5 June — 11 September 2010

The focus of Asli Cavusoglu’s work stems from experimental narrative exercises on loss, repetition, replicas and narrative interplay across various art media. In the work In Patagonia after Bruce Chatwin, she re-enacted a journey in South America twenty years after Bruce Chatwin’s, depicted in the blurred reality fiction novel In Patagonia. Her journey can be read as the initiation of a fascinated reader of the book who wants to create her own experience, visiting those places named in the book and using the same means of transportation used by Chatwin, finding the same people Chatwin talked to. Asli Cavusoglu planned to address the improbable by looking into the knowledge potential in Cambridgeshire and incorporate this into a new sculptural work.

Andy Holden's work incorporates monumental outdoor structures, plaster and bronze sculpture, film, painting, recorded music and musical performance. Often showing these diverse media together, his work builds a fragmented yet richly textured collision of ideas, references and forms. In the work The Pyramid Piece shown at Art Now in Tate Britain (early 2010), a gigantic knitted boulder was presented alongside an accompanying film and a selection of small pyramid souvenirs. The Pyramid Piece actsed as a means of representing and reconciling the guilt of an event from the artist’s childhood, where he stole a rock from the Great Pyramid of Cheops, Giza. For Wysing, Holden developed his musical practice by creating a festival of artists’ music, Be Glad for The Song Has No End, which took place at Wysing in September 2010.

Fabiano Marques approaches his work is as if it were a game, building structures which have their own rules of interaction. His playfulness often responds to specific settings, as in Mar Pequeno (2003), a work that takes the name of a tropical setting some 150 kilometres from Sao Paulo, Brazil where many rivers join the South Atlantic. The work documents a seven-hour interaction between the artist and a series of floating wooden structures which, at times, function as a raft. More recently, Marques developed a sculptural aeroplane using the design of the plan for the city of Brasilia, and in testing its ability to fly he will also seek to test the concept of Brazilian modernism and identity. He sought to apply his approach to making utopian projects a reality in his commission for this camp.

Julie Myers makes work in response to place and encounters with people, combining geographic data with aural history, local knowledge, collective and shared experience. She uses film, photography, sound, web and locative technologies to produce projects that range from sophisticated mediascapes and interactive films to hand-drawn maps. Previous work has been commissioned by Arts Council England, The British Film Institute, The British Council, The Institute of Contemporary Art and The National Portrait Gallery, London. Corporate collaborators include Adobe Systems, USA, British Telecom, UK and Philips Multi Media, France.

Emily Rosamond is an installation artist and academic researcher working across drawing, sculpture, writing, performance and video. Her work explores objects as agents of social space, and her research interests include characterisation in contemporary sculpture, affect theory, intersubjectivity, Guattarian ecologies, and speech-acts. For her new commission for Wysing, she openly studied concepts of spacialisations of consciousness found in the work of various thinkers such as Plato and Freud. Rosamond wanted to address these concepts and push the idea of how we circumvent space. She constructed a site specific work based on her concept of the constellation of material instances.

Bedwyr Williams works include stand-up comedy, sculpture and painting, posters and photography. Drawing on his own experiences he approaches the world both satirically and seriously, revealing both his and our own idiosyncrasies and neuroses. Through a broad range of media, a strong sense of surrealistic humour and a sharp critical mind, he explores notions of what it means to be an artist born, living and working regionally. Bedwyr Williams was invited to take part in the Camp because of his interest in researching and exploring new approaches to sculpture, and his interest in taking inspiration from the local environment.