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FINE ART
20202020
T W E N T Y T W E N T Y
1
PR
OFESSO
R C
EES DE B
ON
TD
EA
N O
F THE SC
HO
OL O
F DE
SIGN
A
ND
CR
EATIVE A
RTSWELCOME FROM THE DEAN
For the first time in the history of Loughborough University Creative Arts degree show, we have had to take the difficult decision to change how we display our students’ work. Annually our show in June is the prime showcase of our students’ work to family, friends, fellow students, professionals, employers and the general public and we always look forward to this time as a chance to celebrate. However, the Coronavirus now forces us to be creative and to display our graduation projects through different means. This challenge brings about new thinking and new opportunities, so instead of moaning about the impossible, we got ourselves ready for the art of the possible.
Art and Design is considered as one of the jewels in Loughborough University’s crown. It has been recognised for its excellence, both nationally and globally, being placed in the UK top five (Complete University Guide 2016-20) and in the world top 25 in the QS World Rankings, (currently ranking 24th, up from 28th last year). The work being exhibited here evidences the excellence on which these rankings are based.
The Arts Degree Show is one of the highlights of the academic calendar and, as on previous occasions, the work which you will encounter is bold, imaginative, playful and thought-provoking, bringing the individual projects and unique talents of our final-year students together. Here you will find paintings and illustrations, textile designs, fashion garments, sculpture, photographs, installations, short films and animations, portfolios of graphic design work and designs for apps. This diverse and rich display is the outcome of their capabilities and skills which have developed in an open and supportive studio- and practice-based environment, underpinned by rigorous theoretical and critical debate.
Our graduates have a strong tradition of building careers in a range of occupations around their creative practice. Challenging conventions and understanding the benefits of taking risks, many of these enterprising new artists and designers will go on from here to contribute to the UK’s leading role in the creative industries globally.
The Arts Degree Show 2020 is created by our students, working with members of staff, to showcase their works in the ways that they have judged exemplify their achievements and potential. I am sure you will join me in congratulating them and wishing them every success in the future.
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3
4
5
LOR
RA
INE YO
UN
GP
rogramm
e Director for Fine Art
FINE ARTThe graduating class of 2020 are unique. As the restrictions for the Coronavirus pandemic engulfed us all, these students have shown amazing resilience and tenaciousness. Overcoming many obstacles, having to leave their familiar studio environments and the busy workshops. Now standing eerily quiet with the cast aside remnants of works and ideas prematurely halted. Separated from friends made over the last several years and with no opportunity for the usual celebrations and parties that are the rights of passage for finalists. These students have had to rapidly come to terms with the notion that we are all now living in a strange and at times frightening new world. Yet still from bedrooms and lofts, raiding sheds and garages, from the far-flung corners of the globe, our students have continued to make and create. With limited resources and facilities, the creativity and inventiveness of the Fine Art cohort has won out.
For the first time in our School’s history this graduating year will not have a physical degree show. A show that would have acted as a platform to highlight their professionalism and the quality of their ideas and making skills. Illustrating their originality, and as usual demonstrating the innovative and diverse contemporary art practices that has long since been an attribute of a Loughborough Fine Art graduate.
This catalogue shows the students work at a mid-point of their final semester and reflects the fine art programmes ethos of thinking through making, where we encourage experimentation with traditional skills as well as cutting-edge digital technology. Supported by a dedicated team of staff across studios and workshops.
Although these students’ university experience has been cut short, it will take nothing away from what they have learned during their time here, skills to take forward into an uncertain future. Independent thinkers and problem solvers armed with skills that are relevant to their individual ambitions and careers.
We would like to take this opportunity to congratulate our graduates on the excellence they have achieved during their time of study with us. It has been an absolute pleasure working with you and we wish you all the very best for your future endeavours.
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In a world revolving around social media, my practice explores our complex relationship with technology through digital drawing, social commentary and documentation. This research has enabled me to find my own satirical voice. Questioning the behaviour and feelings I face on a daily basis and analysing its impact through irony, humour and sarcasm.
Through not knowing life without the internet, a reoccurring theme in my work is ‘Generation Instagram’. Observing the need for validation, self-doubt and comparison. My work at times comes across as narcissistic. Is this a representation of my generation? The claim that my generation is narcissistic is a view inflicted on us by those not a part of it and the internal dilemma as to whether there is any truth in this statement has been one that has significantly affected my research process.
adam
sizz
y573
@gm
ail.c
om+4
4 (0
)776
9274
200
ISO
BEL
AD
AM
S
7
My practice focuses on the spontaneity of automatism, through my unconscious thoughts, by exploring the method of blindfold bodily painting and graphic writing. I experiment with interlinks to Abstract Art by using oil and acrylic mediums, whilst expressing gestural marks on canvas.It’s especially prominent to my practice that I use the colour orange as it features across my paintings.
The use of orange is a connection to my energetic personality, the joy to life and therefore expresses my future self and ambitions.
@scarletalfordart
+44 (0)7947482994
SCAR
LET ALFO
RD
8
By using edges, contours and materials I have provoked a number of observations and represented them in my work. Photography has been my medium to explore the quality within industrial forms. There have been strong aspects of repetition that subconsciously appeared throughout this process.
This allowed me to provide a dialogue of my work and, by portraying the aesthetic interpretations that I hold, I have presented them in a form that is easily interpreted by the viewer. I have been using industrial materials to interconnect my sculpture with the photography and developed a catalogue of work that is accessible within a studio environment and pushed the use of scale to evoke a response that connects the viewer, allowing them to see the work as a window into the landscape. I can show what I perceive as beauty within the environment.
@jj.
a_m
akin
g+4
4 (0
)777
6142
404
JOE
ALL
AR
D
9
My recent work reflects the memories of my childhood through text, sculpture and casting. I have been inspired by Rachel Whiteread and her casts of mundane objects that have a connection to us as we live with and around them.
I have picked apart and printed text onto my school clothing - undoing the stitches that kept them together, representing my mental state. I took casts of my radiator and wardrobe, experimenting with latex and plaster while manipulating their presence and giving them a new purpose.
By casting my objects, I wanted to embody the emotion that they have absorbed during my childhood, and present it in a new form.
Bethanaudley@
hotmail.com
+44 (0)7949596082B
ETHA
N A
UD
LEY
10
My practice is a game. You can call it a treasure hunt, you can call it a word search, but it’s a game that exposes the intrusive, impulsive nature we women endure.
