Michelle Hobby -  two works have been entered and accepted in Edinburgh's Royal Scottish Academy Summer Open Exhibition 2017. Mixed media work, Cascading Algorithms no.1 and Still life no.3.  



Johnny Jetstream's photograph Gas was accepted for London's Royal Academy Summer Exhibition 9th June - 21st August 2016. 



Michelle Hobby contributed text online and book to United Projects Idea's in progress on Thresholds  Issue X April 2016.



Michelle Hobby's 55 Westgate Road - A mansion House to an Assembly House to an Art House. Video 5.23 min installation created for Newcastle upon Tyne's cultural annual event May 14th, 2016. Site-specific, shown at 55 Westgate Road.



Joint Exhibition 

Rooms: 1817, 1908, 2014. Michelle Hobby. 

Ghost Modern. Johnny Jetstream. 

Newcastle Arts Centre, Westgate Road 2nd April -2nd May 2015 









Johhny Jetstream UK

Practicing and exhibiting art since 1999.


Johnny Jetstream studied Architecture and Literature at Newcastle University. He has had six solo exhibitions in Newcastle and exhibited at the Royal Academy. He has won several international awards for printing and photography, and been featured in and on the cover of many magazines and books.


For the past ten years he has been working on a project entitled 'Emptywhere'. This is a study of the imbalance between new trophy architecture and the decaying city in the vicinity which he refers to as the urban desert. If what is called the development of our cities is allowed to multiply at the present rate, then by the end of the century our world will consist of isolated oases of glass monuments surrounded by a limbo of shacks and beige constructions, and we will be unable to distinguish one global city from another. This pandemic of generic buildings have no connection to each other, let alone to the climate and culture of their location.


The end result is the creation of cities that are not human settlements, but places where capital investment lives in architecture devoid of social purpose. Empty apartments, gated communities and hotels stand under guard while the homeless are not even allowed to sleep on the street.


'Emptywhere' is a collection of remarkable buildings like the gas station; remarkable either by survival, use or location. Moving forward, he also plans to incorporate painting and installations into the final project. 





Michelle Hobby UK


2007- 9 University of Northumbria, UK  - MFA (Distinction)

1999- 2 University of Northumbria, UK  - BA (2:1)


Practicing and exhibiting art since 1999.



Art for me is not just about aesthetics, it’s an action, a process, it’s freedom.  What better way is there to express and represent the life and the world we live in.  It's fundamental to our own personal and collective evolution.  'Art is intelligence having fun.' Einstein 


I work predominantly with lens based media.  The theme of space plays a large role in my art.  In the future I’d like to create three dimensional works.   All my projects involve architecture, in every sense of the word.  It's a significant component to and of life, it feels natural.


My art process usually starts with a fragment; a feeling, a thought, and or a writer’s theory that’s inspired.  The research often branches out in many directions, filtering through my core interests.  We move through life, through space and time accumulating experiences.  I often represent this accumulation with layering.  I use other methods such as deconstruction and dualism, or whatever creative route the artwork takes me on.  I see the whole process as a way of asking questions, exploring problems and discovering new territories.  I usually stumble upon more questions.


My current experiments involve multi-layering processes.  I'm looking at theories and anxieties about the future.  My starting point is a question about humanity and creativity.  With a general understanding of what defines us, who we are, and what Art means to us, I wonder will humanity eventually write itself out of a future?











Excerpt from Michelle Hobby's MFA Practice Research

On Removing Memory from Photography 2008/9

Artworks, see portfolio's Intersection and Transmutation


My idiom, exploring positive and negative extremes to define the limits of an idea. My motivation in my art is embedded in theories and processes of memory. In my projects Intersection, Transmutation and The Chief’s Office pt.5 these ideas have been tested to produce works to show the not-remembering capacity in the photograph.


Every photograph is a memory container and a form of external memory. These containers allow us to forget, just like mobile phones – very few people bother to memorise telephone numbers nowadays. This externalisation of memory was predicted by Plato with the introduction of one of the earliest forms of external memory – writing. He expressed the fear that writing would reduce the need for internal memory and attentive listening. It would give learners the appearance of wisdom by aiding rapid recall of information and facts without requiring internalisation of such wisdom.


All forms of external memory, are problematic in that they both shepherd our interpretation of memory and that they allows us to forget. In not-remembering, they become the curator of our history – both personal and cultural. So when Roland Barthes uses photography to remember his dead mother, as described in Camera Lucida, the memories available to are negotiated, framed and reframed entirely by the selection of photographs available. If that enigmatic final photograph had not been available then Barthes memories would have responded and perhaps remembered differently.


This problem is the essence of “post-memory” as described Marianne Hirsch's Family Frames: Photography, Narrative, and Post-memory. She uses it to investigate the memories of the children of holocaust survivors and cultural memory; ‘Post-memory is a powerful and very particular form of memory precisely because its connection to its object or source is mediated not through recollection but through an imaginative investment and creation. . . .’ (Sturken, 1999).


The memory of mother that Barthes dredged for was just such an imaginative investment and creation of ‘post-memory’. The image of a woman he had never actually seen enabled him to ‘reexamine not only the ways in which the past is understood, represented and mediated, but to reconsider the past itself.’ (Sturken,1999).


This quality of external memory prompted my enquiry into its possible ability to purposefully rewrite or erase the past. I began to formulate an idea of anti-photography – a process that would heal the ‘open wounds’ (Barthes, 2000, p. 21) by nullifying memory. This could also be aptly described as uncanny photography - uncanny being unknowing. In his essay of 1919 Sigmund Freud (speaking of E.T. A. Hoffmann's story "The Sandman") argued that the "more striking instance of uncanniness" was "the idea of being robbed of one's eyes”. Likewise, my aim was to rob visual memories; the images would be, in effect, embodiments of anti-memory and I began by photographing disused buildings in Newcastle; they had already been emptied of external memory signifiers and so contained ‘no’ or ‘un’ memories. I regarded them as empty memory containers. However, my photographs, as they attempted to capture the unheimlich, became more clearly about photographing the actual containers themselves.


During my initial scouting missions, as I call them, I captured hundreds of general photographs of the rooms and spaces. I then began to narrow the selection of images (not in the sense of accepting and rejecting them but literally narrowing the field of view within the images to a specific detail). Thus I began to condense architectural space, reducing entire rooms and floors to small sections of wall surface. I also imposed boundaries; by taking a photograph twenty centimetres in front of a wall, sight and movement are inhibited and the viewer is “robbed of one's eyes”. The isolation of these surfaces from their surrounding context effectively removed the ‘life that surrounds and nourishes the building’ along with virtually all punctum, and so it was the concept of unheimlich that primarily fuelled my practice.




Barthes, R (2000) Camera Lucida. Vintage.

Freud, S, Strachey, J, Cixous, H & Denome, R. (1976)”New Literary History, Thinking in the Arts, Sciences, and Literature.”Fiction and Its Phantoms: A Reading of Freud’s Das Unheimliche (The “Uncanny”), Vol. 7, Spring No. 3 pp.525-548+619-645.

Sturken, M. (1999) “Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory – Review”, After Image, May-June. [Online];col1