.

'In a Permanent Save State.'

Medium : Mobile Game, iDevice

Size/Duration : 320x480 px / (duration variable)

US.

Save State is an interactive game which is extremely critical of human rights violations produced by Apple and Foxconn. Upon initial release, the game was censored from Apple's mobile application store. This narrative chronicles the afterlives of seven overworked laborers who committed suicide while building the world's mobile devices.

Allen Coombs.

'208511151911919'

UK

A number of times each day we have only a moment to present ourselves to the world. Using whatever languages we have, we condense our vision and hope our reader understands enough to translate our intent.

Subjects are asked to described themselves or others in a number of words dictated by the subjects age, their responses their responses are then transcribed.

Bonnie Lane.

'Make Believe' , 'Maybe Tomorrow' & 'Everything is Alright.'

2012, HD video, Duration: 1 hour 5 minutes, Edition of 3 + 2 AP

Melbourne, Australia and Los Angeles, USA.

Through a kaleidoscopic lens Make Believe runs on a loop of an hour and 5 minutes, continually morphing between the distinguishable dancing limbs of a young girl (legs, hair, torso), and an abstraction of patterns formed from the little girls costume. Created over several artist residencies in America, the video explores the subjected roles of childhood and adulthood and the tumultuous transition between the two. Masked within a bottomless black void the haunting video explores human aloneness, the absurdity of adult existence, and the inability to reconnect with the innocence of childhood.

James Moore.

'City 17', 70 x 49cm, Oil on Canvas

'Lost Cost', 120 x 86cm, Oil on Canvas

'No Maps For These Territories', 120 x 84cm, Oil on Canvas

Cardiff, UK.

The core idea that drives my paintings is the exploration of aesthetic space. I use artificial environments as source material, ranging from museum dioramas through to computer games. 

I explore the spaces of game environments in the role of a plein air landscape painter, trying to capture the topology of these environments.

Simohammed Fettaka.

'The greatest show on earth.' 

5 min 12, Collage animation, 4/3,color, stereo. No dialogue. (2012)

Morocco. 

The Greatest Show on Earth, this video collage, is the history of televisor. Entered the habitats and received as the good speech, it has shaped the spirits and the attitudes, to become a doer of modern history.

digitaldialogues (Darren Williams / Jason Davies)

Location_lleoliad_locație  (e-drawing)

Medium: Animated digital files / Accompanying poster with link to web page

Duration: 60-90 seconds approx (loop)

Hereford, England / Cardiff, Wales

Image supplied for publicity: a_look_of_silence_9

Text: digitaldialogues.co.uk (Darren Williams / Jason Davies)  digital_dialogues@aol.com

Back and Forth they zip across the e-mail system; visuals free from containment, flights of fancy criss-crossing borders where the process becomes concept and the subject is conversation.

The conversation in this particular ‘e-drawing’ has been inspired by thoughts upon location, borders, and the phenomenon of a digital neighbourhood.