In creating garments from fabrics once worn by other women, I revive their voice alongside my own. They become a prop to an interactive performance which challenges the male gaze and the intimacy of assault: the undoing, the undressing and the revealing. But that’s only the introduction. Hidden entries lie within the dress to encourage the audience interaction, only to be shunned by verbal play that lies on the desired body. Shunned by the voice of a victor who refuses to fall victim.
As the wearer, I become a self-confident force that refuses to become an object of desire. I become superior, supported by the women’s voices that live in the fabrics I wear. I win the game.
mill
ieba
rrow
.910
@gm
ail.c
om+4
4 (0
)777
9909
813
mill
ieba
rrow
port
folio
.co.
uk@
wei
rdar
tmill
s
MIL
LIE
BA
RR
OW
11
My practice focuses on the female nude, stripping back to the most natural and rawest form of a person. To achieve this I work with women who have their own experiences and struggles with mental health but particularly a lack of body confidence. My inspiration comes from these women who come forward and work with me, their strength drives my work, helping me push boundaries and ask questions. Using oil paint on large canvases has allowed me to create a body of work that represents these women individually, in an overpowering and empowering way. My aim is to show truth, working against the stereotypical body image that women are pressured to conform to in the media and fashion industry. My message behind my work is no matter what is happening, you are living, in a totally unique and beautiful body- be proud and own it.
tiggybeaman@
outlook.com+44 (0)7718897846
Facebook - Tiggy Paints
@tiggy.paints
TIGG
Y BEA
MA
N
12
Over the past two years I have focused on queer experience and activism within my practice. More recently I have begun to explore my queer experience through the relationship I have had with my Dad. Much of my life, queer or not, has found my Dad to be a central figure. I reflect this within a short stop-motion animation that is driven by the portrayal of memories and a spoken poem. Besides the themes of sexuality and relationships, my animation also encompasses the theme of nostalgia. I have utilised materials and processes with sentimental value to create my puppets and miniature sets with a nostalgic air. And through the incorporation of vibrant colour, pattern, and needlecraft especially, I have made a stylistic reference to the 60’s (when my Dad was born) and the 70’s (when stop-motion animation became so prominent).
amy.
bege
nt@
aol.c
omA
MY
BEG
ENT
13
This work - Bridges: Intra / Inter is a narrative. I, the maker am 28, a mentally ill, medicated, ex-drug addict, ex-suicidal from the picturesque coastal town of Bridlington. This story begins as any tragedy - with a good old drawn out breakup, the onset of first episode psychosis followed by the first of many attempts to kick the habit. Our hero, amongst other things has lived through certain dire sexual experiences, the timely death of his father’s father from cancer, his father’s subsequent mental breakdown, the ‘cruel to be kind’ divorce of his parents which coincidentally coincided with the end of puberty and not so coincidentally with the sexual liberation of his mother as gay. Following professional medical advice our hero, Shaggy, embarks upon an artistic endeavour. Simply as something to talk about during appointments.
chrisbinghamart@
gmail.com
+44 (0)7784355887chrisbingham
art.wixsite.com
/portfolio@
chris_j_bingham
CH
RIS B
ING
HA
M
14
My practice is predominantly based on creating plaster sculptures which embody the characteristics of living organisms. By combining various sculptures together in a given space, I intend to create various narratives which viewers can unfold and interpret. Inspired by the work of Thomas Rentmeister and Sianne Ngai’s theories on the cute aesthetic category, I intend to create discourse surrounding our own aesthetic judgements in a playful and contemporary manner.
meg
an.d
isa@
gmai
l.com
+44
(0)7
4507
5941
8M
EGA
N B
ON
E
15
My artwork analyses how art can be intertwined with dance through the use of body movement, choreography and props. I have experimented using objects, different forms of drawing, and print to convey dance within art. I evaluate how art can inform dance and even extend the limits.
This has taught me to become more explorative with my dance technique and enabled me to overcome physical limitations. I found that using every-day mundane objects as dancing partners and equally as costumes, reduced my physical limits. Furthermore, I discovered that drawing a choreography, or drawing whilst dancing keeps an ongoing vision of the dance, which does not end. It becomes a constant dance.
+44 (0)7726296837em
mabw
4.wixsite.com
/portfolio@
the_messy_door
EMM
A B
OTT-W
ATERM
EYER
16
By creating cartoon livestock images, my practice highlights environmental issues. My goal is to demonstrate in a fun, non-aggressive format the problems with mass farming and its effect on our planet. By raising awareness of unknown carbon footprints perhaps I can promote change in lifestyle choices, and consideration of a reduced meat diet. My style can be described as boxy or robotic inspired by graffiti designs. I have produced environmentally friendly artwork by using Japanese woodcutting with naturally made ink, quick to grow wood, and recycled paper. I use these woodcuts of my characters to inspire my mark making within my murals. These scaled up painted images on the wall underline my message and are temporary physical pieces, so once finished, I can sand the paint off the wall, returning it to its original state.
acm
b12@
lune
t.lb
oro.
ac.u
k+4
4 (0
)759
9425
622
MO
LLY
BR
ECK
NEL
L
17
Art and Science may traditionally seem like conflicting disciplines but the investigation methods, aims and motivations of both artists and scientists, are fundamentally similar.
My interdisciplinary practice fuses Art and Science while touching on debates of authorship through my collaboration with nature. My practice is situated within the genre of bio art as it utilises living biology, such as copper sulphate crystalline growth structures, as an artistic medium. Although I supply the components for the crystals to grow, the end product and growth pattern is a self design constructed by nature. To reassign authorial intention, which is debated by nature being a co-author, I use a biomorphic approach where I reproduce the crystals characteristics of shape, colour and texture into artistic mediums.
jessica_breeze@hotm
ail.co.uk+44 (0)7533589163
JESSICA B
REEZE
18
My practice studies the in depth relationships people build with their conscious understanding of their own body. I use photography as the main tool, as the camera is the most honest piece of equipment that reflects ones appearance in the most unforgiving way.
