It is a somewhat ambiguous entity so far, as Drift has organised events for art, music and zines, produced videos, magazines and T Shirts with artists and is even releasing vinyl in the near future. There are no plans to conform or hinder the diversity and spread of projects and there is no clear aim other than to create a space and opportunity for people seeking out collaboration and to highlight the talent in South East London.

Naturally it has developed an identifiable aesthetic and sound from the beginning because of the concentration of artists working from the same area of London. But this may change as more and more people are getting involved from further afield. Recent exhibition ‘Sleep Easy’ had participants from SE London, Latvia, Berlin, Vienna, Finland, Turkey, Canada, Sweden, and various U.S states.

Next projects to be expected are videos featuring the musicians Gus Dapperton and Gazelle and a short video highlighting the Sleep Easy exhibition shot by Reuben Bastienne-Lewis and photography by Esther Collins.
1 film
One of my favourite films, which I find really inspiring in both its approach to the format, and in the non-linear storyline, is Richard Linklater’s ’Slacker’. The way that the narrative of the film is essentially non-sequential, and non-chronological, but the film is led by a series of vignettes, which draw a broader picture that ends up covering a wide range of different subjects.

Slacker by Richard Linklater

2 musician/producer
Stones Throw Records’ roster of artists and producers has always interested me; the diversity of the artists themselves reflects a lot of my own attitudes towards music. Specifically one producer who stands out to me is Mndsgn, the line between electronic and analog is something which I find really interesting, and his music makes an interesting comment on that divide, through his use of instrumentation, production and even in the format of his output, using vinyl as well as virtual platforms like Bandcamp.

Mndsgn – Camelblues

3 video game
The video game ‘Hotline Miami’ is really inspiring to me; the storyline is (similarly to ’Slacker’) not entirely linear and uses multiple framing devices, which work really well in connection with the text-based dialogue which progress the storyline itself. As well as this, the soundtrack is a driving force in the game, with the framing devices actually having an affect on the music itself; with some of the tracks replaying over at the game’s natural interval, and others only appearing once or twice. I think the game on the whole, was a really unique experience, especially as it was made with a very small development team on board.

4 artist
Michael DeForge is a Canadian illustrator and comic book artist, whose work I find really interesting, both in his clean-cut style of drawing, and in the kinds of topics he deals with in his graphic novels, which can range from philosophical questions, to more grounded comments on fitting into the current climate in the world.

Michael DeForge, First Year Healthy

5 book
Haruki Murakami is an author who is hugely inspiring, when I was younger I read a lot, and it has taken me a while now I’m a bit older to find books and authors that suit me more. But finding Murakami, and reading his series of short stories in ‘The Elephant Vanishes’, has given me a drive to read more of his books, as well as other books in turn. The short length, which is the nature of the stories in this book, was a big proponent for me to start reading again. Many of his stories feature a listless sense of ennui in his characters, as well as a lot surreal situations and Dadaist lines of thinking, with a slight step in the direction of being fantasy, without becoming completely unreal. Completing this profile has actually made me see a theme in the kind of features I find interesting in any piece of creativity, regardless of the format it takes.

Haruki Murakami, The Elephant Vanishes

Publications by South East Drift will feature at the Istanbul Zine Fest, April 22- 24th.

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For more recommendations on what to read, watch or listen to, go here.

The theme paradise may at first seem a limited starting point and one which will lead to cliched outcomes; this obstacle has led the artists to think of new ways to approach the concept – giving a fresh take on it. The work is inquisitive, informative and provokes questions surrounding the theme. Some artwork more direct in terms of addressing the artist’s ideas and some more subtle.

Emma Hislop

Emma Hislop, who is soon to embark on a degree at GSA in Sculpture and Environmental Art, is investigating the encapsulation of a personal paradise. Quoting her directly: “My work has centralised around the idea of…what I hold dear, if this can be preserved and if in doing so does the preservation alter the personal paradise. Meaning that this memory of personal paradise place has never been truly real and is an illusion. The place I explore is that which is what I call ‘home’. As I live between my parents and partner’s parents, I have no real place with him that is ours and can be truly comfortable except in those personal, most private moments. This is a journey of the encapsulation of my most dear of places and an attempt to hold onto them as much as possible.”

