It’s very trendy to have a little bit of the world wide web dedicated to your wedding so here’s our offering. Have a search through - it will eventually contain information about the wedding, gifts, how to get to the service and the reception, the best places to stay and possibly a list of better things you could be doing with your time than reading this site.

Joking aside, we’re really looking forward to the 13th and hope you can make it and enjoy it with us. This page should be a useful way of comunicating general information. If for any reason it doesn’t work or is unclear, please let us know

God bless, See you soon,

Mel and Steve

The following was taken from a Guardian article from 2004

It will shock. But then that’s what modern art is all about. In a move that takes art to unheard of extremes, a British-based artist is to transplant a human ear on to his arm.
Using techniques of advanced plastic surgery, performance artist Stelarc, originally called Stelios Arcadiou, is to grow the ear in a biotech laboratory and have it grafted on to his forearm. 

target="_blank">click here to find out more

my link to this article put on The-Ocean was commented on by SteamSHIFT:

It’s funny how people are so ready to ask the question ‘is it art?’ before really looking at the work in the context in which it is being created. Funny thing is, this is illiciting the same response that the works of Monet, Manet and Van Gogh did in their day. For that matter every generation of artist faces the same issue. Why do we still insist on asking the question? Laziness? It takes much more effor to understand a work in context and then offer critisism based on its merits WITHIN THAT CONTEXT.

Angel To Watch Over Her (2003)

Where? (2003)

In Motion (2004)

Badger Bio, this was on the site and I quite liked it:

large woodland mammals have it hard in this day and age and many of us take the easy route - the long walk along a short stretch of busy road.

But not this Badger! Armed with only a Mac and no opposable thumbs, this Badger is not afraid to take the world head on.

I would like to thank my manager, my parents and all those who have made this possible, I Love you all, I couldn’t have. . . done. . . .it with. . with . . . without you! thank you, thank you.

Thank you.

Well Gojira is set for it’s first E.P. with extra multimedia content on it. Desktops of our favourite musicians. Hope you like them - I’ll try and get one of me up there too. . . .

After Christmas 2004 - 2005, we started a new project. The project should have carried us through the second term up until the Easter break. This time it was self-directed - we set the focus and the agenda and develop the ideas ourselves.

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I want to look at interaction, but it’s such a broad subject and I’m not sure where to start - I will need to fix my ideas soon thought…

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Cubists appear to have approached interaction from an artistic/aesthetic perspective - they explored relationship between features and objects and concentrated on still-lifes, and static images
Futurists went on though to look at movement and the relationship of positions of an object or objects in motion

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BLUEPRINT magazine - Architecture, Design, Culture

I love flicking through this magazine. Designers and Architects use space and objects, light and colour to create such amazing relationships between objects.

Design and architecture also walk a fine line (often argued) between aesthetics and function.

I think art has lost a sense of function. It seems to me to very rarely understand why it is or quite how it got there.

‘Infinity is not freedom’ - too much choice can create stasis. Maybe design and architecture, because they also have to appeal to function (as well as aesthetics) have a focus that art can lack - British design is considered some of the best in the world (Dyson) but where is british art? Globally art seems to be lost - gone is the inertia from Modernism and we’re left floundering.

Perhaps I’m wrong - and I’ve gone off the point - But I still love design’s sense of interaction and relationship. (it’s presentation is also five-star - but that’s another blog.)

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Richard Mitzman (Blueprint, Dec ‘04 - p40)

A dentist who also works as an architect - specifically dentist’s surgeries! - Amazing interaction between space and objects - sense of function. Architecture, in this case, is interaction by design, considered, researched.

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Jeppe Hein (Frieze, March ‘04, issue 81 - p88)

Structures and installations react to human presence in their space.

Hein - influenced by Olafur Eliasson. . . .

One piece; Bear the Consequences - shoots flame from the wall when you enter the room. The flame gets larger and more fierce the closer you get.

Autonomy marks Hein’s work. Installations reach and relate without outside controls - but implies that the person who triggered it is responsible for it’s (often unpredictable) actions, not Hein.