With a lack of clothing comes a more vulnerable person; I explored these vulnerabilities through intimate figurative photo shoots combined with personal interviews which delve deep into the mindsets of the participants. My practice aims to engage the spectators gaze towards the areas of the subjects body that they find less desirable. By excluding the face and fleshy tones, the figures becomes universal and subject-less. Minimalism works hand in hand when conveying the body as a source of narrative in order to portray an individual’s personality. To be imperfect is perfect.
rbur
don1
997@
hotm
ail.c
o.uk
rbur
don1
997.
wix
site
.com
/art
yR
OSI
E B
UR
DO
N
19
My interest at present lies within the problems of animal cruelty, a subject that has been important to me for years. I live on a farm that concerns itself with the rescue and the proper treatment of animals and as a result, I aim to present a criticism through photography of the industrial processes which involve animal cruelty. In my dissertation I researched the effectiveness of art-activism and used my knowledge of this area to inform how my art can be effective as a piece of art activism, confronting the problem of the Down Feather Industry. My photography endeavours to raise awareness of this cruelty, to initiate change and dissuade the viewer from buying down feather products. Through digital photographic methods I create striking, monochrome images producing beautiful yet disturbing photographs to attract the viewers’ attention.
tara.burrowes101@
hotmail.co.uk+44
+44 (0)7986603697taraburrow
es101.wixsite.com
/mysite
TAR
A B
UR
RO
WES
20
My work expresses our subjective epistemology in relationship with objective truth. In researching image and linguistic theory, I became aware of the instrinsic tie between semiotics and epistimology. My work seeks to inspire the humility required to engage an absolute truth through our subjective conventions. I believe the foreign word and image most void of convention is suited to elucidate the sublime of an absolute.
ciar
anlu
kebu
ttre
ss@
gmai
l.com
+4
4 (0
)793
8153
126
ciar
anlu
kebu
ttre
ss.w
ixsi
te.c
om/f
inea
rt
CIA
RA
N B
UTT
RES
S
21
Summer, a long meandering time which extends beyond itself, days lose their meaning and a flattening of memory occurs. A simpler understanding of temporality arises, we return to morning, afternoon and evening. We become nostalgic over this summertime. Nostalgia is an adaptation of the past with a stronger focus on the pleasantries and has an amazing capacity for remembering smells, sounds, sensations, and the trivia of the everyday. The smell of BBQ in the air, the feeling of the sun on your face, a gentle sunset over a town, my practice explores the synaesthesia of these nostalgic summer moments, predominately through the medium of paint.
As a medium, painting conceptually adheres to the relationship between memory and nostalgia. A painting can drift, its features are subject to adjustment and the texture changes with every revisit.
ambercan@
hotmail.co.uk
+44 (0)7544438369am
bercannings.com@
an_awesom
e_person
AM
BER
CAN
NIN
GS
22
Boredom determines our existence here and now, it exposes us to the physicality of time, and it is at the centre of my practice. I focus on video performances where I expose myself to boredom, waiting and anticipation. Drawing from Heidegger’s texts my pieces aim to explore ideas of meaning and the in-between.
With the objective of studying an emotion that often seems negative, I am taking a playful and humorous approach to the actions portrayed, which informed by Sisyphean absurdity, don’t focus on purpose, but rather are movement for the sake of movement. I create because I can.
a.ca
rrio
ncer
da@
gmai
l.com
MA
RIA
AM
PAR
O C
AR
RIÓ
N C
ERD
Á
23
My work is predominantly based on a conflict of emotions involving optimism and anxiety within the mundane through aspects of utopian and dystopian image making. I am currently working on a balance between fact and fiction in an optimistic version of reality denoting an ideal surrealist utopian daydream.
The material I use involves digital appropriation, sketching, painting and animation to convey a political narrative which helps the audience understand how we all see the world differently. Influences include art movements; Surrealism, Progressive Utopianism, Altermodernism. I also follow philosophy by Kant and Jung particularly their works on morality and the unconscious ego. My compositions explore phantasmagorical imagery in landscape on a mission for tranquillity in an uncertain world.
samuel.carter43601@
gmail.com
44+ (0)7415681667 @
samm
y_captaincarter_art
SAM
UEL CA
RTER
24
My practice investigates the use of painting as a vehicle to calm the self; ultimately creating an immersive space and stimulating personal experiences amongst viewers. Led by a process of painting, I use the minimalist approach of reduction to present line and colour in their simplest forms. Flow Theory, also known colloquially as being ‘in the zone’, helps to underpin my practice; explaining how a task can transform a person into a state of total absorption, similarly relating to concepts of mindfulness.
I explore my own understanding of Flow and how I interact with painting; each piece deriving from my imagination and what I feel is absent from an originally blank canvas, adding lines and shapes in blue and white until I feel it is complete. The intention of my work is to show how art has been used for a purpose and engage the viewer.
beth
clay
ton2
2@gm
ail.c
omB
ETH
AN
Y C
LAYT
ON
25
My practice is drawing and installation based. Key themes in my work are faith, family, grief and the home. I have combined these to create a narrative that is very personal to me, but more ambiguous to the viewer. The majority of the objects I have used have been repurposed from homes of family members. My drawings, which are combined with them, are based on a mixture of objects from these homes and writing. I have retrieved this writing from journal excerpts and notes between family members, aiming to show their love for one another and for God as part of their family life, despite difficult circumstances. Due to their faith and my own, loss and hope exist simultaneously in my work.
AB
IGA
IL COLLIN
S
26
My practice is driven by an intense fascination with art that explores the obscurity of human nature.As such, the purpose of my work is to externally communicate mental states of anguish, dread, fear, anger and distress informed by my personal, internal conflicts. Utilising the printmaking techniques of solar plates and hardground etchings, I endeavour to create prints that aggressively deform the human figure through a visual combination of the grotesque and the uncanny.
Above all, my work is made with the intention of producing a confrontational encounter with the subconscious shadow of the human psyche. Using affective embodiment, where art is perceived as ‘doing’ something to the viewer, I aim to construct an environment in which the act of viewing is a deeply disturbing experience that points to a repressed aspect of the self.
herv
elin
ec@
gmai
l.com
+ 44
(0)7
9238
5368
3w
ww
.her
velin
e-cr
emm
er.c
omfa
cebo
ok.c
om/l
ittle
frog
art/
@lit
tlef
roga
rts
HER
VELI
NE
CR
EMM
ER
27
ww
w.alyssadabbsart.com
ALYSSA
DA
BB
S
I am a contemporary abstract artist who works to challenge abstract painting through process and mark making. Painting process plays an important part in my practice. I am particularly interested in the way in which different painting mediums act with and resist each other and how certain marks and colours can affect and manipulate how a painting is interpreted by the viewer.
My use of relevant yet ambiguous titles encourages the viewer to individually engage and interpret my work. The titles act as a starting point for discussion and involvement with the work. My paintings often evoke personal and emotional responses. Variation of mark making is often derived from my use of tools and manipulation of paint. My work is developed and influenced through my subconscious. My paintings are best described as visual diaries/subconscious musings.