Object-making is an important part of Hislop’s practice, as well as documenting this process. One of her pieces titled Paradise Capsule is a “One of a kind artist made capsule…made exclusively for a ‘perfect stranger’ and consists of trinket boxes containing handmade objects. These objects, or rather miniature sculptures, began as personal, vivid experiences and they now embody distant memories and feelings.” Although based around paradise there are more underlying concepts in Hislop’s work; she also investigates what a drawing can be and paradise in relation to personal obsessions.

Raya Mitchell

In contrast to Hislop’s work which takes on mainly three-dimensional forms, Ryan Mitchell’s current work consists of print, paint and photomontage. She often works across a broad range of media and disciplines such as the above, sculpture and film. The work that will be exhibited as part of Paradise, aims to playfully examine and highlight the conventional notions of paradise that we are exposed to through a variety of different outlets, be them sincere or suspect. In other words, questioning whether we have predefined perceptions of paradise.

Mitchell’s process began by collecting old Kodachrome slides and newspapers which were then combined to create photomontages. These then led to photo etchings and paintings. You. What awaits you? is a painting that explores the relationship between the objectification of women and conventional perceptions of paradise. Female figures whose heads are replaced by flowers become objectified and our attention diverted to their bodies. The analogy between the female figures and the flowers reflects the conventional and old fashioned notion that women are ‘delicate flowers’ – pretty ‘things’ to be admired. The flowers also allude to the idea of a blissful, paradise environment; in this instance the female figures symbolise a ‘gateway to paradise’. Other work that will be on show includes a series of photo etchings and photomontages.

Freya Wilson

Freya Wilson, who is also soon to start her degree at GSA in Painting and Printmaking, mainly focuses on ‘using traditional materials in interesting ways.’ Her love of paint is apparent to anyone who has seen her work. However, more recently Wilson has began to incorporate text and poetry into her practice. A poem she has produced as part of her work for Paradise derives from ‘a feeling you have in a certain place or at a certain moment. For me I enjoy hearing birdsong in the morning, and compared it to my own understanding of singing – the awareness of breathing brings its own sense of paradise.’ On the night of the opening on 31 July, Wilson will perform a poetry reading to accompany her paintings.

Although only three of those partaking have been mentioned there are many more whose work will be exhibited, they are as follows: Claire Mcginlay, Angus Robertson, Kevin D’Arcy, Lorna Pollock, Megan Gallacher and Rachael Docherty. Each bring diverse responses to the theme, especially given the wide range of backgrounds and degrees they are soon to embark on including Painting, Sculpture, Fashion and Textiles. You can find out more about each of them on their blog here.

Paradise will be at the VoidoidARCHIVE gallery, Glasgow from the 31 July – 2 August with the preview on 31 July (7pm – 10pm). Following the preview is an after show at The Poetry Club (10pm – 2am) where Kyle Webster & Lewis Morton (Dark Partials), Robby Brown & Adam McCaffery (Ensoul) & Ryan Shybani (Renegades of Funk) will be bringing you a mixture of funk and electronic.

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Since graduating we have been living and working together, converting our living room into a shared studio. This has given us the opportunity to collectively deal and converse about the issues of post-university life. Whilst doing so we thought that creating a more formal framework would allow us to address these common concerns in a more productive manner.

We aspired to make a space outside of the university, for conversations about current concerns with our practice, situation and the systems that follow after university- life as a practicing artist. Our main concern was that there was no environment to talk about work, and with people who are interested and engaged in a similar dialogue. We found that private views and exhibitions had become merely a social space where nobody would take the time to talk about the work in front of them, let alone their own practice. We were unhappy with the state of passivity that was now surrounding us and wanted to create a space where criticality and practice could exist.

From these concerns we decided that we needed to create the space and situation to talk about such problems and therefore try and resolve them. By running crits, reading groups and discussions we hoped to house some of these concerns and allow for a critical exchange between practicing artists.

