John Whitney, American godfather of computer animation, was cited as an influence, Clark employing cutting edge software to create his pair of fascinating geometric rotations.
The exhibited paintings were often spectacular. Several artists [Mortiboys, Morel, Milton, Shin] presented a series of studies, some still life, others abstract. Several imposing pieces had been worked with knives or scratching tools, resulting in textured surfaces, the symbolic properties of which were illuminatingly discussed in preliminary sketches. Alfie Villeneau’s oil-on-canvas assembly of five Provençal landscapes conflated Rothko’s iconic colour washes with conventional cubist forms to create a real sense of the dramatic, while Joe Moreno’s arresting trio employed Giacometti’s focus points, acrylic felt-tip graffiti, brutal edge-marking and strident, psychedelic pinks and blues. This was a terrific set. Lucas Morel’s collection of eight oil paintings contained an ingenious Baconesque triptych and exhibited techniques gleaned from his study of Jenny Saville and the Britart movement. Drawing on the charcoal sketches of David Tress and
Clockwise from left Ben Redfern, Year 12. Drypoint etching Will Reid, Year 13. ‘The Fugitives’ film still Omar Malik, Year 12. Mixed-media sculpture
Matt Clark, Year 12. Animation still Alfie Villeneau, Year 12. Oil on board
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