Dieter Deswarte

Dieter Deswarte (Belgium, 1983) studied both journalism and audiovisual arts before obtaining his masters degree in documentary filmmaking at the Goldsmiths university of London. Over the past years his films explored topics such as coming of age, memory and family relations.  With a particular focus on documentary film as a mean for examining and constructing selfhood his work has often embraced autobiography. Recently he has been developing films that emphasise the life of preteens and the use of collaborative storytelling. 

http://dieterdeswarte.co.cc

CHINESE WHISPERS - a documentary about a story from hoohingstudios on Vimeo.

Timothy Betjeman

Timothy Betjeman was born in New York City in 1982; he has lived and worked in London since 2006.  He studied mathematics and philosophy at McGIll University before taking a BA in visual arts at the University of Chicago in 2005.  He moved to London in 2006 on a full bursary to complete the Drawing Year at The Prince's Drawing School, and has exhibited widely in London and the Europe since.   He has undertaken artist's residencies at Kensington Palace and recently in Uttar Pradesh, India at the International Institute of Fine Arts. His plein air oil paintings of East London depict non-classical scenes embracing movement, decay and marginalia, often taking peripheral or distracting elements of the urban environment as their central subject.    His work is largely drawing based, aiming at a synthesis between mark-making and painting which bears the influence of British landscape artists such as John Piper, Jack Yeats, Leon Kossoff and Frank Auerbach.  In recent years he has been experimenting with mixed media applications on glass, combining precious and crass materials with painting methods to produce material images which are fused by the glass itself rather than shielded by it.

 

 

http://timothybetjeman.com/ 

Rania Bellou

During the early part of her career her work examined the relationships between the viewer and the artwork in terms of spatial representation and narrative. The duality between transparency/glass, reflection/mirror and absence/presence became a recurrent theme. In her experimental video installations she uses visuals and sounds as Proustian triggers.
The intention is to initiate a dialogue or conversation with the viewer through the visual information that she has provided. She deliberately bombards the viewer with a collection of visual image layers to be read, as a narrative within itself. This packaging of the collected visual information is often in parallel with various media systems, drawings, texts, sculptures and animations. These images are reflections from stories, songs and rhymes of childhood, that are then woven with a deep concern for the character’s life.
Traces of the character’s presences in the form of objects and videos, are left at various points and from these, together with drawings and other elements in the installation, a ghost narrative can be pieced together. 

 

 

 

www.raniabellou.com