There's No Future?
1st Yr Fine Art Degree Students
A Group Show, developed through their Exhibiting Practice module
Through our artworks, we pose a nihilistic version of the possible near future, and consider implications of climate change, homelessness, addiction, poverty and the socio-economic divide on our identity as a nation, as well as us as artists.
Through sculpture, painting, collage, drawing and photography, we ask the question how do we pull back from the brink to make a healthy future?
We have borrowed the lyric “There’s no future” for our title from the Sex Pistols’ infamous ‘God Save The Queen’ as a nod and a wink to the Coronation of King Charles – will his environmentalist passion make a difference?
The 13 artists exhibiting their work in this show are:
Jordan Harwood, Beth Drewery, Keith Key, Janet Phillips, James Toker, Angel Dew, Daniella Green, Abuzaffar Mohammed, Brad Charlton, Olivia Adams, Maya Fitzgerald, Liam T Davison, Emma Mulcahy
With support and guidance from HARI, the exhibition was curated and invigilated by the students, who invited people to come in and speak to them about their personal practices, and about the themes in the show.
For HARI this is the first time that we have shown work by artists at such an early stage of their career. We are primarily a space for research and residencies where the work is created in our project space, but the opportunity to work with Hull College 1st year degree students - building an exhibition with them and wrapping that in an overriding theme - was important research for us.
There is a strong flavour of social commentary and the ever-present DIY spirit of being an art student. With the Coronation of a new King falling into this period – it felt like an opportunity to put a time-stamp on where we are at present. Take a measure of past Royal occasions. Think back to the Silver Jubilee when The Sex Pistols hijacked the national anthem and told us there was no future – and even further back to the 1953 Coronation and the bottled feeling of post-war prosperity. How have societal circumstances changed since then?
HARI is delighted by the way that this group of students have adapted their work to the project space – a space that isn’t for pristine exhibitions. They have worked with the building and pushed us to use it in ways we haven’t used it before. They have resisted the temptation to flood the space with work, despite being a large cohort,
and allowed the themes in their work the chance to speak and converse with each other We hope you can join in with the conversation.