28
Drawing from ‘affect theory’, my art practice explores the ability of representations of the human figure to stimulate ‘affect’ in the viewer. I produce simultaneously physiological and psychological responses through individual encounters with human figures, with each interaction being unique to the viewer. My approach to ‘affect’ focuses on the viewer’s sensing and experiencing body by creating sensory environments for them to participate in.I utilise both new and traditional media: subtly distorting the figure using printmaking processes, and manipulating photographic and drawn imagery. I then project these images of the human figure onto different materials and apparatus; creating different ways for the viewer to navigate the space and meet with the figure.
hele
nada
gnal
l18@
gmai
l.com
@he
lena
_art
page
HEL
ENA
DA
GN
ALL
29
It is the thoughts, feelings and emotions we can barely admit to ourselves, let alone people around us, that matters.
Even when it gives meaning. Even when it’s of consequence. Because we don’t know. We don’t understand. We don’t have the language.
What I try to do is to create that language. This, emotion we can’t describe.
Because its not singular; these emotions do not exist in a vacuum. They are a web of past and present and every moment in-between. It’s not simple and it isn’t easy, but I try to capture that distance, that complexity and hold it steady. Just for a moment.
hannahsday@gm
ail.com+44 (0)7802564247@
hannahsarahday
HA
NN
AH
DAY
30
My practice is inspired through natural and artificial settings, giving a sense of peace, playfulness, escapism and a starting point to bridge the gap between real life and the metaphysical.
Spider plants and the unassuming use of pink hues, heavily influence my practice. Fascinated by the plants rapid ability to sprout and natures calming effect. Capable of drawing association to any circumstance and environment through identifying beauty in everyday life and the importance of wellbeing.
The significant connection of the subjects, shadows and layering in each of the digital compositions, allows room for interpretation of what the middle realm means and where there is a fluidity between reality and imagination. Thus, enabling the viewer to reflect and appreciate what the appeared opposing subjects may have in common.
ader
mitz
@gm
ail.c
om+4
4 (0
)758
1451
497
AN
NA
DER
MIT
ZAK
I
31
amondew
ji@gm
ail.com+44 (0)7761607550
Facebook: Am
on Dew
ji@
amondew
jiart
AM
ON
DEW
JI
32
My work focuses on Environmental issues, exploring aspects of human life that contribute to climate change and how the resulting issues affect us now. I investigate how the issues of climate change will affect us in the future, gathering research that focuses on the livelihoods of flora and fauna, drawing conclusions on their chances of survival when climate change reaches its peak.
My work varies in the types of medium I use, depending on the topic and the composition. However, I work mostly in painting and drawing materials. I have taken an interest in focusing on not only the victims of climate change but also the survivors of climate change, depicting them in scenes that aim to create feelings of overwhelm.
aria
d.ar
t@ho
tmai
l.com
+44
(0)7
9053
6373
7@
aria
dunn
eart
ELO
ISE
DU
NN
E
33
The focus of my practice revolves around the interaction between digital colour and physical colour. By projecting colour changing sequences onto my paintings it allows me to work with overlaying the digital colour shifts to enforce radical colour transformations. These large-scale projections enable the viewer to see the meticulous details of the interplay of digital coloured light reacting with the saturated paint.
The intention for my work is for the viewer to be completely immersed in colour. The projection bleeds over the canvas filling the space to create this captivating experience as the colours shift.
frankiedwards33@
icloud.com+44 (0)7958065540
FRA
NC
ESCA ED
WA
RD
S
34
My practice explores the inherent flaws in our attempts to document and reproduce movement, specifically in relation to dance. I am fascinated by the relationship between dance, line and moving image. Through a process of experimentation, I have developed ways of documenting dance using a combination of drawn and written notation as well as exploring the potential limits of film and photography. Through acknowledging the limits of representing live movement through documentation, I aim to push our perception of what it means to experience movement through space. The work allows the power of the drawn line to communicate a real or imagined movement, making a drawing in space which creates a physical manifestation of a written notation.
indi
afer
g@gm
ail.c
om+4
4 (0
)754
3247
153
IND
IA F
ERG
USO
N
35
Through a fascination for the human condition, my recent practice makes use of surrealist automatic techniques to explore mental health and emotional states, with a predominant focus on the subconscious and subliminal. Inspired by Cy Twombly and Missy Douglas, this latest work examines asemics, mark-making and colour in automatic paintings, drawings and poetry to assess how documentation of states can reveal subliminal codes of habit.
With a theoretical eye on the recent cognitive studies of interpretation - namely, Appraisal and Ecological Valence - the work foremost aims to create an emotional experience. Reliance upon an individuals mediated frameworks of interpretation therefore begins to create a dialogue between mental health and others perception of it, allowing for the audience themselves to explore their own associations.
hannah@fletcher-tom
linson.co.uk+44 +44 (0)7983705051
ww
w.hannahft.co.uk
@hannahs_helianthus
HA
NN
AH
FLETCH
ER-TO
MLIN
SON
36
My creative practice is focused on exploring The Human Condition; specifically, turmoil within ourselves and our relationships with others, with God and with our environments. My current project examines humanity’s ability to interconnect with the deeper realities around us, such as our sense of being and place when entering a Flow State by means of repetitive fluid motions when creating. Entering this state enables one to create a dissociation between actions and consciousness, cementing the turmoil of creative thought and anxious realities into the tangible.
Reb
ekah
Fors
yth.
Art
@ya
hoo.
co.u
k+4
4 (0
)795
0952
125
Reb
ekah
Fors
yth.
Art
REB
EKA
H F
OR
SYTH
37
Situated in the overlap of drawing and sculpture, my practice is engaged with the exploration of ambiguity and visibility, and the ambiguities within these, through the use of text and its space. Working with pencil, digital print, screen print and powdered media, my processes test the boundaries of the material and the immaterial, presence and absence. My works are intended to bring paper into the three dimensional through its inhabitation of space.
The text implicitly refers to personal states with allusive, fragmentary metaphors. The imbalance of the space and the text contributes to the concealment of the language and is charged with invisible content and context. The work draws attention to the viewing experience, and is completed by individuals detecting and interpreting traces of text, through slight changes of tone and surface.
kate.freckelton@gm
ail.comK
ATE FREC
KELTO
N
38
My practice is a vehicle for processing trauma.The aim is to take a traumatic experience and digest it visually, thus detoxifying and neutralising it. I have found that visual expression is far more effective in coming to terms with traumatic experience because it is not hampered by the limits of language, which is not suited to fully expressing the depth of emotions. I use various media and styles, experimenting with the effectiveness of a given medium to not only give voice to a trauma experienced, but also help processing it.
