Goodwin, Jamieson and Woodward have a close connection with the Engine Room gallery and wider campus location as they are final year students in Fine Arts, about to step out of the university umbrella and start a new chapter.
Central to their practice, line and drawing are used to respond and connect with the physical spaces they inhabit. Woodward’s wall painting introduces the space and exhibition, following the walls, connecting points of the architecture, around corners and to different sections of the gallery. Jamieson reflects on the process of art-making; drawing on personal memories and experiences as an art student to map her position in the journey. Goodwin will shift her studio activities into the gallery, creating loosely geometric drawings inspired by patterns and materials of the site and storing them in the purpose built table she has constructed.
Personal experiences on campus closely inform the interventions in Crossing the Line and in consequence, when concentrating on the physicality of the gallery, attention is brought to its function in the university community prompting us to consider the gallery space as a single part of a larger institution.
The trio also demonstrate an interest in design – the bigger cousin and neighbour on campus – with which they share certain spatial concerns and formal elements. The divide between disciplines is approached as a useful line to engage and subvert, and as contemporary influences encourage critical engagement the artists play their role by pushing those boundaries. Seeing the works in the context of the University and intertwined with other disciplines, people and spaces, exposes the potential of expanding the role of the gallery to be a fertile space for art-making, generating conversations and collaborations across practices.
Laura Woodward highlights variations in structural features of modernist buildings to expose the nuances of their architecture. Her wall painting weaves through the passageway of the gallery, connecting the two rooms and other works on display. Woodward’s compositions develop instinctively, often based on prior works through a process of drawing and redrawing the component parts to create unexpected formal relationships between a doorway, a corner or a column.
Briana Jamieson's work reflects the transience of memories. Her grouping of images, words and colour fields is as fragmented as ephemeral, fading in and out of consciousness each time it is put together and dismantled. The scenes depicted materialise her experiences and appreciation of time spent on site as an artist during the four years of her studies. Moments of reflection and negative spaces are at the heart of Jamieson's work, making our viewing experience intimate and personal.
Sophie Goodwin treats her drawing practice as a means to materialise her sensitivities to spaces and materials. The outcome of her exploration into the drawing medium is a three dimensional and functional object which speaks of her creative process while also manifesting her concern to use space efficiently. The table constructed by Goodwin can be adjusted in height and includes a storing rack, showing her attention to detail and the subtlety in her use of materials.