ABOUT WEBSITE: The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.
ABOUT THE ART COMPASS: The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.
The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.
Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.
The human body, specifically the skin is an integral way of understanding a person’s identity and who they are.
We experience the tangible world through our skin by touch, which translates to signals and memories via our brain. Our skin is weathered by our journey through life and our stories are written on us visibly. Although our cells are constantly changing and developing, our skin retains our identity throughout our lives, manifesting as our fingerprints, lines and markings including birthmarks, scars and battle wounds which hold the narrative to our individual journeys.
GRACE BUSH - SKIN DEEP
The exploration of skin is timeless, but ever changing simultaneously, differentiating in everyone no matter what language, culture or age.
These textures, scars, and markings of skin change from person to person due to age, genes, and experiences, and each person’s skin is different and unique.
This research into identity and narrative through skin aims to investigate every inch of humanness and explore the societal taboo of the physical impact of ageing. It also is an attempt to explore other factors that affect the change of skin over time, including the influence of the digital age compared to manual working, and changes In cultures. These factors all help unfold the narratives of lives through the lines and markings in skin.
These paintings use wood as the canvas as it holds similar markings in the grains that skin does, highlighting the connection of skin with nature. Both being natural substances, as they are both made up from cells and water.
GRACE BUSH - SKIN DEEP
The raw, close up composition of these paintings challenges the viewers perception, and enables the viewer to see the skin closely it for what it is. These ‘portraits’ expose all folds, lines, hairs and wrinkles. They reflect the intensity and delicacy of the detail in skin, its complexity and uniqueness, and its markings without the overall image being distracting. Like looking through a magnifying glass. This is my aim as an artist, to make people look more closely and carefully at things that they see every day.
My work explores personal identity, consciousness and intimacy.
My fascination into human biology, the way the body works, and its vitality and vulnerability leads to my recurring study and creation of works fixated around the human anatomy, paintings of the nude, and the study into skin.
Exploring mediums such as oil paint, pencil and photography, I aim to capture the essence of personal identity, explore narratives and understand the changes in bodies over time.
My style of painting attempts to reflect reality and make people look more closely and carefully at things that they see every day. This aids to capture the beauty of life, consciousness, and one’s personal identity and the narrative that their body tells.