We also found that one of our main drives for making work post university was for deadlines, exhibitions, residencies etc and we were no longer focused on experimentation and the development of our practice but with having finished, concise and chiseled portfolios that we could send off to varying opportunities in the free time we have outside of our payed jobs. With this in mind, we set up 3OWORKS3ODAYS (where artists would sign up and submit a work everyday for the month of April, the project concludes with a publication about the process of the project and notions of artistic production). The main objective for this project was to allow space for experimentation and mistakes; we wanted to cut out the rhetoric of competition by not having a selection process and thus exclude the drive to make the ‘best work’. The only rule was that you had to submit one work each day, in any medium or form, thus putting the responsibility on the artist, not the curator. To develop their own practices, decisions and criteria for what they consider a work, to commit to giving themselves the time each day to dedicate to their work and practice.

Once 30WORKS30DAYS concludes we are aiming to continue to launch projects with similar intentions, in relation to productivity, criticality and practice. These will take various forms from residencies to alternative forms of exhibition and publications. We are also open to collaboration, if anybody would like to get in touch please contact us on info@12ocollective.com.

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So hello, we are SHIFT/, seven of Scotland’s most dynamic, provocative and lyrical spoken word artists (but by no stretch of the imagination, the only ones). Formed by Rachel McCrum and Bram E Geiben, we have joined forces – like some super-powered comic book phalanx – as an artist-led collective to create a platform for poetic performance in the Edinburgh Fringe that works for us.

As well as Rachel and Bram, SHIFT/ is powered by Rachel Amey, Harry Giles, Jenny Lindsay, Ali Maloney and Sam Small. Between us we have a wealth and diverse range of experience. Collectively, we have won slams, shattered boundaries, toured the world, won awards and broken hearts; promoted, wrought and slogged.

As the Scottish poetry scene is running on full, breath taking, power, SHIFT/ exists to take seven unique and exciting shows to Summerhall – crossing bridges between performance poetry and physical theatre, stand-up and live art, spoken word and music, solemn introspection and punk spit – a different show for each night of the week.

Right now, we are writing, devising, crafting our shows, which could touch upon anything including, but not limited to: cyberpunk dystopian opera, political analysis, BSL, love, clowning, messing around in boats, love on drugs, nihilism, optimism, Dadaism, borders and colonialism and Lovecratian tentacle apocalypses.

We’ll be in the Cairns Lecture theatre in Summerhall every night of the Fringe at 9:30. For full line-ups and updates, get SHIFT/ed at www.shiftword.com.

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After graduating we got involved in the summer project Somewhereto_ Re:store which was set up to regenerate unused space within Glasgow city centre by creating a creative pop-up venue. We documented the ongoing of the space for the duration of the pop up (one month). This was our first mural together and where we realised we could possibly take it further and start a collective. The name came about as the newspapers were coming and we had to think of something quick – Mairi and her partner had the name Little Book Transfers kept aside for the day they started a band together, but as it had been a few years and they hadn’t gotten round to it, we thought we had to put the name to good use as it just suited what we wanted to do perfectly! (We are still going to have a band one day!)

We work doing illustrations used to create private commissions, illustrated objects, live art and wall and window murals, ranging from small to large (around 25ft!). Our work is often feminine and is inspired by nature and form. It has a surreal undertone and can often be described as humorous and whimsical. We also work with blocks of colour, which we illustrate on and around.

We work together in our office/studio space smack bang in the centre of Glasgow. We normally come up with small, basic sketches, together or apart and verbalise our ideas to each other whilst using Illustrator for mockups. There isn’t much in-between from initial sketch to finished product as we do a lot of our work on the spot and change things as we go when creating mural work. We work in a spontaneous way, making the process more exciting, where we have loose sketches at hand, but it is all very much freehand! We go with what feels right for the space when we turn up to different sites and locations.

The highlight of our career so far would be last year (as we have only been working as a collective for roughly a year) when we had a 5 month long feature in the Gallery of Modern Art, Glasgow in correspondence with Generation: 25 Years of Contemporary Art. We created a 25 year long timeline which consisted of 25 individual illustrations which we free-handed onto the walls of the GoMA balcony. We montaged and illustrated a selection of world history and art events that took place to create humorous yet informative work for each year.

Our first solo show at The Good Spirits Co. on Bath Street will showcase a selection of large illustrated boards and screen prints inspired by exotic botanicals and the female form. The show will run from 12 March until 19 April.

