Rachal Bradley’s photographs are based on the Stereotypes, deep worn clichés, retold old jokes, and servants of mass iconography. They are rehashed and displaced. The photographs seem to be the result of a polyphonic, channel hopping, information saturated, multi-cultural global society. The work is obviously staged, all the photographs are shot in a studio there are no tricks and no magic. Fiction and reality take a walk together.

Dunstan James’s practice is an aesthetic regurgitation of memories, questions and conclusions. The notion of creating and understanding through experience informs the process and the materials. There is an aesthetic nostalgia in Dunstan’s work, which sometimes has a visual comedy about it. Elements of design are an everyday consideration for the artist, which become enjoyably absurd when juxtaposed in a dream; abstractions of objects, colour and function.

Edward Oliver’s filmmaking explores the subject of gravity and weightlessness in the human body. This is achieved by means of performance and experimentation with camera devices and cine-tricks. Edward uses fi lm to record in non-real time through the use of stop-frame animation and slow motion. He is interested in the narcissism inherent in self-filming, and enjoys actively trying to disrupt it.