I have been interested in art since I was a teenager and found the experience of exploring different media and styles over the years has open up a new world of endless possibilities and directions that my art could develop. I am particularly interested in drawing, painting, mixed media, photography and digital art.
My work focuses on the processes of transition and the natural cycle of growth, decay and renewal. In particular I am interested in ‘edgelands’, those unmanaged marginal landscapes in urban areas, where the natural and man-made interact in a process of constant change. They are places of unofficial wildness and transience. I work from sketches and photographs and also from memory to develop images which are imaginative rather than topographical. I prefer to work in oil which allows a slower development and modification of the image, in keeping with the subject matter. I gained a BA in Fine Art at Reading University and exhibit regularly.
Hello, my name is Melissa Keskinkilinc, a UK based, Enamellers Guild member artist, who spent my childhood by the sea in Turkey. Memories of that time are often reflected in my work with glass and enamel, which tends to merge with other passions; such as teaching. Using my skills as a primary and early years specialist to connect with most age groups during glass and enamel workshops and teach using hands on demonstrations, is something I’m lucky to get to do. My drive to push boundaries by exploring the limits of the material is one of the things that I love most about working with glass. Sharing this love as an instructor, and encouraging the next generation to craft, through the creation of jewellery, blown glass pieces and flame work crafted beads is my mission for Melissa’s Melting Pot.
I was born and lived in Norfolk where the starkness of the land and the immense dramatic skies were in contrast to the spectacular mountains and sheltered valleys of Wales, where I later lived. Although happy to live in the Midlands and to paint local scenes, I feel compelled to return regularly to both Norfolk and Wales, where many of my ideas originate. Holidays are always ‘art based’ as on a recent visit to Scotland when I returned with numerous sketches and photographs as source material. Colleen gained a first class honours degree in Fine Art in 2004, and received the Elizabeth Arrowsmith Award. She exhibits regularly in the Midlands, has exhibited at ‘The Birmingham Open’ and has held two solo exhibitions.
Deep inside I need a creative activity which challenges me technically, gives me processes to follow and allows my brain to problem solve. Glass provides that stimulation and ceramics adds another dimension to my practice. The difficulties to be overcome are increased when I use them together. It is very satisfying to work within the constraints of my available tools, the size they can support and the chemical composition of the materials, to produce a piece that represents my interpretation of a given stimulus.
I enjoy the challenge of bringing together the different elements to make a piece of art. Every material has a character there to be exploited. This can be achieved through a variety of processes each of which will bring about a transformation. Material and process will combine to impose their own stylisation that introduces an element of unreality. Add to this the element of chance that can be controlled but only to some degree. Working within these parameters I will cause the work to grow. A visible history of development becomes embodied to consolidate a piece that will stir the senses.
Maureen has been painting or involved in graphics most of her working life. Having been made redundant in 2002 she decided to fulfill a life ambition and apply for art school. Maureen completed her studies for a BA (Hons) degree in fine art in 2005 she then went on to study for an MA in fine art at the University of Central England (now Birmingham City University) completing her studies in 2007. Maureen had by this time changed her work considerably going from large paintings of the structures of flowers to abstract work called “either/or” which allowed the viewer to decide what the image meant to them. Maureen’s current work (2011) is emerging from an interest in the visual conflict produced between rural and incongruous industrial sites. Paintings are developed in response from photographs taken on site and these become impressions of the reality.