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Not Finished Article (NFA) is a collective of four established women artists based in Scotland: Nicky Bird, Alicia Bruce, Caroline Douglas and Sylwia Kowalczyk. They told us a bit more about how they came together.

As a collective we have distinct, yet complementary practices which together incorporate photography, moving image, the found photograph and the museum collection. Portraiture and community collaboration also play a distinctive role.

We meet regularly in our studios to share work in progress and support one another. The group has been meeting informally for several years including summer trips to the opening week of Rencontres Arles photography festival. We secretly named ourselves PPP for a few years and having informal catch-ups at each others flats to share and discuss work (PPP meant Photography, Pizza and Pinot Grigio). This name changed to Not Finished Article when we started to get exhibition offers as a group including 2014 Frames projections at CCA, GI Festival and Street Level Photoworks.

NFA will discuss their collective practice at TalkSeePhotography’s February event this coming Monday 9 February at CCA, Glasgow. They will also reveal a new collaborative outdoor work at Porty Lightbox, Portobello, Edinburgh as part of ‘Exquisite’ International Women’s Day Exhibition running from Friday 6 March until April 2015.

Exquisite by NFA

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With backgrounds in graphic design, interactive design, and type design we work in collaboration with people and organisations to develop design projects across various media. We view our clients as collaborators and seek opportunities to work with those involved in their own creative pursuits, where we can learn from each other, and extend and complement each other’s domain knowledge with a shared investment in the quality of the work produced.

In times where the conventions of communication are constantly in flux, we are interested in exploring the boundaries of, and relationships between media. Critical thinking, systems thinking, focus on content, and dedication to craft are central. We view digital and analog not as a schism, but as a continuum in which we can speculate on ways of reading, methods of interaction, forms of graphic design, and how these can be manipulated, challenged, reverse engineered, and re-purposed.

We also want to use the collective to work on self-initiated, playful research projects that explore how we shape our media, and how they shape society in return, from post-Gutenberg to post-internet. One example of this is Indygraph, an online barometer that captures Twitter users’ feelings about the Scottish independence referendum that took place in 2014:

From Sunday 31 August until the result was decided, Indygraph tallied 3,970,038 tweets that contained the hashtags #yesScotland, #voteYes, #betterTogether or #noThanks in 30-minute intervals. It correlated them to news stories matching the search terms “independence,” “referendum” and “Scotland” on Google News.

More recently, we have launched Predominant.ly, which simply put, is a web application to discover music by colour. The idea arose partly as an antidote to the ‘spreadsheet looking’ apps like iTunes and Spotify that we use to manage our music, and partly out of curiosity. The interfaces we use to interact with our music make it unlikely that we find something that falls outside of our normal musical tastes, something that lets us broaden our horizons, or expand our musical base.

We like to spend time making projects like Predominant.ly because the oft-recited idea that design is only about “solving problems” sets the bar rather low, requiring a problem as a prerequisite for a designer to make something. We want to design things that can elevate an experience beyond completing a task or solving a problem, to a memorable encounter that has a positive or fulfilling effect, in even the smallest of ways.

Our electronic displays are the portals through which an increasing number of our interactions take place. You use the same glowing rectangle to speak to your mother as you do to submit your taxes, making our experiences less distinct. In the age of the screen, where we risk a tendency to rely on a familiar visual language, design that is specific to its content is becoming increasingly important.

By treating experiences as separate and unique, we can avoid repeatedly applying the same solution, however well it may function. In the case of Predominant.ly, we want to bring an element of serendipity back into the search for music, making the experience as personal and delightful as stumbling across a long-forgotten favourite in a second-hand record store.

Alongside studio work, all four members of Open Work teach. Lizzie and Susana both teach in the Graphic Design department at KABK (Royal Academy of Art) in The Hague, Dan at ArtEZ in Arnhem and Kai at Écal in Lausanne and HfbK in Hamburg.

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2|1|4|1 was founded in May 2013 by Glasgow and Edinburgh based artists Rosie Roberts, Kirsty Macleod and Frances Lightbound. Here they tell us how it all came about.