I have been particularly drawn towards ‘craft’ due to its ties to the domestic and thus personal, as well as its time-intensive properties which are conductive to self-reflection and a sort of induced meditation. Through my work, I am exploring trauma processing primarily through craft-based art forms.
soph
ie.v
on.w
eile
r@gm
ail.c
om+4
8604
9196
61so
phie
vwei
ler.
myp
ortf
olio
.com
@so
vow
e
SOP
HIE
-HÉL
ÈNE
WEI
LER
39
My work is interdisciplinary, bringing together my practices of both futsal, an indoor variant of football, and art. Through line, text, performance and sculpture I follow the movement of players and the ball to create a layered, interactive experience.
Drawing is the basis of my practice, exploring different materials to best track the movement on the pitch. I work from memory, live training sessions and pre-recorded audio. I have created a form of notation that can be interpreted as purely an aesthetic image or as a tool for my own coaching.
I utilise moving image and poetry to communicate an audio-visual sense of specific moments in a game. I also select certain words and shapes to comment on the lack of space given to women in futsal and football.
rosannafrith.salem@
gmail.com
+44 (0)7952101251rosannafrithsalem
.wixsite.com
/mysite
RO
SAN
NA
FRITH
-SALEM
40
My wearable ceramic sculpture is an oxymoronic metaphor for anxiety. Chain mail has been chosen as a recognisable item of safety and protection, this is akin to my wanting to feel safe and protected.Purposefully using a contradictory material; clay has been interlinked into a fragile and futile armour, nullifying its utility. This represents the feelings of uselessness woven within anxiety.
Photographs document everyday life, such as washing up and eating tea in front of the telly. Routine activities made harder by an extremely heavy yet brittle sculpture, a metaphor for the difficulty of performing basic tasks whilst knotted with unease.
My work subtly hints at the humorous side of things: galumphing around in such a cumbersome item is absurd and funny, showing the importance of finding humour within life to get through any struggle.
alic
egar
bett
@gm
ail.c
om+4
4 (0
)791
4937
520
@ g
arbs
.art
ALI
CE
GA
RB
ETT
41
The key themes in my project consist of colour and light but particularly focusing on the art in ‘The everyday’. The ordinary things people may walk past or pay little or no attention to as it surrounds them in their day-to-day life. I want to discover the beauty in the ordinary. With the photography I produce, I consider the scale of the work and how this changes the way the piece is perceived. The prints I create are often on the larger scale, engulfing the viewer as they observe my work. Throughout my time at Loughborough University, my photography has focused on the sky, with clouds being my main focus over the past year. However, I have also looked at time and lighting within a day and how this clearly alters the image. This creates restraints to my work which allow a clear a focus.
hannah@goodw
insinc.comH
AN
NA
H G
OO
DW
IN
42
Build body from marble and mind from goldBut cover all scars, for your glow must be blinding and constant
When facing danger hold your ground,For no matter the threat, no wall shall collapse nor ceiling fall
Bow not to the emotional cries, but please thy ego no matter the guilt
At the sight of weakness recover your strength, no demon or disease shall obstruct your might
Shepherd the needy and confront your fears Question not your teaching but follow them blindly, when taught the hate for enemy
When battling death accept your fate, but hold high your shield and wield your sword, for until the end no act shall be broken
By these rules you are to be a Man But to be is not to be Unless ye can truly be ye
For a Man is to remain faithful to his soulHe follows his own path towards the light To become the Man he himself deems righteous
Luca
gov@
yaho
o.co
m+4
4 (0
)745
4385
383
Face
book
: Lu
ca A
med
eo G
over
nato
LUCA
AM
EDE
GO
VER
NAT
O
43
My practice explores mother and son relationships through contemporary drawing: I consider how as a mother I can create a portrait of my son through combining my mark making with his expressionist mark making. There is an underlying theme of communication; communication between my son and me, the communication of my son through his drawings and the communication of our relationship.
I have used the maternal, not as a biological facticity, but as a rich feminist tool to challenge the way in which women artists are expected to work in the contemporary world.
Within my practice I explore my relationship with my son in the medium of print; amplifying the repetitive labour of domestic space through the repetitive labour involved in printmaking demonstrates how work can be ‘a role beyond the home’ that explores the ‘unpaid work in a domestic space’.
elisabethhall@hotm
ail.co.ukELISA
BETH
HA
LL
44
Using a combination of mass produced and non-traditional materials, I have formed patchwork quilts. My work is critical of the disparity between traditional and contemporary patchwork quilting. In an attempt to redefine this outmoded craft, I have questioned the perceived functional practicalities and traditional aesthetics of its form.
In this series, I have explored our relationship with material, testing the boundaries of what patchwork quilting can be and has become since the 16th Century. Using wax, I have preserved its form, using it as an archival device of historical and cultural influence. This process has made them unusable for traditional purpose. In doing this I have challenged the domestication and narration used in patchwork, as well as explored the role of women, through looking at the maker.
meg
an.h
arki
n4@
goog
lem
ail.c
omm
egan
hark
inar
t.w
ixsi
te.c
om/m
yart
@m
egh_
art_
MEG
AN
HA
RK
IN
45
My work is focused around the curiosity of figurative distortions created through sustained movements. As individuals, we are subjected to a unique facial identity, by working with unconventional portraiture and the imagination I aim to minimise the ordinary and enlighten the surreal moments within reality.
Through a materialistic approach working with transparencies and the layering of mixed media materials, the work is a shared experience between the artist and the viewer, utilising the perceptions of each individual.
While distortion of the natural face is manipulated through a series of controlled movements; the design and composition of the installations work to encourage viewers to create their own experience through an unrestricted field of vision. Further enhancing the distortions through their motions, making each piece unique.
emilyhutton10@
gmail.com
+44 (0)7426448581EM
ILY HU
TTON
46
My practice explores themes of documentary, narrative and social commentary. Through this I tend to work interdisciplinary across a variety of mediums depending on the subject matter. This project in particular, looks at the life of natural history collector Jeffrey Keiller, who was reported missing during the late 1970’s. The work investigates elements and interests of his life, that tell his mysterious story through the form of a museum exhibition.
jade
neim
busc
h@gm
ail.c
om
@ja
dene
artis
tJA
DEN
E IM
BU
SCH
47
My work is inspired by my own and friend’s experiences of sexual harassment. Having researched people’s experiences of sexual harassment, I was alarmed to discover that many people have a complacent attitude towards this issue. This is worrying as it perpetuates pre-existing stereotypes and normalises sexual harassment.
The key themes of my work are public participation and solidarity. My primary aim is to raise awareness of just how big the problem is by giving the public a platform on which they can share their own experiences of sexual harassment which, in turn, would help to create a sense of solidarity and reassurance that they are not alone. Also, the effect of group solidarity in calling out against sexual harassment creates a powerful voice.
