TWP crit #2


We recently started organising crits through our Discord Server (if you wanna join, please take a look here).

This week, we had the 2nd one so here is a baby blog post about it. You can see the artists we spoke to and live vicariously through these words to feel that soft / hard crit atmosphere. The 1st felt like a bit of an MOT, more mechanical, checking everything was working the way it should be. This one was more focused on themes, reactions, and working out what to do when you have something special - - do you make it public or keep it private? And what if that changes things forever?

Enjoying looking at the art, and maybe see you on the next one?


We spoke to Molly Wickett about ice and fire and light and glass; elemental sculpture; seeing things differently / wondering how to make others see things differently too, and whether or not that’s even possible.

the inside of a greenhouse is full of flowers on strings pointing downwards, with white fabric on the glass paces of the structure, with wintry morning light pouring through

a sculpture across a flat surface is made up of a log that has been carved into to reveal different levels of wood in various tones, with mud and dirt across the bottom, and glass sculptures curving round the wood, with balls of ice appearing white against the mud


We spoke to Luisa De la Concha Montes about making art through grief - - and whether or not that’s the right thing to do, not personally maybe but publicly or professionally; we spoke about taking time to make these decisions; and ways to bring lots of disparate art-things together through the use of websites and publications. You can find Luisa’s photography blog here.

the corner of a building in berlin shows balconies in a stack with a deep red colour slanting down

a page with the same red colour of the balconies in the other picture has a poem in spanish over top

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We spoke to Sara Kerry about focusing an art practice on joy, following it. what do you actually want to make, what makes you happiest? We looked at textile samples and patterns across canvas and onto fabric in capes and dresses. Discussed underpainting + creating a completely glossy surface + how bright colours are favoured by the algorithm. You can find Sara’s Instagram here

a painting of a woman with a blurred out face, with neon green underpainting, and black and yellow shapes to make out a shirt that comes up with a big colour, under short bobbed hair

a cape in white fabric with grey rounded rectangle shapes that look like dark confetti over the shoulders and gradually falling down the item of clothing, and two symmetrical green shapes that look like wobbly intestines, and a lime green edge around the split


And last but not least, we met Sian Landau. She is about to study again so we spoke about new directions, and where her practice is at now: photography in landscape, processing those images, the sublime, abstract figures/shapes in the wild, and working with grief in mind while this recent art is being made. You can follow Sian on ig here

black and white photograph of the highlands on a cloudy day, misty lake in the centre, and the artist has edited a scanned drawing of pink felt tip colouring-in in the shape of a blog overtop, that almost looks like two rocks hugging

a black and white artwork with a washed out watercolur blob above a crayony scratchy blob, with two darker rock-shapes with these upper and lower shapes overlap