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Olafur Eliasson

Homepage
Tate Biography

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Conrad Shawcross

Homepage

Further Info

Continuum

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Victor Burgin

Taken from ‘Shocks to the system’: Social and political issues in recent British art from the Arts Council Collection

“one of the reasons I dropped painting, and turned to photography and writing, was to establish a link between the work on the gallery walls and the everyday environment beyond those walls. The use of photo-text was a way of establishing a continuity of languages between the cultured tones of ‘high art’ and the vernacular of the ‘mass media’. I see the culmination of that initiative, at least my own clearest statement of it, in the 1979 Possession poster project. The posters went up in the streets Newcastle, and on the interior walls of the Hayward gallery (for the 1977 Hayward Annual) without any concession whatsoever to the gallery setting. The museum was treated as nothing more than an extension of the space of the street. Modernism’s ’separatist politics’ had turned the museum into a sort of church, a place of worship of saintly relics and a sanctuary from everyday life. For me that poster work was a symbolic ‘ground clearing’…”

Victor Burgin uses text in his images to underling and remark upon the scene being depicted - the link is made with Conceptual art to which Burgin is a contemporary. The work in Shocks to the system are dated 1979

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Calum Colvin

homepage

Calum Colvin’s work could argueably be considered a critique of orchestration in photography. Images that are clear only from one viewpoint. We all construct pictures, from asking people to move so we can see them better (or not at all!) to the use of telescopy and compositional techniques - but Calum Colvin in his work (esp.earlier work) goes one step further - totally constructing a vista that is only fully coherent from one point of view.

He also uses stories and theories as the basis for his work - his representation of them makes me think that they are metaphorical - like using past mistakes to guard against future ones. . A true story teller - real story-telling.

more complex images possibly become allegorious.

Use of latin in Seven Deadly Sins and Psuedologica Fantastica is similar to the idea of using morse code - recognisable as communication yet still obscure. “It’s plain to see it’s trying to speak.”

Use of reflection - mirrors - like an inversion (’inversion of colour and metaphor, begs questions.’)

I need a metaphor (for this project) a depiction for the ideas I want to explore.

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Poster commissioned for a PURE event. Quite pleased with it.  So here it is!

T-shirt designs I created for PURE.  Will be one sale for the Fairtrade fortnight at Southampton University.

These images have poorer quality than the originals due constraints of online media.

Design 1

Design 2

Sleeve Design         

Design copyright remains property of Stephen Cross.  2005.

I started reading this because it was about riding motorbikes as fast as you like with no obsicles or police to worry about. Turned out to be much bigger . . .

Read it here
I find the article very moving, especially when combined with the images. It’s also an interesting project. See what you think . . . .

Since I first read this article the site has moved from Angelfire.com to it’s own site and there appears to be some controversy as to it’s authenticity. However, the author has also written other works including The Serpents Wall (Click for link) and some other information can be found here

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Right, time for catch up. Things have been manic lately what with the Winchester induction rolling on and the exhibition coming up plus personal stuff. Right now I'm in the wee small hours of a night shift, keeping the pennys rolling in.

The project has taken a new turn as I've had to consider the space to be filled and the best ways of representing the work and the development so far. If I'm really honest with myself I feel dissapointed that I haven't been able to explore some the aspects of this project in the exhibition. However, I've been really interested in the way that having a deadline has changed the tack of my work and forced me to pair down the work.

The use of external factors in defining and altering development and work is something I'm beginning to find really interesting. Working on collage today, the brief stated that it needed to be A4 size. Looking at the collage I wondered how the size of paper had moulded what I ended up with. I don't know how, but I would like to try and explore this further later on in the course.

So the project is coming together in a way I never really intended or envisaged it. My only real concern at the moment is that because of that I can't picture what the final piece is going to look like, and that's stressing me out no end.

Another thing I've found interesting is that all the research I've been doing over the past weeks is really showing itself in the work I'm preparing for the show. That when I need them, the ideas are there because I've been working them through over the last few weeks.

