Andy Rowe – Mixed Media, Found Objects and Images.
Andy Rowe • 1 September 2021
Andy Rowe – Mixed Media, Found Objects and Images
Isolation Corona Table To Make Time Pass.
Varnished acrylic, found objects and images on pasting table.
At the start of the lockdown period I realised that buying extra art materials would likely be difficult and so I decided to restrict myself to using materials that I already had around me in my home. The first item that I decided to make use of as a basis for an artwork was a pasting table that I found in storage that had previously been used for home decoration. I thought that it would be an interesting exercise and a constructive use of lockdown time to attempt to take this object away from its original purpose and re-employ it as a sculptural mixed media object.
Many of the images within the piece were taken from old magazines that I already had to hand. I chose them initially for their aesthetic qualities and for how I thought they would look when placed together within this new framework, removed from their original context. I realised at the time that some of the images could relate to my current circumstances and to those of the world outside. However, many of the images did not reveal connections to me until later and I became intrigued with the processes I had unknowingly used to choose them. Image themes tended towards family, friendship, contact, being alone, breathing, and open and closed spaces. Two of the larger images within the piece specifically pertain to live music performance, an activity that was completely denied to people as the pandemic took hold. These images were drawn from photographs I had personally taken at the last live music concert I attended prior to the pandemic.
Extra varnish was the only item I ventured outside to buy as DIY shops remained open because they were deemed an essential service. I have always felt a need to coat my artworks in varnish or an equivalent coating as for me it serves to finalise them and to make them real, as well as providing a protective layer. I have reflected on this technique and think an explanation would come from my younger school years. As a class we would often be made to cover our exercise books with adhesive plastic to protect them and I would also attempt to do this with various membership cards for clubs that were in some of the comics I would read as a boy. For me, a membership card would not be authentic unless it had a plastic or vinyl coating that made it real, like my passport.
Isolation Corona Table To Make Time Pass. Varnished acrylic, found objects and images on pasting table.
The finished piece can be presented as both a sculptural object and as a mixed media painting. It still has the qualities of a foldable table and so can be displayed in various positions. My personal preference is to display it on its side, open at about 90 degrees. This enables almost all the detail to be viewed.
Dual Tape Intersection Feline Proximity Sound Painting Nearly Black And White. Varnished acrylic, hessian, found objects and images, microcassette recorders with prepared tapes on cupboard door.
Self-Portrait With Triceratops And Found Objects. Varnished acrylic, found objects and images on canvas.
On finishing the Isolation Corona Table project, I then produced work of a similar type while lockdown continued, using found images and objects and recontextualising them into new pieces. I also create work as a sound artist and so as well as producing audio and video pieces, I explored ways of presenting sound within these mixed media pieces. Sometimes I included found minicassette tapes within the painting itself. I also used cassette players as part of the painting, playing sound while the painting is observed. An example of this technique is in the later lockdown piece Dual Tape Intersection Feline Proximity Sound Painting, which can be viewed here :
https://vimeo.com/422812100
Further details and examples of work :
www.slatepipe.co.uk
Who Are You When the Labels Disappear? Inside SS21.art, a generative installation that asks you to give up your name By SS21.art Team - Nazlı Derya Öztürkmen & Merve Güven Özkerim & Begüm Tarako
In the spirit of March (last month) being Kidney Health Awareness month, emerging artist Ricky MacH donated one of his paintings to the Bahamas Kidney Association in support of the foundations’ objective.
1. As a young person, what did you imagine your future might look like and when did creativity first feel like more than just something you enjoyed? As a young person, I always imagined a future that was visually driven, though I did not yet have a language for what that meant. I knew I was drawn to making things, arranging, refining, shaping, but for a long time creativity felt like an instinct rather than a destination. It became more than just enjoyment when I realised I was using it to make sense of the world, not just decorate it. At that point it became a way of thinking and processing, so from my early teens I geared my education towards navigating a path to being a full-time creative. 2. Typography has long featured in your work. Do you remember when words, letters, or visual language first began to resonate with you emotionally? Words, numbers and letters resonated with me before images did. I became aware early on that language could wound, comfort, define, or distort, sometimes all at once. Typography made that visible. Seeing how a word could change meaning through spacing, weight, size, colour and context revealed that language was not neutral. It carried emotion, power, and memory. That discovery stayed with me and eventually became central to my work.
Yung Ching, Chang is a Taiwanese fashion designer whose practice operates at the intersection of cultural translation and contemporary womenswear. Situated within a broader discourse on identity, materiality, and form, her work examines how traditional cultural structures can be rearticulated through modern garment construction. By engaging deeply with fabric behavior and structural manipulation, Yung Ching develops a design language that negotiates between historical reference and present-day embodiment.
“A quiet moment by the water,where time slow down”. The place I call home. S.Spirito(Puglia). This photograph marks my first publication.A milestone filled with gratitude and emotion.
Scotland-based oil painter Ramsay Allan creates symbolic and surreal compositions that explore the inner landscape of the human experience. Blending classical oil painting techniques with dreamlike environments, his work moves beyond surface appearance and into the psychological and spiritual dimensions of being. Rather than depicting the world as it is seen, Allan paints spaces that feel remembered, imagined, or inwardly perceived. His figures often appear suspended within vast symbolic settings — environments that suggest memory, consciousness, and the unseen forces shaping human life. Light, space, and atmosphere become narrative tools, guiding the viewer into a contemplative state rather than a purely visual one. At the heart of Allan’s practice is an interest in consciousness, presence, and the human journey . His paintings do not provide fixed answers, but instead invite reflection. Each work becomes a visual meditation — a meeting point between the outer world and the inner one.