Examples of my work include collecting anonymous feedback, group workshops and discussion.
rhianjones212@gm
ail.com+44 (0)7562544110
@contem
poraryromance
RH
IAN
JON
ES
48
I am interested in consumer culture as I look into the current society compulsion with buying new items to satisfy their own needs. The aim of my work is to bring awareness to the rise of consumerism and how it has impacted our daily lives. I wanted my work to include humour so that it allowed viewers to talk about the uncomfortable truths, which is that buying things does not lead to happiness. I used printing because this technique allowed me to repeat designs and mimic the commercial methods of mass production.
As citizens, we are continuously being manipulated and misled by advertising and marketing, which affects our relationship with commodities. We interpret the use of display of particular objects and brands on our own values and perceived identities. Be an ethical consumer.
Do you really need it, or do you just want it?
anis
khor
@ic
loud
.com
+60
6019
3877
574
@ a
khor
art
AN
IS K
HO
R
49
My practice expresses an interest in portraiture and the figure.
Each drawing is guided by a quiet energy and the scale of each figure is dependent on the surrounding negative space of the paper.
The execution in portraying the figures is critical to the success of each drawing. The space of the paper will condition the gestures and lines made by drawing to portray the figurative motif.
During my degree, drawing has provided a direct means of expression and enabled me to deliver an ongoing narrative throughout my works. However, after I graduate, I hope to expand my practice into painting.
Luke.MasterAC
+44 (0)7444779584lukeknight.squarespace.com
LUK
E KN
IGH
T
50
My work is an exploration of my bicultural identity as a Chinese girl living in Ireland. My own dismembered body parts symbolise my feelings of alienation and separation, creating a personal connection to my work.
I challenge notions of belonging and self-acceptance, by incorporating both cultural traditions into my practice. The juxtaposition between decorative motifs deeply rooted in Chinese history, against a contemporary canvas derived from Western traditions, crosses the cultural bridge between both traditions, expressing how both cultures can coexist in harmony.
My work demonstrates how one can never escape their own culture nor forsake their identity. In a very literal way, these human forms visually communicate the way that history and culture are physically and mentally inscribed upon the body.
shar
onkw
ok19
98@
gmai
l.com
+44
(0)7
8712
3885
3SH
AR
ON
KW
OK
51
My work revisits the once significant presence in my childhood of cuddly toys. I look to reflect upon my dependance on them as a playmates, sleep aids and companions, and whether they factor into my life in adulthood, after outgrowing my reliance.
In distorting the appearance of the teddies, I aim to induce feelings of discomfort in viewers. Bastardising nostalgia, by taking something so comforting and familiar and reconstructing it, I will propose the examination of the relationship we have with childhood toys. Sourcing bears both from charity shops and the collection from my childhood, there will hopefully be a potential likeness that will incite recognition in most audience members, and therefore ultimately feel more personal.
The ragbag creations evoke the monster, with myself enacting as their Frankenstein.
olivialeah@gm
ail.com+44 (0)7881347185
@acow
lart
OLIVIA
LEAH
52
My artwork is playful and multidisciplinary, using a combination of highly saturated colours and soft materials to encourage curiosity. Once a viewer is enticed to inspect the work more closely, I aim to transform curiosity into repulsion as the viewer begins to notice the more grotesque elements of the work.
Within my practice I aim to explore questions around relationships, gender and reality in contemporary Western society.
Living in an age of profound technological progress, I was prompted to consider how much involvement technology, and specifically the Internet, had in my upbringing. The artwork ‘Motherboard’ was strongly shaped by my interactions with, and dependence on the Internet from a very young age.
lajn
usik
1999
@ho
tmai
l.com
+44
(0)7
5049
7723
3ke
rolin
k.m
ypor
tfol
io.c
om
Face
book
: lai
najp
eg@
lain
a.jp
eg
KER
OLA
INA
LIN
KEV
ICA
53
I work with autobiographical themes of memory and diary-style documentation, cataloguing experiences through daily drawings. I use snapshot photography to create an authentic and honest aesthetic through spontaneous, blurry and unconventional compositions. My practice explores analogue processes: the dark room investigates themes of abstraction and distortion through methods such as solarisation, chemical manipulation and long exposure.
The ambiguous and other worldly qualities of my images work to illustrate my struggles with anxiety. Alongside this I have created a body of work that aims to transform my imagery into artefacts, using liquid light to expose my photographs onto ceramic tiles, symbolising the comfort of the domestic space. The images and their aged surface quality evoke themes of nostalgia and memory, encouraging reflection. em
majanelloyd@
btinternet.comEM
MA
LLOYD
54
My practice focuses on the ideas of postmodern drawing, with the intention of showing drawing’s ability and directness in translating the mind through the hand without restriction of context or subject. To do this I will be exhibiting a series of closely arranged mixed media drawings, composed as created structures that paste personal experience into a mind map of architectural based forms.
man
son.
harr
y.a@
gmai
l.com
+44
(0)7
7721
2268
3H
AR
RY
MA
NSO
N
55
I make interdisciplinary installations inspired by imperfections within repetitive actions. I am highly flexible in my practice, engaging with not only sculpture and painting but incorporating my music background with voice and audio work when developing ideas. My practice is particularly influenced by the work of Gilles Deleuze and Olaffur Eliasson with further influences from American minimal music and affect theory. A link between the physical and ephemeral moment and the reaction between these two entities is essential to my work. There is a link between circles and cycles of patterns and what interests me is how repetition is at the heart of both.
maria.kiku.m
+44 (0)784182503M
AR
IA M
AR
SHA
LL
56
Bryony’s practice explores visualised silences and persistent noises. Working with paint, ink and household materials (such as wine, crayons and coffee), Bryony creates site-responsive, multi-sensory, drawn installations - encompassing the wall and floor as her canvas.
Bryony’s practice explores constant noise as a form of silence and unexpected silences as a form of noise. She uses line as if she is composing music, challenging spaces like a conductor’s baton in the air. Philosophies surrounding silence are the foundation to Bryony’s research. Italian composer Luigi Nono’s concept of the perpetual noise of trains in the London Underground being the music equivalent. Bryony’s drawings are frequently created using unconventional materials, often those found in the location to which the the art responds.
bryo
nym
ead@
gmai
l.com
+44
(0)7
9612
6487
9br
yony
amel
iam
ead.
co.u
k
BR
YON
Y M
EAD
57
My realist-inspired drawings communicate the act of self-portraiture. Recording what I, myself as the artist, see develops an honest documentary style through close observation. I am fascinated in maintaining drawing’s significance within a contemporary framework. I carefully consider attributes such as mark making, highlights, shadows and compositional arrangements to explore whether liveliness and motion can be heightened within a hand-rendered drawing, compared to that of a photographic self-portrait.