2012 alumni of Glasgow School of Art and Gray’s School of Art, Rosie wrote the manifesto, approached Fran and then Kirsty and we set out on a quest to find like-minded artists – also in the youth of their careers – to join us in our mission to alter the flow of opportunities and information in the notoriously hazy, nepotistic, post-graduation art world.

We held our first meeting with the original members in May 2013 and started to act together as a collective straight away; writing articles for the website, meeting monthly to discuss our plans and what was going on with the emergent art scene in Scotland. We interviewed, previewed, and reviewed many wonderful artists and exhibitions from Turner Prize nominees to final year students.

Our Manifesto outlined a commitment to bridging the gap between graduation and a sustainable career in the arts. Our values demand transparency and a desire to implement a go-to support system for all fresh graduates and early-career artists.

This support system not only includes free publicity for artists, their events and related happenings but also a curatorial programme. Within this programme we strive for accessibility, a rational approach to application systems and critically engaging exhibitions, whether this be in the form of showcases or more specific projects. We have a great residency/exhibition opportunity coming up next spring, which is a collaboration with The Number Shop – a new space in Edinburgh.

Every year we have a members show and party, our first one was in SWG3 with a mammoth turn out, a great party and a wonderful integrated programme with discussion groups, screenings, and in conversation events. This year it was a little more informal but with an equally engaging integrated programme including lectures, book launches and a super fun raffle. It was held at The Old Hairdressers a couple weeks ago. Our membership is constantly fluctuating with old members moving on and new ones coming in which makes these annual shows a really dynamic example of what the collective stands for – a critical commitment to the making and exhibiting of contemporary visual art.

Right now, one thing is clear to us as a collective: artists, whether they be young, old, established or fresh meat, recognise the important role that they play in a fulfilling society, and that this role can only be exploited or under-valued to the detriment of those who do so.

We always wanted 2|1|4|1 to be a place of free and open discussion, to offer the opportunity of critical writing for people presenting work, without feeling like any hierarchy outside of the strength of the work itself would be recognised. Nepotism, money, grand establishments and age-old thinking can only lock the door of opportunity if we let them, which we don’t plan on doing anytime soon!

Find more information about 2|1|4|1 Collective and read their manifesto on their website.

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A Fine Beginning is a Welsh photography collective, established by James O Jenkins, with the ambition to develop a platform to discover and showcase contemporary photography being made in Wales today. The collective takes its name from the first chapter of Dylan Thomas’s unfinished novel ‘Adventures in the Skin Trade’.

The collective launched with a publication in May 2013 at the publishing weekend of the inaugural Diffusion: Cardiff International Festival of Photography. The issue showcased the work of four of our current members; Gawain Barnard, Jack Latham, Abbie Trayler-Smith and James O Jenkins. In foregrounding photography in Wales, the festival provided an opportune moment to launch the first instalment of A Fine Beginning.

A Fine Beginning aims to offer a platform to photographers making work in Wales to have their photography seen and appreciated in Wales and beyond. To find out about future projects or to submit your work, please get in touch (@afinebeginning).

Our first exhibition ‘A Fine Beginning: Made in Wales’ was at Arcade Cardiff (14 – 30 March 2014). The exhibition showed work from the collective as well as selected images from work we have featured on our blog. The second ‘Made in Wales’ exhibition opened at Oriel Colwyn on 5 September (to 31 October 2014) and shows work by 21 photographers we have featured on our blog.

On 28 August, our joint exhibition with the Scottish collective Document Scotland called ‘Common Ground’ opened at Street Level Photoworks in Glasgow. The exhibition features new work from the collective and runs till 19 October.

The Collective

Rutherglen – James O Jenkins

James O Jenkins
(b. Gorseinon) is a photographer and co-founder of Portrait Salon. He has exhibited at The Photographers Gallery, The Association of Photographers and Hotshoe Gallery. His work has been published widely including The Sunday Times Magazine, The Independent on Sunday and Creative Review. In 2012 he published his first book ‘United Kingdom’, a visual study of traditional annual UK customs, which has been shown in London, Helsinki, Arles and New York. In 2013 his series ‘United Kingdom’ was featured at The Northern Gallery for Contemporary Art.

