About Nuisance
NuiSanCe is an interdisciplinary arts journal.

Karen Lollipop's Paintings stem from childhood obsessions with brightly coloured childrens encyclopedias, well thumbed and beaten hand me down books from the 50s and 60s.

Next Issue /Info about submissions Click HERE


Childhood Issue (2004)

Something about Monsters and Woman and a Bit of a Dance by Pauline Morgan
PoppedArt from the PulpArt Painters
A Text in Time by Bryony Randall
Word Plague
by Clerk Kant

Conceived in April 2000, as a response to the void between popular culture and the (sometimes) publicly inaccessible arena of high-brow intellectualism.
NuiSanCe aims to be a hybrid of the two.
A naughty, shape-shifting little monster that takes a critical, intelligent approach to life whilst promoting a fun and polymorphous agenda


"I was never interested in fairy tales as a child" she says "finding the images within my encyclopedias far more exotic other worldy and scary.

The work in this current issue of Nuisance, is concerned with images and memories of childhood as they are indexed by the adult Imaginary (if there is such a thing).


melanie absolon. reel

Sketches from
"Freudian Extracts -
A Book of Love Objects"

a work in progress by Melanie Absolon.



Mel's new projects

Dream Machine (mel project)
(DIY artevents)

(Brighton Ind Cinema)

(Bristol Ind Cinema)
semiconductor films
(digital films)
spellbound bookshop
independent heroine

(music board)
(knitting club)
things magazine

Jemma Frampton's website about AVCE art at Filton.


Karen Lollipop's paintings relate directly to the images in children's encyclopedia's yet evoke an implicitly 'Oedipal' impression of what it is to have once been a child. Eyes are gouged out, bodies are in parts and objects float circuitously. These paintings show the workings of the childish Imaginary as it situates itself within a well-ordered and alphabeticalised catalogue of things.
Melanie Absolon's pages echo a similar theme but differ in that, for her, it is Freud who provides a register of everyday objects, psycho-sexual relationships and infantile identifications. By drawing together, extracting from and re-juxtaposing these objects she makes work which also performs as a critical commentary on itself.
Here, for instance, a Cotton Reel, perhaps a bit like the one that appears in the 'fort-da' game in Freud's essay 'Beyond the Pleasure Principle', has a certain sheen to it. It is like the 'shine on the nose' mentioned in the essay on 'Fetishism' (Freud.1927). This 'sheen' is yet another thread (aside from the obvious) which links both the reel and the nose, the two essays and the comings and goings of the objects within Freud's writing.


Nick Stole's felt tip drawings are reconstructed from the drawings he used to do as a small boy. These works are like inverted versions of those childhood drawings. Then, he drew to make sense of the world, now, its more about making sense of what he perceives to be his sense of the world.


nick stole

  Felt -tip drawings by Nick Stole (age 4+)
"The pictures are done in fat felt tip pens on notepaper. They are an attempt at recreating some of the best artwork I did when Iwas 4 years old when fitting things together nicely seemed to happen easily and in a fun experimental manner, whilst drawing a physical object or phenomena an a representative form, often with some kind of functional outline based representation. I have tried to avoid the colouring which I did occasionally when I was young, since this was a technique which was 'supposed' to be done rather than a natural progression in my style/technique of drawing,"