SAND PIT ARTIST BIOS – Uthink P.D.P.

Anna’s work revolves around appreciation of the ordinary that unifies us. Coming from a photography and film background the storytelling is essential for Anna, the everyday sleeping, eating and waking routines. She records her immediate environment with photography and sketches then transfer the ideas on to canvas. Once on canvas she leaves the original image to allow interaction with the materials.

Education
UAL Wimbledon College of Arts, BA (Hons) Fine Art Painting, London, 2017-2020
PACE University, New York 1997 – 1998

Group exhibitions
‘Everyday Forms’, Four Corners Gallery, London, 19 March – 23 March 2019
‘Traces’, Central St Martins SU Project Space, London, 22 November – 30 November 2018
‘Life’, Wimbledon College of Arts, London, 16 May – 23 May 2018

Across such mediums as video and sculpture, Melanie’s work is a collection of both visual and audio-visual artefacts that recall her way of alluding to some aspects of the notion of the Self and the Other today; it is an embodiment of the notions of humility, vulnerability, insecurity, and self-consciousness. Her projects are an attempt at outlining the feelings of her generation about 21st century insecurity, the absurdity of the cult and obsession of image, the importance of physical appearance (and its malleability), whether it is on social media or in real life; a burden enforced by modern Western media.

Education
UAL Wimbledon College of Arts, BA(Hons) Fine Art: Print and Time-Based Media, London, 2017 – 2020
AIX-MARSEILLE Université, Master 1 Applied Foreign Languages: Cultural And Humanitarian Projects
Management, 2012 - 2016

Group exhibitions
fivehundredthousands film screening at Deptford Cinema, Deptford Cinema, London, 6 April 2019
‘Everyday Forms’, Four Corners Gallery, London, 19 March – 23 March 2019

Primarily across drawing, painting and sculpture, Louisa’s work is concerned with the notion and appreciation of the everyday through interpreted surrealist methods. Using dreams and memories as reference to create objects in social situations- breaking down the common conceptions of an artistic environment has become an importance in her approach. Her pieces explore the world through a surrealistic yet simplistic lens, highlighting the beauty in the everyday, from objects to light to lines- whilst abstracting it through perspective and selectivity. The subject of social interactions, particularly within an artistic realm is a budding and emerging subject within her practicewhich is being further explored.

Education
UAL Wimbledon College of Arts, BA(Hons) Fine Art: Painting, London, 2017 – 2020

Group exhibitions
‘Traces’, Central St Martins SU Project Space, London, 22 November – 30 November 2018

Often inspired by inanimate subjects, and found objects, the artist’s work centres on process-heavy paintings and sculptures of uneasy and tense representations of the human form and our relationship with the presence and absence of touch.

Education
UAL Wimbledon College of Arts, BA(Hons) Fine Art: Painting, London, 2017 – 2020

Group exhibitions
‘Art on The Hill’, Brill, 22 March – 24 March 2019
‘The Mystery Toothbrush Jamboree’, Wimbledon College of Arts, London, 21 February 2019
‘NOISE’, The Crypt Gallery, London, 21 January – 22 January 2019

Space is moulded, borrowed and bent; staging a constant conversation between the positive and the negative. Kerry’s curiosity lays within this dialogue, the language of the line where planes meet, delivering a sense of order, arrangement and perspective. Working within a multitude of mediums Kerry creates ‘Groupings’ from 2D & 3D pieces, containing motifs of shapes and structures drawn from the technological view of the postmodern landscape, asking the question where does one form end and the other begin.

Education
UAL Wimbledon College of Arts, BA(Hons) Fine Art: Painting, London, 2017 – 2020

Group exhibitions
Everyday Forms’, Four Corners Gallery, London, 19 March – 23 March 2019

It is through the use of painting, collage, sculpture and installation that Sarah works around, but mostly inside the body. She dismembers, assembles, and builds parts of body, parts of herself; she sees the body as an internal landscape full of potentiality and ultimately full of beauty. However, organs, flesh and body fluids are considered abject things that we do not want to see, and it is for this reason that Sarah uses the lens of the body to talk about emotions. In other words, she shows physiological responses to bodily sensations by trying to uncover the unseen. Works such as (Mapping of my insides; 2018) and (Ashat Albeh – My heart dropped; 2019) are installations that uses the aesthetic of organs such as hearts and intestines, that could be seen hanging of the ceiling, being nailed to the wall, or simply disposed on a table as an offering. Other two-dimensional works like (My entrails: 2018) are halfway in between paintings and collages and they investigate through image making the anxiety of living, as well as what it is like to navigate life in a woman’s body. Sarah doesn’t expose her art on social media as an experimental statement. She believes that images seen on social media are consumed like a product and are instantly forgotten by the viewer. Instead she relies on one to one contact and human interaction.

Education
UAL Wimbledon College of Arts,
BA(Hons) Fine Art: Painting, London,
2017 – 2020 Académie Libanaise des Beaux-Arts,
BA(Hons) Illustration and Comics, 2013 - 2016