Andrea Szilasi’s work is concerned with various aspects of the human body, such as sexuality, verbal and gestural communication, corporal functions and emotional interaction with others.

In her previous work she began weaving and collaging photographs as a means of literally combining or bonding two images, and therefore ideas, together. These works were a physical manifestation of an emotional experience. The assemblage of photographs simultaneously allowed for the visual integration of distinct images as well as provided a means of drawing attention away from the photographic illusion to the material quality of the photographic paper. The photograph was sliced, woven, taped and rubbed into place. It was manipulated as a tactile object, taking into consideration the thickness of the paper and the layer of emulsion that crackled as it was bent. The large-scale photographs emphasized the body as a physical entity, that is, an organism that endlessly excretes liquids from its orifices and pores, sheds dead skin, stretches, tears and repairs itself.

In Andrea Szilasi’s mirror series the human body is still presented in an unfamiliar way but this time using conventions inherent to photography: composition, lighting and the placement of objects within a single frame. The photographs are taken in a controlled studio setting against a black backdrop using artificial lighting. In each image a person poses close to a mirror, either gazing at themselves or looking away. The narcissistic absorption is so complete that the subject and their reflection meld together as a single form.  
 

Formally, Sarah Nind’s art production employs painting and photographic processes in the production of a distinct body of work that inspires poetry and emotion while recording real experience.  Fictionally, she constructs stories that are not literal or linear but which use fragments and repetition to build a narrative founded on images taken from personal history.

Sarah Nind’s recent production, (non)fiction, examines how narratives of popular entertainment mediate our understanding of identity and the world we inhabit.  The work is conceived as the meeting point of the documentary photograph, filmic image, and the subjectivity of painting, with the images being both harmonious and disturbing.  By weaving these together, the stories meld to the point where the distinction between fiction and non-fiction is blurred.  The mediums defy easy distinction.  Thus the subjective nature of the work is enhanced and assigned a curious and disquieting temperament.