The Big O – Abbie Trayler Smith

Abbie Trayler-Smith
(b.Newport) is a documentary and portrait photographer whose work draws primarily on an emotional response and engagement with her subject. Having spent 8 years at The Daily Telegraph, covering news and features around the world, including the Iraq war and Asian tsunami, she now travels globally on assignment for a wide variety of clients and enjoys spending time on personal long-term projects in the UK. Abbie’s study ‘Still Human Still Here’ on destitute asylum seekers in the UK was exhibited at foto8’s HOST gallery in London in 2009 along with her award winning accompanying multi-media short film. Her portrait of Chelsea from the series ‘The Big O’ won 4th prize in The National Portrait Gallery’s Taylor Wessing Prize 2010. She joined Panos Pictures in 2007 and became a member of Panos Profile in 2010.

A Line Runs Through Us – Gawain Barnard

Gawain Barnard
(b. Rhondda) completed an MFA in Documentary Photography at the University of Wales, Newport in 2009. His Photographic work and research has mainly focused around the environment and people of his youth. Making quiet portraits of adolescence and precise observations of their surroundings Gawain brings new and fresh reflections of the once industrialised regions of South Wales. His work has been exhibited nationally and internationally and is represented by Millennium Images.

Looking for Lilacs – Jack Latham

Jack Latham
(b. Cardiff) is a Welsh photographer based in Brighton. A 2012 graduate of the BA Documentary Photography course at the University of Wales, Newport, his work focuses on more conceptual subject matter and is often presented in the form of large format photography and self-published books. His photographs were first published in the British Journal of Photography in their “2012 Student Profile”, which highlighted up and coming talent across the UK. Jack has continued to work both in the UK and internationally and some of his most recent work is currently being exhibited in New York. In addition to his own practice he co-curates a monthly lecture series in Brighton “Miniclick“.

Common Ground runs at Street Level Photoworks until 19 October. For more about Common Ground, take a loot at this feature about Document Scotland.

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Document Scotland was formed by Jeremy Sutton-Hibbert, Colin McPherson, Stephen McLaren and Sophie Gerrard in 2012. We were brought together by a common vision to witness and photograph the important and diverse stories within Scotland at one of the most important times in our nation’s history and to encourage, promote and support photography in Scotland.

‘Kirriemuir’ from ‘Scotia Nova’ by Stephen McLaren

Ironically, the original idea for Document Scotland was not cooked up in Edinburgh or Glasgow, but in Beijing. Jeremy, Stephen and Colin were working on an assignment there together and over a couple of beers we hatched the plan for the collective. It was relatively straight-forward in terms of organisation: we wanted to keep things simple and carry on working to our own agendas but allow areas where we did coincide and overlap to become the basis for Document Scotland. With Sophie soon on board, we built a website which we filled with our own content and invited contributions in the form of blogs, photo-essays and portfolios from other photographers shooting stories in- or about Scotland.

Once we built a bit of momentum, we began to reach out to some of the key players in Scottish photography and initiated conversations about what could be achieved in the short term and what was strategically important in the long run. We weren’t surprised to find that photography in Scotland is a small world, but it’s a environment which is very supportive and constructive. We think most photographers working at present understand the political and cultural backcloth at present and are very focused on making work.

Within our first year, we had staged a group exhibition which included work by 10 exciting contemporary Scottish photographers. In addition, we produced two newspapers and have subsequently produced an electronic magazine and a downloadable PDF, all featuring our own and/or other peoples’ work.

‘Unsullied and Untarnished’, a series by Jeremy Sutton-Hibbert

2014 is an especially busy year: we kicked off with a show at Scotland House at the EU Brussels, then came the Beyond the Border exhibition at Impressions Gallery, Bradford, followed closely by Common Ground, our latest show which opened on 26 August at Street Level Photoworks in Glasgow, which is supported by Creative Scotland. In addition, we have launched an 84-page publication to coincide with Common Ground. This features diverse photo essays from the collective, as well as contributions from Welsh collective A Fine Beginning, Malcolm Dickson (Street Level) and Anne McNeill (Impressions). We also took the opportunity of the publication to announce the great Scottish photographer Harry Benson as our honorary patron.

For more information about Document Scotland, see their website. Common Ground is at Streetlevel Photo Works until 19 October.

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