The work to be displayed will now be a video piece incorporating a lot of the images I've been working on recently plus the Tree/Mirror video (catchy name I know!) that I took the stills from. The stills (posted in 'Art') will also be displayed on the wall.

The video was originaly going to be projected but there were concerns about how visable it would be as there are no fully dark hanging spaces- so instead the presentation will be displayed on a TV resting on a plinth. The video at present is about six minutes long. I'll put the Tree/Mirror movie at the beginning and the end and leave it there. As I said earlier, I really cannot picture how this is going to look eventually, but we'll see. It's all good practice.

Right, time for catch up. Things have been manic lately what with the Winchester induction rolling on and the exhibition coming up plus personal stuff. Right now I’m in the wee small hours of a night shift, keeping the pennys rolling in.

The project has taken a new turn as I’ve had to consider the space to be filled and the best ways of representing the work and the development so far. If I’m really honest with myself I feel dissapointed that I haven’t been able to explore some the aspects of this project in the exhibition. However, I’ve been really interested in the way that having a deadline has changed the tack of my work and forced me to pair down the work.

The use of external factors in defining and altering development and work is something I’m beginning to find really interesting. Working on collage today, the brief stated that it needed to be A4 size. Looking at the collage I wondered how the size of paper had moulded what I ended up with. I don’t know how, but I would like to try and explore this further later on in the course.

So the project is coming together in a way I never really intended or envisaged it. My only real concern at the moment is that because of that I can’t picture what the final piece is going to look like, and that’s stressing me out no end.

Another thing I’ve found interesting is that all the research I’ve been doing over the past weeks is really showing itself in the work I’m preparing for the show. That when I need them, the ideas are there because I’ve been working them through over the last few weeks.

The work to be displayed will now be a video piece incorporating a lot of the images I’ve been working on recently plus the Tree/Mirror video (catchy name I know!) that I took the stills from. The stills (posted in ‘Art’) will also be displayed on the wall.

The video was originaly going to be projected but there were concerns about how visable it would be as there are no fully dark hanging spaces- so instead the presentation will be displayed on a TV resting on a plinth. The video at present is about six minutes long. I’ll put the Tree/Mirror movie at the beginning and the end and leave it there. As I said earlier, I really cannot picture how this is going to look eventually, but we’ll see. It’s all good practice.

Right, time for catch up. Things have been manic lately what with the Winchester induction rolling on and the exhibition coming up plus personal stuff. Right now I’m in the wee small hours of a night shift, keeping the pennys rolling in.

The project has taken a new turn as I’ve had to consider the space to be filled and the best ways of representing the work and the development so far. If I’m really honest with myself I feel dissapointed that I haven’t been able to explore some the aspects of this project in the exhibition. However, I’ve been really interested in the way that having a deadline has changed the tack of my work and forced me to pair down the work.

The use of external factors in defining and altering development and work is something I’m beginning to find really interesting. Working on collage today, the brief stated that it needed to be A4 size. Looking at the collage I wondered how the size of paper had moulded what I ended up with. I don’;t know how, but I would like to try and explore this further later on in the course.

So the project is coming together in a way I never really intended or envisaged it. My only real concern at the moment is that because of that I can’t picture what the final piece is going to look like, and that’s stressing me out no end.

Another thing I’ve found interesting is that all the research I’ve been doing over the past weeks is really showing itself in the work I’m preparing for the show. That when I need them, the ideas are there because I’ve been working them through over the last few weeks.

The work to be displayed will now be a video piece incorporating a lot of the images I’ve been working on recently plus the Tree/Mirror video (catchy name I know!) that I took the stills from. The stills (posted in ‘Art’) will also be displayed on the wall.

The video was originaly going to be projected but there were concerns about how visable it would be as there are no fully dark hanging spaces- so instead the presentation will be displayed on a TV resting on a plinth. The video at present is about six minutes long. I’ll put the Tree/Mirror movie at the beginning and the end and leave it there. As I said earlier, I really cannot picture how this is going to look eventually, but we’ll see. It’s all good practice.