Drawing as a medium amplifies the immediacy, intimacy and subjectivity commonly recognised within self-portraiture as a genre. Forging interactions between viewer and viewed further develop my work’s intimate nature. While the audience engages with the self-portrait personally, the work also captures an essence of what I see.
sophiemelligan@
live.co.uk +44 (0)7508107971
SOP
HIE M
ELLIGA
N
58
Gore gore goreBlood blood bloodGuts guts gutsAre you feeling the cuts?
Pink cloudsCotton candyLook closerLose all composure
Linger too longThe demons take onFear and disgustUncomfortable lust
vero
nika
.mih
alev
a@gm
ail.c
om+3
59 8
8544
4901
ww
w.s
auss
.co.
uk@
SAU
SS
VER
ON
IKA
MIH
ALE
VA
59
Paintings develop as meticulous reference to phone photographs, either depicting, or taken by, myself. Nocturnal leisure space and its handling of light is influential; I am interested in our ambivalent relationship with darkness in modernity, and its capacity to alter behaviour. Darkness is displayed as rewarding and freedom-granting, reworking culturally and religiously conditioned attitudes.
Touch is presented as the foundation of this freedom and sense of community found in religion and night-time establishments. Depictions of darkness and touch work together to introduce intimacy. The reciprocality of touch is made visible, as the viewer sees two hands touching, and multiple, as the viewer imagines their own hand in place of those depicted. The paintings’ photographic origins magnify subtleties of gesture, introducing sustained tension.
aliceemiller@
icloud.comaliceem
iller.comA
LICE M
ILLER
60
My practice focuses on landscapes and seascapes with a more recent predominant focus on those in Britain. I hone in on the themes of Romanticism and the Sublime, and how these can be presented on varying scales and in a semi abstract, painterly style. I play with painting and mixed media styles that have varying levels of abstract forms within them and as such, allow an element of personal interpretation for the viewer to identify the scene as they see best.
I incorporate a contrasting background/border colour within many of my landscapes, due to the dull nature of many British landscapes. The bold colours are intended to provide a bright positive contrast to reflect my own personal sentimental fondness of the British landscape and seascape.
laur
en.m
oorh
ouse
@liv
e.co
.uk
+44
(0)7
8856
7217
3LA
UR
EN M
OO
RH
OU
SE
61
My interest has always been in exploring the human condition and the mechanism of mind.Through figurative realistic paintings I aim to decode and explore the human by focusing on the sociocultural perspective. Through digital painting and traditional oil paints, I encourage the viewer to interpret my work as an allegory to address social determinants of health and eradicate the social stratification system.
The subjects are directly facing the viewer to develop an instant connection, with particular emphasis on the eye contact. The mysterious identities of the subjects develop an ambiguous atmosphere; thus, imagination is necessary in order to translate and convey the mood of the paintings. The absence and distortion of essential facial characteristics slow down the viewers and cause a reflection upon themselves.
elia1999@hotm
ail.com+44 (0)7548846713
eliamorfitou
ELIA M
OR
FITOU
62
My art explores the complexities of human beings; our identities, our physicality, our views etc. Using a combination of figurative and surreal imagery, I challenge myself and my audience to reconsider what it means to be human.
To be human is to be imperfect; we grow hairs and gain wrinkles and possess flaws. Yet, we disregard realistic depictions of ourselves as graphic and distasteful whilst we lust over the airbrushed illusions on our screens. I believe, particularly in this age of traditional and social media, it is fundamental to reconnect the human with the body.
By deconstructing and reconstructing segments of our natural form, and suspending them in unusual, aesthetic settings, I attempt to let the naked body be reconsidered as something to enjoy and engage with, rather than something to avoid.
esth
erdo
tmun
ro@
gmai
l.com
+44
(0)7
3429
6412
3@
emun
roar
t
ESTH
ER E
IRIA
NED
D M
UN
RO
63
For me, a painted portrait enables a distinctive and unique way of seeing a person.
Within my practice I create portraits to represent the personality and character of individuals through the medium of paint. Each person is complex, and a combination of many elements. I aim to give insight into the subject’s individuality and who the person in the portrait is, rather than just achieving a physical likeness.
I start by making preliminary drawings of my subjects’ faces and other parts of their bodies to understand the individual better. I then begin painting and build up the layers of paint to act how the skin does, with my drawing language running through the painting. The subjects I portray are my close friends and family as I feel I attain a candid and strong depiction of them due to the close relationships I share with them.
+44 (0)7585802628@
hohegart
HA
RR
IET O’H
EGA
RTY
64
The eternal process of time, and its fugacity, forms the basis of my practice. Materiality is a key theme, as I provide insight into entropy through ephemeral, raw and ambiguous installation and moving image works. I incorporate natural materials such as earth and water to explore a transformative, cyclical process. The idea of form ‘becoming’ is central, as there can be no definitive ending.
My work is a visual expression of ecology and the effect of time. All forces and entities of nature are alive; constantly affecting, signalling and adapting. This is an infinite, immediate and honest process, as structure destructs responding to implemented forces. I endeavour to provide a visual of the progressive impact and seek to give insight into and acknowledgment of the constant metamorphosis and rupturing of matter, which is happening all around us.
eliz
abet
hosb
orna
rts@
gmai
l.com
+44
(0)7
3916
4392
9EL
IZA
BET
H O
SBO
RN
65
Inspired by psychogeography, I wander through spaces photographing what grabs my attention. I explore urban landscapes, domestic spaces and seascapes. I then bring the photographs together, allowing the them to interact and corrupt each other.
I also abstract my photographs through darkening, creating subtle images where the photographed space is barely visible. It strips the photographs of their existing sense of place, becoming a new space for the viewer to respond to, evoking memories of locations in their own mind and establish a new sense of place within the gallery space.
fnpryce@hotm
ail.com+44 (0)7805292315
FREYA
PR
YCE
66
My work focuses on mankind’s relationship with nature. I am heavily influenced by the romantic movement, specifically the pastoral, where the dominant idea was essentially escapism. People chased the idealist dream of the golden age by seeking refuge away from the city in the countryside. Through pastoral painting, a utopia is formed where mankind and nature work in harmony, creating a framework for a better future by looking at what has come before.
