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KIALY TIHNGANG
AUTOMATED LIVING


BIO
Kialy is an award-winning interdisciplinary artist and designer based in Glasgow, creating unique visuals that combine esoteric colours, materials and textures, textiles, costume and animation to inform their practice.



PROJECT:
‘Automated Living’ is a virtual shop selling a collection of bizarre, pointless and overengineered lifestyle-enhancing machines. This project is a multidisciplinary response to the neo-colonialist practice of electronic waste dumping: when affluent countries in the global north dump their e-waste - old phones and laptops etc - in poorer global south countries without infrastructure to process it. Western overproduction leads to the proliferation of useful machines languishing in landfills.
Kialy is presenting her work in a virtual shop, akin aesthetically to peculiar, clunky e-commerce websites, hawking a collection of over engineered ‘machines’ with humorous applications ranging from sinister to pointless, like a date night tooth checker with an overzealous electronic toothpick that leaves any would-be lothario bloody-mouthed, or a VR peekaboo headset that fully automates the peekaboo process with disastrous results. She aims to unpick Western obsessions with convenience and novelty which so often come at a cost to humans elsewhere in the world.




www.kialytihngang.com








HTMLText_67F92FB9_4C72_200C_41B2_02D4B5344EBF.html =
ANNA SELLEN
DRIP BY DRIP, WE ARE FED WITH CONCRETE





BIO
Anna is a photographer and multidisciplinary artist, based on the West Coast of Wales. She works with images, sound and text to tell stories about transitions that people and places undergo. Her projects often start autobiographically and evolve through extensive research. Anna is currently artist-in-residence at the Kelvedon Hatch Cold War Bunker (2020-2022).


PROJECT:
Drip by drip, we are fed with concrete


In this project, Anna questions the Cold War legacy through the physical space of the bunker and her family archive. She uses photography, oral history, archives and diaries to examine her own and her family’s lived experiences in the Soviet Union between 1952 and 1986. She is interested in the impact of the political decisions and the state-driven silencing and misinformation on people’s lives and identities, from one generation to the next, and what this means in today’s world.



ACKNOWLEDGEMENTS
I would like to thank the following people for their continued support during the creation of this exhibition: Sarah Deane, Susanne Hakuba, Alan Horn, Nuala Mahon, Mauri Martín, Janire Nájera, Mike Parrish, Johannes Pretorius, Lucy Saggers, Nathan Sellen, Rob Townsend and Dr. Ariadne Xenou.





www.annanas.co.uk | IG: annasellenphotography








HTMLText_C5B0B275_E3B9_16EC_41E9_160902D09C0F.html =
CURTIS HUGHES
MODERN LOVE


BIO
Curtis Hughes’s practise focuses on social documentary and portraiture in which he aims to understand and question his own identity and belonging within society.


Honest, compassionate connections and exchanges with others are key components to Curtis’s work and this in turn, allows space for genuine connections between Curtis and his subjects, allowing further exploration into his own understanding of love through the experience with others.


PROJECT:
In society today, how we seek and find love is changing, with an estimate of around 38% of new relationships flowering from dating apps such as Tinder. But, with more technological advances and more people than ever using dating apps, is the quest of finding love becoming easier?


Taking inspiration from historical portrait paintings, Modern Love discloses moments of intimacy and solace while working slowly and collaboratively to represent desires of seeking, finding, and harnessing love visually. Incorporating in-app messaging provides insight into the virtual and non-virtual worlds.


Through his own journey and use of dating apps, Curtis wants to question his intentions surrounding love and relationships by collectively exploring, sharing, and connecting with others, bringing a visual representation of dating and love in the 21st century.



www.curtishughesphotography.com







HTMLText_CA0B71B7_E3B9_F26C_41C9_F5F12D7B34CA.html =
SHARON MCGREGOR
THE ART OF THE PANDEMIC





BIO
As a Digital Artist, Sharon currently responds to themes of social, political and psychological phenomena using mixed reality in the metaverse. Her practice uses the digital aesthetic of immersion, presence and agency. To create interplay and interaction between artefacts and objects in the metaverse to design experiences in ephemeral virtual 3D between environments using the reality-virtuality continuum.


Her interactive digital practice started at the beginning of 2020, pre lockdown. As an early-career artist, her focus has been on emerging technologies, 3D simulation and visualisation and has involved creating interactive Virtual Reality or Augmented Reality experiences. Her practice has been conceived because of her drive to communicate the intangible and the temporary that we experience as every day.




