Adrenaline Junkie Exhibition Catalogue — Norman Rea Gallery

Xin Chen (She/Her)
‘The 10 O’clock Horse’
Ceramics

Inspired by the Nottingham region's folklore of the 10 O'Clock Horses, a story told to children to encourage sleep before ten at night otherwise they would be stolen by nightime creatures. This scul

Gavin Lockheart (He/Him)

‘There Are No Voices Here’
Acrylic on canvas

This painting is inspired by the Victor Erice film “Spirit of the Beehive” 1973. It is an evocative, beautifully shot story of a six year old’s innocence and naïveté set in Casti

Robyn Chapman (She/Her)
‘Bear Trap Mask’
Foam, plastic, metal, cardboard, wood

Horror for me has always been defined by low budget movies. Although the saw movies are now a high budget franchise. The first Saw is very reminiscent of those low budget

Julianna Ilnicka (She/Her/They/Them)

‘Midsommar 1:55:27’
Oil on canvas

Horror genre often gets a bad reputation for endorsing ugliness. Whilst I do not think beauty to be necessary or objective, Ari Aster’s Midsommar discredits these stereotypes as

Alice Stalker (They/Them)

‘A Darker Look into Snow White and the Seven Dwarves’
Photographic prints

These photographs are taken from a series illustrating the classic fairytale originally by The Brothers Grimm, Snow white and The Seven Dwarves, whi

Andrea Hasler (She/Her)

‘Burdens of Excess/Alexander McQueen Skull Pouch’
Deconstructed Alexander McQueen bag, polystyrene, wax, latex, silicon, glycerin

Andrea Hasler's visceral sculptures often deconstruct luxury items (for this exhibition a Alex

Shal Mines (She/Her)

‘PYE’s Surgical Handbook. A.K.A Handbook for the Happy Psychopath’
Book and Perspex

We are grossed out by the human body and it takes a certain kind of person to be a surgeon, possibly a happy psychopath if you will. We need th

Dusty Ray (He/Him/They/Them)
‘Diver’
Oil on linen

This piece deals with my personal battle with body dysphoria, as well as perceived violence and beauty. Our reactions to images our brain labels as violent, where our mind fills in the gaps of what w

Karolina Dwroska (She/Her)

‘The Dreamer and the Sleep Bug’
Machine-knitted tapestry

A composite landscape of numerous personal recurring dreams, the work engages with the friction between overwhelming anxiety and desire present throughout them. Abj

Scarlet Aylmer (She/Her)

‘The Banquet (2024)’
Wooden table, Ceramic, glass, cardboard, plastic, Aluminium base, gelatine, bin bags, condoms, balloons, stockings, tights, hair and stuffing.

Atop the domestic staple of the dinner table, Scarlet prese

Jessie Edwards (She/Her)
‘INTROSPECTION’
Oil on Canvas, Oil and Polyfiller on Linen

Jessie Edwards navigates the Uncanny through abstraction of the organic form. By subverting the concept of interior and exterior, her work invokes a vague, unplaceab

Phee Jefferies (She/Her)
‘The Scurrier’
Wooden stool, latex, toy stuffing

This work explores the uncanny feeling that arises from familiar parts of the body being removed from their usual context, in this case using it in conjunction with an inanima

Marika Tyler-Clark (She/Her)
‘Ram, You Fell into Milk’
Monotype

This piece is part of a series of monotypes inspired by the Orphic Gold Tablets, a series of ancient Greek texts inscribed on gold leaf found in Bacchic Cult graves that describe and di

Joana Simães (She/Her)
Clown Clinic
Oil on wood

For me these paintings explore deep emotions and the unsettling side of being human, embodying the "clown paradox"—where joy and despair exist side by side. These works align with the notion of horror

Joana Simães (She/Her)
Patient 2
Oil on wood

This painting challenges the viewer to interpret the exaggerated smile as either a mask of resilience or an embodiment of inner turmoil.

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Brian Shiels (He/Him)
‘M’
Film stills

Brian Shields is an artist whose works centres on an exploration of the eeriness of the High Romanticism movement. In his work, Shields navigates the intersection between curiosity and horror. He currently lives

Ana Luna Vazquez (She/Her)
‘Glow’
Acrylic on canvas

It’s about the danger within ourselves.

Ev Huges (He/She/They)
‘Anatomy Class’
Polymer clay, acrylic paint

A thank you to Dr Lionel Elliott left on his desk after teaching Human Anatomy Class. Left with note: "thank you for teaching us the insides". Appeared to be a normal apple until cut

Chloe Macaulay (She/Her)

‘Manipulations’
Tempera on panel

Diagnosed with Classical Ehlers-Danlos Syndrome–a connective-tissue disorder causing hypermobile joints, fragile skin, and poor wound healing, my experience within my corporeal body encapsul

Natalia Drepina (She/Her)

‘Insomnia’
Digital

This series focuses on insomnia and sleep paralysis. When a tired mind projects disturbing images from the world of dreams into reality. And you become a puppet of your own fear and imagination.

Lee Oakley (They/Them)

‘The Wind Peels the Trees to Bone’
Photographic prints

“The wind peels the trees to bone” examines how society reduces marginalised bodies to a spectacle, forcing them into unconscious performance. The work reflects the viole

Lillian Tagg (She/Her/They/Them)
‘Untitled 1, 2, & 3’
35mm film photography

Attempting to capture the discomfort and confusion within a body, as well as an overfamiliarity with your skin as it ages. The grain of the photos shows the wear of the skin

Chrysa Kanari (She/Her)
‘Face No.24’
Oil on paper

These portraits are part of a series of works created as a response to the immense and unremitting circulation of photographs that depict horror and violence on social media platforms. We live in a

Juliet Skelly (She/Her)

‘We Know Our Audience (series)’
Paper

These three collages aim to explore the traditional representation of female characters in horror films. Each can be divided into the theme of male violence, sexualisation and hysteria r

Eduardo Barzallo

Eduardo Barzallo

Ben Howe (He/Him)
@benhoweart

‘a) Passage; b) Passage 2’
Oil on board

These paintings bring together themes of mortality, isolation, longing, melancholy and loss and sit somewhere in between the physical constraints of reality and the anarchic real

Julianna Ilnicka (She/Her/They/Them)

‘Hello, I’m Shelley Duvall!’
Polymer clay, wire, aluminium foil, plastic buttons, acrylic paint, yarn, cotton fabric

This doll, Wendy Torrance as played by Shelley Duvall, is a combination of two of my beloved h

I. S. Bergø (They/Them)

‘Be Afraid’
Acrylic paint, colour pencil, ink & popsicle stick on paper

This painting is about the inherent horror and euphoria of transness. Horror in general, and specifically body horror, often feels inherently queer. It

Juno Frisbie (She/Her/He/Him)
@zlinkiez

‘La Décomposition et Moi, Les Enfants’
Digital

My childhood home was steeped in religious art and black mold—an odd substitute for wallpaper, yet both became my earliest companions. I found solidarity with th

James Hutton (He/Him)

‘Big Death Machine’
Graphite on paper

This was made in 2023 - it depicts a kind of anthropomorphic rampant capitalism and a feeling of being trapped in the belly of this particular beast! I wanted to use 'horror' imagery to po

Marby Anderson (She/Her)

‘a) lost but not alone; b) goldenhorse; c) pinsnneedles; d) CURSED; e) Skull Study’
Oil on wood & oil on paper

These pieces represent the feeling of disconnect and not recognizing oneself in our own body after experiencing

Norman Rea
Gallery

Derwent College, University of York, University Rd, Heslington, York, YO10 5DD, United Kingdom.

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