Theadora Ballantyne-Way
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Theadora Ballantyne-Way (1988) is an artist based in the UK, previously a VJ working in electronic club culture, alternative spaces which later informed her practice as an artist. Working in photomontage, print, video and painting Ballantyne-Way is heavily influenced by the Surrealist movement and animism. B-Way plays with scale creating new dystopias and meaning with everyday and symbolic objects. Her current work investigates a provocation of a rebellion of everyday objects and familiar forms, transforming them into monumental megastructures.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
Theadora Ballantyne-Way (1988) is an artist based in the UK, previously a VJ working in electronic club culture, alternative spaces which later informed her practice as an artist. Working in photomontage, print, video and painting Ballantyne-Way is heavily influenced by the Surrealist movement and animism. B-Way plays with scale creating new dystopias and meaning with everyday and symbolic objects. Her current work investigates a provocation of a rebellion of everyday objects and familiar forms, transforming them into monumental megastructures.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
Theadora Ballantyne-Way (1988) is an artist based in the UK, previously a VJ working in electronic club culture, alternative spaces which later informed her practice as an artist. Working in photomontage, print, video and painting Ballantyne-Way is heavily influenced by the Surrealist movement and animism. B-Way plays with scale creating new dystopias and meaning with everyday and symbolic objects. Her current work investigates a provocation of a rebellion of everyday objects and familiar forms, transforming them into monumental megastructures.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
Since 1989, most families of the Western world have known only peace time and the associated comfort of the peace dividend, represented in this series by the sleek, sophisticated Alessi juicer, an icon of middle-class kitchen luxury. Now suddenly… is the balance of proverbial guns vs butter required by the world changing, as we transition to a new era of deglobalisation and rearmament? My new series explores the growing turbulence on the world stage, employing our domestic familiarities in a playful animistic twist. The juicer, epitome of contemporary elegance, towers above a dystopian science fiction landscape. In some of my depictions their ominous presence looms large and can only be interpreted as impending doom, the beginning of the end. In other scenes, they symbolise a beacon of hope in the midst of chaos, emerging from the hazy smog of a battlefield to save humanity, but nonetheless a forewarning of upheaval to come. As we navigate this brave new pre-war world, the path ahead has become obscured, and here I reimagine our beloved homes amidst a mass rebellion, forging a path toward a future yet unknown.
B-Way has been elected Associate member (ARE) of the Royal Society of Painter-Printmakers. Her work has been widely exhibited including the International Original Print Exhibition at Bankside Gallery and the Royal Academy Summer Exhibition. She has recently exhibited in Kyoto with Goldsmiths university.
