Artist Profiles

Stine Ljungdalh

Stine Ljungdalh works with a number of alter egos or personas, all drawn to the idea of capturing the hidden or invisible with the aim of creating an experimental zone. Her art practice includes writing, photography, films and props from these personas, all evidence of the existence of the imaginary zone and questioning the subjective reality of the autonomous self. ‘When working for T.  Smith I incorporate a set of rules or ‘dogma’, into the structures of my artworks often relating them to the theatrical or ideas of staging’ Ljundalh is  fascinated by duality, the world made of matter and antimatter, and the gradual disappearance of anti-matter with is proving to be a mystery to physicists. The idea of a shadow self, the sense of the double, is central to her work. She has created a place to explore these ideas of transformation and disguise. This ‘alchemistic theatre’ allows her to reinvent received ideas of knowledge and cultural value. For her, this is a kind of narrative-tree of related stories, all spinning around the same theme, and the hunt for the invisible. Ljundalh’s work is mainly based in photography, with a strong relation to theatre. The theatrical stage here can be seen as layers of knowledge and cultural values in which we as humans can act and define ourselves. Stine Ljungdalh was born in Denmark 1969. She attended Danish Design School and graduated in 2001 with an MA in photography and Graphic Communication. She subsequently became a member of the artist group ‘Brian’ in Copenhagen.

Stine Ljungdalh is an artist based in London and Copenhagen. She graduated in 2005 with a MA in Printmaking from The Royal College of Art.  Stine has exhibited in Europe and the US and am currently to start her Ph.d at Kingston University.  Her art practice includes writing, photography, films and props from these personas – all evidence of the existence of the imaginary zone and questioning the subjective reality of the autonomous self.

2003-05 Royal Collegeof Art, MA Fine Art1996-97 Falmouth College of Art, BA

(Hons) Fine Art, Printmaking



Project development documentation

November 5 2009


Artist Profile


Consisting of a pair separate video works, ‘Black Blank’, and ‘Colour Color’; ‘Croma Coma’, was conceived as a neutral space, a void were the experience of null (no/lack of light) overwrites the materiality of the body and the ever presence of linguistic thought. Blank Black, a television that switches arhythmically between the inert grey of an unpowered screen and the glowing dark of broadcast black sits across from ‘Colour Color’. In turn, this second video shows the cycloptic (Cyclops like/the single round) window of a classical façade as it floods with a hallucinogenic swirl of light emanating from an unseen source. The building’s eye is attempting to construct a code from the dumb binary flickering of the empty screen across from it. The foreboding physicality of the stone building is in stark contrast to the playful colors that flood its surface. Its classical proportions and symmetries embody the long tradition of rationalist aesthetics and morality that is now the site for the exchange of unreadable gestures of pure light, echoing the narcotic experience of television emersion. If, as Jerry Garcia postulated, “cyberspace is where you are when you are on the telephone”, then in a similar way the television experience is one that separates the consciousness from the body. The work leaves the viewer caught in a disembodied reverie between the measure and weight of the material world and the incomprehensible cosmos of light. Bern Roche Farrelly, born 1979, graduated from the Dublin Institute of Technology in 2002 with a First Class honours in Fine Art before moving to London to do his MA in the Chelsea Collage of Art. Since graduating he has he has practiced as an artist, curator and performer throughout Europe, showing at the Cork Art Festival in Ireland and in a fringe show at the Athens Biennale. Publications include: OMSK book and “Love Love” Magazine. In the last year he has had two solo exhibitions in London, entitled “Appendicitis” and ‘Read “Read”.’



Artist Profiles

Dominic Allan

Dominic Allan’s work is redolent of the ethical and pragmatic Orwell of My Country Left or Right or The Lion and The Unicorn. In Allan’s hands this is infused with the sparkle of a candyfloss rush together with a valedictory reflection upon the hangover that is Britain’s seaside culture. This is a culture that has always been driven by some substance or other.Sugar, alcohol, smack. Allan’s Our Destination was Lutopia is a visceral work both disgusting and alluring. Constructed from strawberry whips and panel pins, it is an injunction to get horny. Abandoned joggle-eyed bicycles, photographs of rickety piers bereft of human activity, the work is unpopulated, save by the mug shot of a missing child. This metonymic quality, the appeal to something or someone else is an inversion of the escapism and promises, the bright lights that once attracted Britons to the seaside in their droves, slaves as they were to shiny metaphor. In Allan’s work we are confronted with a sugary octane axis and its effect upon British seaside culture; the saccharine hedonism and distractions of the age before Easyjet, reigned in by British parochialism and compulsory fun; where the dilapidated Victorian proscenium lives cheek by jowl with the misery of the junky, the migrant worker, and thesans-papier prozzer.



Celestial Contrakt

Documentation of initial project development for Schwartz Projetcs

1 November  

works by

Christina Mitrentse

*Jonas Ranson

Lee Wagstaff

Marc Wayland


*The knight’s tour problem is an instance of the more general Hamiltonian path problem in graph theory. The problem of finding a closed knight’s tour is similarly an instance of the hamiltonian cycle problem. Note however that, unlike the general Hamiltonian path problem, the knight’s tour problem can be solved in linear time.