• Melanie Eckersley, Object Shadow, 2015.
    24 September 2015

    Melanie Eckersley Blog Post

    This mobile, nubile world is soft; layers of it bend to make way for new versions of itself; vultures upon cultures. To be a 21st century kid is to be casual with the context. Let me explain.
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  • Morgan Wills, Road to success, 2015. Photo collage, dimensions variable
    21 September 2015

    Morgan Wills Blog Post

    I think the main concern for the ‘emerging artist’, hauling his or herself from the horrible, crispy, beige cocoon of self doubt and beginning to transform into the beautiful, well respected and well exhibited butterfly they long to be, is how exactly to go about doing so.
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  • Mandy Niewo%u0308hner, Gold Digger, 2015. 140 x 80 cm
    10 September 2015

    Mandy Niewöhner Blog Post

    Being a young artist is fucking hard. As soon as you finish university they kick you out the door with a diploma in your hand and massive debt and leave you on the street with just enough money to buy a beer.
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  • Morgan Wills, Seated Nudes, Blue and Pink, 2015. Acrylic paint on board, 90 x 114 x 5 cm
    7 September 2015

    Bloomberg New Contemporaries 2015 launches in Nottingham

    Bloomberg New Contemporaries 2015 will launch in Nottingham across artist-led spaces Backlit, One Thoresby Street and Primary, supported by an additional programme of events at Nottingham Contemporary, New Art Exchange and Nottingham Castle Museum & Art Gallery.
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  • Katie Schwab, Work Hands 6, 2015. Embroidery, beech frame. 15 x 10 x 5 cm. Photograph © Malcolm Cochrane.
    7 September 2015

    Katie Schwab Blog Post

    The four embroideries that I am showing in BNC 2015 are part of an ongoing series called ‘Work Hands’. The works began in 2014 and each embroidery is constructed from cotton thread stitched through mesh: mounted and displayed in a handmade beech frame.
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  • Neal Rock, Prosopon Lorn, 2015. Silicone image transfer on silicone, paint, polystyrene and mdf, 100 x 75 cm
    3 September 2015

    Neal Rock Blog Post

    The challenges facing emerging artists today are different from the time when Bloomberg began its sponsorship of New Contemporaries. In 2000, when I graduated with my MFA, studio spaces in London were more affordable, as was general living costs.
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