IT’S TIME Performance by Sofia Mobilia Sat, July 12, 2025 | 4 PM (STR) / 7 AM (CA) In the courtyard of the Academy of Fine Arts in Stuttgart, I’m in the middle of a conversation with friends and fellow students when, at 3:55 pm, my phone alarm rings - the starting shot of my performance. I’m dressed simply in black shorts and a black top. With me, I carry a bag of clothes and a portable speaker. Through a VPN connection to California, I tune in to the San Diego radio station I listened to throughout my two exchange semesters there. While the radio fills the courtyard, I unpack pieces from my California bag – clothes I wore in San Diego – and put them on, one after another: my San Diego State University shirt, my vintage corduroy pants, the cowboy boots I danced in at line-dance nights, my 80s leather jacket, and finally the sailing cap from my host mum’s regatta, paired with the sunglasses I picked up on a road trip through Arizona and Utah. This was the exact outfit I last wore on the streets of California in late May – complete, of course, with my beloved analog film camera. But what is really happening here? The title of the performance leaves room for multiple interpretations. It is time to get up – quite literally. With the nine-hour time difference, it’s morning on the other side of the world: the moment to wake up, get dressed, and start the day. But also, in a metaphorical sense: life goes on. Returning home after building new structures, routines, and personal growth abroad is never seamless. And yet, the transformation persists day by day – within oneself, through memory, souvenirs, and the skills and knowledge acquired. Old and new merge into something else. A running-on process. The desire to go back – to book the next flight – or simply to close one’s eyes and listen, to feel the warmth of textures, to drift. Thoughts jump between realities. Emotions shift over time. Does homesickness drift away? Letting go and holding on, in constant alternation. Saying goodbye while arriving anew. Often, we slip back into our memories without anyone noticing. Here, the audience notices. But only those who know my story truly understand what is happening. For others, it might feel confusing, even uncomfortable, to witness personal thoughts and feelings made visible in public space. When is something performed, acted? Almost always. We hide behind smileys in text messages, even in face-to-face conversations, pretending to feel what is expected of us. Except in that one moment – when I let myself fall, Fall into the Sun . It’s the title of my favorite song. A song I switched to after finishing dressing. A song I played endlessly during my stay, one I even heard live in California. This performance was also a process to move through my inner feelings, accepting them, and showing them as they are – regardless of what friends, family, professors, colleagues, or strangers of all ages might think. And what happens after someone interrupts by switching off the speaker? That’s when I open my eyes and, for the first time since the beginning of the performance, meet the gaze of my audience. In a society where time is such a dominant force, this performance deliberately takes its time. It slows down, becoming a space for processing and transformation – both emotionally and temporally. The form mirrors the content. And for a final twist, the documentation is set to play again in California. Website: www.sofiamobilia.com Instagram: sofiamobilia.art E-Mail: sofiamobilia@web.de
Artist Wen-Ying Yang (Jonah Yang), a cutting-edge Taiwanese Contemporary Artist residing in London, United Kingdom. He graduated from Kingston University London with a Master's degree in Art & Space. He has exhibited his artworks in numerous galleries and non-commercial spaces in the UK and internationally. His original large oil paintings "Starry Sky Series" caught the attention of a Chinese art direction team, leading to an invitation to reveal his paintings and create on-site in Ningbo, Zhejiang, China. As a result, His artworks have appeared and been featured on multinational art platforms in China, Singapore, Malaysia, Thailand, and Vietnam, showcasing his dedication and creative energy on a global stage.
Daniel Varela is a talented Argentine visual artist and fine art photographer who immerses himself in a universe of creativity through visual expression. His passion for art and photography drives him to explore new perspectives and innovative approaches, with the purpose of capturing beauty in all its fullness. With a dynamic spirit and a forward-thinking vision, he has ventured into contemporary art inspired by new digital processes. Through the use of advanced technologies, he has created unique and captivating works that challenge the boundaries of creativity. His artistic production has become a source of inspiration for other creators and photography enthusiasts, establishing a valuable contribution to the world of art and culture.
London-based moving image artist and photographer Tianyun Zhao (Yano) creates works that drift between stillness and transformation, where memory becomes light and time turns tactile. Her practice navigates the intersections of image, perception, and identity, revealing how the digital age reshapes our sense of the self and the spaces we inhabit. Drawing from Eastern philosophy and the rhythms of urban life, Zhao constructs visual worlds that exist between reality and imagination — contemplative yet quietly rebellious. Through the fusion of lens-based imagery, AI-generated fragments, and fashion-inflected aesthetics, she invites viewers into atmospheres where emotion and technology merge in a delicate equilibrium. “I see my work as a dialogue between the visible and the invisible — a meditation on how we remember, and how we are remembered,” Zhao reflects. Expanding the Language of Moving Image Zhao’s practice has been presented internationally across galleries, festivals, and digital platforms. Her recent exhibitions include Field of Clarity at Photofusion Gallery (London, 2025), Broken Silence at Summerhall – In Vitro Gallery (Edinburgh, 2025), The Green Grammar Exhibition at art’otel Hoxton Gallery (London, 2025), and Fragments of the Past, Futures Unfolding at Normanou 3 (Athens, 2025). She also participated in Video Edition ArtIn as part of The Wrong Biennale (London, 2025), a globally recognised platform for digital and post-internet art. Zhao’s work has appeared in publications such as Artist Talk Magazine (Issue 39, 2025) and Viridine Literary Issue 03 (UK, 2025), reflecting her expanding presence in both gallery and online contexts.