PROJECT:
The virtual exhibition showcases “The Art of the Pandemic” a collection of 3D digital artefacts inspired by UK response to the COVID-19 pandemic. The exhibition will respond to the pandemic second anniversary and its effects on UK society, people and behaviours.


The 3D digital artefacts have been created throughout the current covid 19 pandemic in response to the communications that were promoted by the government that became apparent throughout the pandemic. The creative practice will use themes of marginalisation, loneliness and learnings from 2020-22 and use these as an opportunity to create an immersive online exhibition that shares the artist’s experience on the effects of pandemic, through 3D.








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MPUMELELO BUTHELEZI
E'PLAZINI: A PLACE TO CALL HOME FOR WASTE COLLECTORS




BIO
Mpumelelo Buthelezi was born in the year of democracy, 1994 in Pimville, Soweto. Mpumelelo taught himself to become a photographer because he wanted to interpret the time and place he was born into, to tell the untold stories of the communities of his country, to present them as narratives, full lives lived in the margins. Mpumelelo studied photojournalism and documentary photography, graduating in 2017. He has exhibited at Market Photo Workshop student Gallery in Johannesburg, Social Art Award in Germany, Transitions Rotterdam Foto Festival in Netherlands, as well as a solo exhibition at WeTilt in Italy. He lives and works in Johannesburg.



PROJECT:
E’Plazini: A Place to call home for Waste Collectors


This photo documentary project explores the lives of waste pickers who live in a neighbourhood called Dryhook Informal settlement, Phororo near Devland, Soweto. In South Africa it is estimated that 85,000 people make a living as waste collectors/recyclers. Waste pickers are people who collect and sort waste materials, and sell reusable and recyclable materials (such as paper, cardboard, plastic containers, glass, and metal) primarily in an informal capacity. In particular waste pickers contribute to higher levels of recycling within cities and towns, and help to divert waste from landfills.
These people live by collecting waste material for recycling from all over Soweto for over the last ten years. They recycle their materials in a dumping area daily from 4am in the morning until 4pm, some work weekly and some on a daily basis. Recycle trucks then transport this waste materials to different firms, such as Reduce, Reuse and Recycle. At the recycling company they get R3, 20 per kilogram for plastic containers and empty cans; R1.20 per kilogram for plastic, and R2 per kilogram for cardboard boxes. They make about R40, on a good day, R60 and R200 weekly (£10.53).



instagram.com/icreateimageseveryday


behance.net/mpumibuthe4f5f








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CLICIWCH UNRHYW LE I DDECHRAU'R DAITH
CLICK ANYWHERE TO START THE VIRTUAL EXHIBITION
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VIRTUAL EXHIBITION
CATALYST 360°


As part of CULTVR LAB’s 2022 research and creation program supported by the Arts Council of Wales.


6 virtual exhibitions within the digital twin of CULTVR Lab will be facilitated through this strand, supporting artists from any creative background or discipline and at any stage in their career.


The concept is simple:
What show do you want to realise if money is no object?
How have you always wanted to present your work if there are no physical considerations?


This strand will allow individual artists or collaborative teams to design and realise (Virtually) their perfect exhibition to be presented digitally at CULTVR Lab gallery. Artists will put forward their ideas and provide the relevant content for the showcase.
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VIRTUAL EXHIBITION
CATALYST 360°


As part of CULTVR LAB’s 2022 research and creation program supported by the Arts Council of Wales.


6 virtual exhibitions within the digital twin of CULTVR Lab will be facilitated through this strand, supporting artists from any creative background or discipline and at any stage in their career.


The concept is simple:
What show do you want to realise if money is no object?
How have you always wanted to present your work if there are no physical considerations?


This strand will allow individual artists or collaborative teams to design and realise (Virtually) their perfect exhibition to be presented digitally at CULTVR Lab gallery. Artists will put forward their ideas and provide the relevant content for the showcase.
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JEROME GUILLEAUME
ASYNCHRONOUS




BIO
Jerome Guilleaume’s work is an exploration of maths as matter, through physical and virtual media. Using code as canvas, equations as paint and information as brush, this project showcases the result of years of exploration, trials and errors, finding beauty through the (often chaotic) process.





PROJECT:
Asynchronous is both a traditional showcase and an attempt to redefine exhibition spaces and time frames.
By slowly shifting the exhibit environment, Guilleaume wants the experience to be seen as an evolution, a passage through time. By disconnecting the frames from the environment, he uses this new space created in-between the medium and the gallery to invite new spaces to connect, hidden in the background or through floating windows.








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