In our current climate change crisis, it is important to mend the severed connection that we have with nature. Via painting I aim to approach the subject in a similar manner as past romantic artists, creating an idealised view of nature, thereby making a direct link between romantic themes and modern concerns about the environment.
evej
ulie
t222
@gm
ail.c
om+4
4 (0
)743
2465
051
@ev
e_ju
liet_
art
EVE
SMIT
H
67
My speciality is portraiture oil paintings. Investigating traditional realist, Flemish painting techniques with that of various contemporary artists, my practise aims to document the physical appearance of the sitter. The viewer is able to relate to the work as it is not of an abstract nature, the faces resemble the ordinary and is so something they can recognise and will hold familiarity with.
By exploring the idea of weakening the connection between the painting and viewer I have been looking into the portrayal of vacant faces, thus causing a lack of connection between the painting and viewer due to the absence of expression. This vacant gaze of eyes that look just beyond the observer brings on a wondering of what it was that the sitter was looking at, a curiosity of what moment was captured during the creation of the painting.
chloe_sparrow@
hotmail.com
+44 (0)7712707499@
chloesparrow_art
CH
LOE SPA
RR
OW
68
My work is about creating environments of meta and hyper-realities through staging spaces with sculptural objects, videos and performances. It explores kitsch in contemporary communities in relation to human condition, especially the themes of primary metaphysical desires and fetishes. It does so through using cross-cultural, socio-political imagery, symbols and allegories, as well as elements of satire, all evolving from social phenomena grounded in the theories on Soviet, post-Soviet and Western.
I identify and analyse contemporary rituals, post-folky social constructs and symbols that designate social spaces, sometimes expressing different meanings in different cultural backgrounds. I explore the notions of social myth and higher parties, challenging human constructs through framing new socio-political realities interpreted as kitsch.
klar
a.sz
afra
nska
@gm
ail.c
om+
(0)4
4754
1535
091
@em
unro
art
KLA
RA
ZO
FIA
SZA
FRA
NSK
A
69
My work has developed into a study of primitivist self-portraiture by way of concentrating on limiting brush strokes (11 or less) used to construct my face, in order to avoid any aesthetic compromise. The colour pallets used gradually became more limited and initial interest in Fauvism has influenced me to use vibrant colours, while my research into a personal colour theory and Rothko’s block colour work show how necessary the colours are.
My exploration led me to look into the significance of tone and whether that can contribute to compromising simplicity. Through my practice I was trying to find a balance between the aesthetic appreciation of the image and keeping the portraits’ simplicity and lack of identity. My work ended up being a visual journey of my exploration.
Harvey.t@
mail.com
+44 (0)7707348070@
H_locker_
HA
RVEY TU
RN
ER
70
Ideas surrounding the threshold and liminal space underpin my practice, which utilizes painting as a predominant medium to investigate and transcend geometric boundaries, especially in relation to the home.
I am working between two-tier terminology, harmonizing dream and reality, absence and presence, pleasure and displeasure. Thus, creating a practice that falls between classificatory boundaries, existing on the edge between spaces, amidst the limen. I merge foundations of the real and the everyday with elements of imagination that reference towards the surreal, blurring and altering perspective to create something distant yet familiar, evoking an uncanny experience.
Oscillating between tangible reality and an in-between, a dream, a memory forming and then fading away.
holl
ieup
ton7
@gm
ail.c
om+4
4 (0
)748
4854
821
Hol
lieup
ton7
@gm
ail.c
om@
hol.u
pton
HO
LLIE
UP
TON
71
My work is about recreating my experience with ADHD. I do this through installation, using technology to build three dimensional sound and a cacophony of fragmented videos displayed in oddly sized screens, scattered around my space, which together, form an immersive representation of my everyday. By extending the concept beyond the screen, creating an environment to show my perception, allows the viewer to experience my representation in another dimension.
I recreate manifestations of the defining symptoms of the condition within the videos, in addition to the presentation and display of my work. These include: distraction, disorganisation, distorted sense of time, unpredictable focus and scattered thoughts. I do this through the filming and editing of my footage, using rhythm and repetition as tools in controlling the viewers attention.
+44 (0)7467944904w
ww
.zoewanless.com
@1of1lib
LIBB
Y WH
EATCR
OFT
72
Windows bring the outside world in and direct our eyes outwards.
My landscape-based practice centres around the idea that being able to see far into the distance can offer freedom for the mind.
The horizon, where the Earth’s surface meets the sky, captivates me as it is both a boundary line and a motif for the infinite. I use my horizon as a device to ground my present experiences, instil perspective in my life and to visualise my future ambitions. This is coupled with the notion that, without sight of my horizon, I feel claustrophobic and cabin fever sets in.
Through a combination of printmaking and photography, I create abstract compositions that are deceptively simple. Spatial depth directs the viewer’s eyes through my landscapes and into a space of active contemplation.
hann
ah@
plw
ilson
.net
+44
(0)7
7539
0002
4ha
nnah
wils
onar
t.co
.uk
HA
NN
AH
WIL
SON
73
My fascination lies in highlighting the delicate and subtle qualities of paper, an everyday material whose artistic value is often overlooked. I’ve harnessed the process of burning to manipulate the materially banal, paradoxically using destruction to celebrate its transformative potential. Light is utilised within large-scale installations to accentuate the patterns I’ve burnt, exploiting the transparency of the paper to showcase the capability of its strength and beauty.
My work sits within the expanded field of contemporary drawing, challenging drawing traditions by abandoning the medium’s conventional media and rules. Rather than burning figurative or representational patterns, I draw with abstraction, a use of mark-making which helps the viewer to reflect on the material properties of the work.
nrwilson@
virginmedia.com
NATA
SHA
WILSO
N
74
This is a series of one page manga based upon the poem ‘Could Not Stop For Death’. The feminist symbolism is interpreted then made into the short mangas pages; using aesthetics in terms of colouring, layout and art style to create a narrative.
soph
ie_w
oott
on@
yaho
o.co
.uk
+44
(0)7
4644
1594
4@
Dol
phim
ine
SOP
HIE
WO
OTT
ON
In a world saturated with camera made photographs, my work focuses on image-making within a post-photography age. Exploring camera-less photography and image destruction through the mediums of photograms and polaroids. These ephemeral images achieve a sense of vitality, whilst detaching themselves from reality through the perception of dreams and the mystery of creation. Where the familiar appears unfamiliar and therefore questions the reality through abstraction.
My practice is process led in which chance takes lead over control. Here I modify the traditional rules of developing photographs, thus allowing the material to express energy through a life of its own. In doing so, tension is caused between the control of the artist and the materials. This element of chance restricts the replication of these images, creating unique art works.
emm
a.wright.11@
hotmail.co.uk
+44 (0)7748494321@
emm
awright_art
EMM
A W
RIG
HT
NOTES
[email protected] June 2020
