Residue - Catherine Charnock, Nicholas Hedges and Tom Milnes

OVADA presents Residue: the results of three artists’ residencies. Catherine Charnock, Nicholas Hedges and Tom Milnes are all emerging artists who were chosen from open submission. Here they present a dynamic collection of work in a range of media, spanning painting, sculpture and sound. The residency period of time was provided for research, and its results are not all finished works, but therefore give viewers a fascinating insight into the processes of making contemporary art. During the residency period, dialogues have emerged between the three artists’ work; each has a fascination with the transformation of objects within the realm of our imagination.

Recent graduate Tom Milnes encourages audience interaction with his multi-media works. These works are the result of process-led research, often using found objects and recorded sound and exploring their potential through hands-on experimentation. In these interactive installations, Milnes demonstrates visual ways of displaying sound and sound technology. During his time in residence at the gallery, Milnes has been developing a new work that fuses sound and sculpture together, and tests the physical properties of the materials he uses. The combination of sound and object conjure for the viewer not only new ways of seeing materials, but also new imaginary spaces.

Milnes’ concerns with sound and space concur with Nicholas Hedges’ background in art and music. Hedges’ work is concerned both with place and in particular memory, both individual and collective. How do we as individuals access the memory of a place (a city, a building, a forest) and in turn, the lives of those who came before us? What is our relationship with these people and vice-versa? In the works shown here, Hedges transforms everyday items into pseudo-historical relics.

While Hedges’ works are monuments to the serious, sombre aspects of our collective past, Catherine Charnock explores the imagery of toys – in particular, toy soldiers. She is interested in the way that these become appropriated into our domestic environments, and depicts these environments in ways that they appear to be both familiar and alien. As a result, these seemingly safe spaces reveal a latent potential for violence. These scenes are both sinister and playful, exposing Charnock’s fascination with the uncanny as manifested in the everyday. Like Milnes and Hedges, Charnock takes commonplace objects and translates them into something more thought-provoking, highlighting for us their disarming and poignant qualities.