Franko B

Katherine Hymers
Lucille Power
Evangelia Basdekis
Rachel Anderson
Roxani Giannou
Madeleine Furness
Nina Ogden
Miranda Lopatkin
Steven Paige
Shabnam Shabazi


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Miranda Lopatkin

Short Curriculum Vitae

Higher Education
September 2000 – September 2001, MA Fine Art
Central Saint Martins College of Art and Design

September 1997 – June 2000
BAhons Theatre and Performance Studies
The University of Warwick

September 1996 – June 1997, Art Foundation
Central Saint Martins College of Art and Design

Upcoming Exhibition
10th March – 8th April 2006, Broken Romanticism, (group show) Standpoint Gallery, 45 Coronet Street, London N1 6HD

Recent Exhibitions
20th October – 13th November 2005 On the Fly, (group show), The Residence, London
1st November –1st December 2005 Contemporary Artists Play Pictonary, curated by The Little Artists, (group show alongside Tracey Emin, Sir Peter Blake, Mark Quinn, Darren Almond and others) The Agency, London

Past Exhibitions 2002 - 2005
1stMarch– 1stApril 2005, Draft Drawing (group show), Konti gallery, Athens, Greece
18th November– 19th December 2004 (group show), co –curated and exhibited work, Voluntary Memory, Austrian Cultural Forum, Knightsbridge, London
8th December – 8thFebruaury, (group show), Media Arts Centre, Soho, London
24th September – 25th October 2004, Trace and Memory, Lounge Gallery (solo show), London
October – November 2004,Trace and Memory is part of Photomonth, Alternative Arts
17th September 2004 - on going, Unrealised projects, (group show) Web exhibition and at 2, 000, 000 mph gallery, Bethnal Green, London www.unrealisedprojects.org 4th –25th September – Between Homes, Bristol Youth Hostel, Bristol, Group Show
14th December – 14th January, Lounge Gallery, (group show), London
1st - 29th August 2003, Transition Gallery, (group show) Hackney, London
12th - 30th June 2003, The Foundry, Hoxton, London
May 19th –July 19th 2003, Dauntons, Victoria, London
May 5th – June 4th 2003 Two Floors, (solo exhibition) Soho London
November 11th-Dec 23rd 2002, Re-Generations (group show), Meshulash, Berlin, Germany
October 2002, Film, Pillar of Salt, Raindance Film Festival, London
July 1st -4th 2002, Film, Pillar of Salt, National Film Theatre, South Bank, London
May 24th–30th June 2002, Differentia (group show), Pitshanger Manor (PM) Gallery, Ealing, London
12th–24th June 2002, Picture Fair (group show), Ben Uri Art Gallery, London
16th–26th April –2002, Transmitting Memories (solo show), The Platform Gallery, London

Awards
2004 European Association of Jewish Culture Grant for the co-curated exhibition Voluntary Memory
2004 Arts Council Grant for the exhibition Voluntary Memory
November 2002, Visual Arts Grant awarded by the European Association of Visual Culture
November 2002, Finalist in Jewish Artist of the Year
March 2002, Art Practice grant from European Association of Jewish Culture

Reviews
February 2005 review of Voluntary Memory in Contemporary magazine with image of Happy Days 2
28th November 2004 Review of Voluntary Memory in Time Out (London)
17th September 2004, Review of work in Between Homes, Bristol in The Big Issue
12th August 2003, Interview on Greater London Radio about the exhibition at Transition
10th August 2003, review of group show If Tomorrow Never Comes at Transition Gallery, Hackney gazette
24th May – 30th June 2002, review of work in Differentia on the David Bowie website
www.bowiearts.com
16th May 2002, Interview and review of work to be shown in Differentia, London Jewish News
18th May 2002 – ongoing, review of work, including the work shown in Differentia. www.totallyjewish.com Arts section
November 2002, various interviews on German television about the exhibition Re-Generations

Current Artist’s residencies and Education posts
Artist in Residence at the Museum of London
Regular Arts Educator at The Wallace Collection, The National Maritime Museum, and The National Portrait Gallery.

Artist’s statement
Through Photographic images I have been exploring the realm of memory where facts fade and distort, the familiar becomes unfamiliar and domestic environments can seem unhomely.

By looking at shafts of light and exploring the “Dark Spaces, of the pall of gloom which prevents the full visibility of things, men and truths”; I am exploring the realm of memory where facts fade and distort, the familiar becomes unfamiliar and domestic environments can seem unhomely. Within the shadowy images that I am producing the figures begin to camouflage into their surroundings, assimilating with one another. For example within my photographic images family scenes and domestic environments are often penetrated by shadowy branches of trees in the colder urban environment.

The partial loss of clear identity is clearly reflected in my own cultural position whereby I feel I can almost fit into both a secular British society and a cultural and spiritual Jewish environment; yet never feeling a clear and full sense of identity with one cultural group or another. The images I create are neither clearly one scene or another, rather they are between scenes perhaps like the cross fade in a film, I too feel between identities and societies.

My images are probably also a result of a sense of personal history to which I am linked, particularly in relation to my Eastern European Jewish lineage and the implications and weight the Holocaust still seems to carry for me. Blurring the identities and distinctions between two images enhances the feeling that we can disappear although not completely whilst we are alive. The danger is that as people fade and eventually physically disappear, important historical events such as the atrocities of the Holocaust can fade. In light of this one of my aims is, in part to reflect small mediated memories. These images are not always directly linked to the past but always there is a sense of time moving on.

Foucault, The Eye of Power, p.153