2023 Grant
The Judging Panel;
Alex Da Corte, Olamiju Fajemisin, Cyprien Gaillard, Lenard Giller, Chase Hall, Mark Leckey, Christelle Oyiri, Elle Perez, Sara Sadik, Rose Salane
Artist Grant 2023 was made possible with kind support from: Akeroyd Collection, David Kordansky Gallery, Marlborough, Maureen Paley & Sadie Coles HQ
Morgan Quaintance is a London-based artist and writer. His practice remains open and responsive to contemporary experience and so largely eschews the rehearsal of set themes. However, interests in the human condition, the cultic milieu, counterculture, ethnography, Afro-Caribbean, East Asian and British histories, and the built environment are all mainstays. His moving image work has been shown and exhibited widely at festivals and institutions including: MOMA, New York; Mcevoy Foundaton for the Arts, San Francisco; Konsthall C, Sweden; David Dale, Glasgow & European Media Art Festival, Germany.
Addressing what is missing or inaccessible, Moon Murphy (B. 1998) focuses on containers of information, data practices, testimonies, and the silences embedded within all three in her practice. Central to this is how these silences (or gaps) are non-passive, and how their non-passivity is evidenced in their strategic use by technologies of power. Her work amplifies the leaden qualities of the implicated objects and environments, locating within them narratives that belie their inert exteriors and render brittle their material conditions. Moon Murphy seeks a dissociation of decomposition from loss, to make room for an interrogation into seemingly peripheral or void spaces, often returning to the archeological term ‘back dirt’ (used to describe discarded excavated material which is presumed to be insignificant) to identify the absences lying dormant within my subjects.
Andina Marie Osorio is an Afro-Caribbean artist born in the Bronx and is currently based between New Haven, Connecticut and New York, NY. Osorio’s practice utilizes photography and image based installations to examine the genealogical analogies of domestic space and lineage – in relation to her Puerto Rican heritage and her queer identity. Her practice employs self portraiture, archival familial photographs, installation, appropriation and soft sculptures. Osorio’s practice exposes juxtapositions in the liminal spaces between generations, genders, and sexualities. Her interior photographs of domestic spaces transform into pictorial collages that question how to make a portrait without a physical body. In her installations, the ephemera and materials used incite incidental memories and activate ancestral energies that reference the feminine domestic setting. Osorio explores her understanding of the queer image through her personal recollections of voyeurism and re-creating performances or gestures she yearns to memorialize.
Mati Jhurry's practice concerns the tension between exoticism and the exotified, engaging with narratives of escapism, the images of desire they emanate and the hostilities they might be veiling. Jhurry explores the labour and politics involved in selling paradise and performing this fantasy. Recent work ‘performing as: Emirates Staff No. 460596’ (2018-2021)' is a durational performance where the artist worked full time as cabin crew for Emirates Airlines for a full three years, the length of their standard issue contract. An attempt at embodying escapism, she supplied her body and personality to act as a tool in the travel economy, crafting a performative commodity: the experience of luxury travel. As an artist Jhurry claims ownership to the product of her labour as a work of art.
Dan Guthrie is an artist who often works with the moving image to explore representations and mis-representations of Black Britishness with an interest in examining how they manifest themselves in rural areas. Recent work has stemmed from Guthrie's participation in ongoing conversations about an object in his hometown of Stroud called the Black Boy Clock, leading projects attempting to re-contextualise the clock within the present day. Events relating to the Black Boy Clock have served as a backdrop for a pair of narrative driven single-channel films which use strategies such as meta-narratives and critical fabulation to investigate fragments of personal and public archives. Selected screenings and exhibitions include Open City Documentary Festival, Devonshire Collective, Prismatic Ground, Berlinale Forum Expanded and LUX. Guthrie is currently working on a new moving image co-commission for Spike Island and Chisenhale Gallery which will open in 2025.