MADE IT

2020

MADE IT

2020

Kaya

Fraser

Katie

Butler

Lydia

Ahmed

Rithika

Pandey

David

Reynolds

Florence

Carr

Enorê

Nim Tung

Tang

Stiliyana

Minkovska

Hattie

Malcomson

Amber

Brown

Baba

Webb

Heather

Bell

Ella

Jones

Harvey

Rutter

Babs

Smith

Heidi

Nicholson

Nicholas

Delap

James

Knights

Aisling

Ward

Rosalyn

McLean

Martha

Scott

Hellie

Cartledge

Anna

Davies

Maya

Wallis

Emalia

Mattia

Hannah

Lim

Ameerah

Dawood

Aurelia

Cooper

Celestia

Anstruther

Anabel

Garcia-Kurland

Katie

McVeigh

Isabelle

Kenningham

Kohenoor

Kamal

Rodrigo

Costa

Sarah

Larby

Sarah

Richardson

Suri

Park

Tayo

Adekunle

Vivian

Ross-Smith

???

 

HATTIE

MALCOMSON

The central subject of my practice is the process of women empowerment in the context of contemporary society. Whilst exploring themes of women’s sexuality, beauty standards, sex working, coronavirus and loneliness, my paintings present powerful female characters with aggressively formed, almost caricature-style, ugly faces and confident poses. I am interested in creating contradicting feelings of attraction and repulsion in 

the viewer and testing the aesthetic boundaries of taste. I also want to evoke feelings of awkwardness and discomfort in the viewer, and particularly for the male gaze. This, along with the attention seeking confident poses, brushstrokes and intense colours, and intimidating (sometimes seducing or mocking) female gaze at the viewer is an attempt to challenge and confront patriarchal society.

AURELIA

COOPER

The only thing we have to galvanise us against the dark is hope - however powerless we feel, we must all make this conscious effort to transform ourselves, thereby changing our environment. Turning to 

the natural world, we can be inspired by its resilience, so representations of growth - holding both death and joy of living in the same space – pervade my work such as plants, trees and flowers pushing toward the light, alongside bold, dynamic lines.

Concerning this ongoing internal struggle for hope, I thought not only about the contents of the work, but also its relation to the surrounding architecture - with material coming off the walls, even being shown outdoors. I am further influenced by the crossover of language and image that occurs in poetry, placing words or phrases - often fragments of song lyrics - within the pictorial realm to activate the imagination and add to this sense of expanded narrative.

JAMES

KNIGHTS

My work is typically concerned with ideas of performativity. Often critiquing ‘homomasculinity’ – a term that describes the dominant hegemonic masculinity diffuse throughout queer visual cultures that resists submissive oppression. I often critique the overinflation of desire. Through use of visual motifs I create visual languages for my audience to identify themselves through. I work with painting, drawing, sculpture, video and performance. My work is absorbed in queerness and class.

 

MARTHA

SCOTT

Martha Scott makes sculpture with mass-produced, everyday objects that can be categorised as domestic or industrial. She creates points of tension and tenderness through
playing with the unnoticed.

He leans forward and picks a small piece of dry skin from her bottom lip.

Scott gathers her objects, like ingredients or building blocks, into a space, arranging,bonding and fastening them into forced relationships. Informed by their material properties and elements of chance, she refines and presents them in a highly controlled manner.

He points at her laptop, correcting small and unimportant elements of the website she appears to be editing.With his left hand, he touches the tassel that ties her top together and the sun catches the silver band around his finger.

Tensions are created through the recurring element of the fastening: a taut rope extends from floor-based objects to the wall, anchors onto a cleat or utilises existing architecture, a metal clamp or length of electrical tape fix a paper print onto a bracket.

Because of this sun, she insists they move table, away from the window.I wonder if it's because she's noticed me looking.

The presence of fixings, fastenings, clamps and blocks, heightens the delicacy of the intimate details embedded within the work. These intimate moments allude to traces of human actions and gestures, such as the familiar squeeze of a toothpaste tube, the press of a piece of Blu-Tack or the indent in a carpet.

He orders a BLT. He talks at her about advertising.Apparently she needs to be more concise.

Text collected from stories and conversations is treated much like her objects, as material to be arranged with humour and romanticism. These titles often contradict and contrast to the physical objects themselves.

Now he's got mayonnaise in the corners of his mouth. She puts her cardigan on inside out.

Martha Scott’s work calls to notice both the pleasure and discomfort she finds operating within the mass of objects that surround her.

SARAH

RICHARDSON

For all life, survival of the species is paramount. To achieve this the natural world is constantly adapting and evolving in response to ever-changing environments. My visual research focuses on carnivorous or ‘man-eating’ plants. I was attracted, much like their prey, by their flamboyance and ornate and decorative appearance. I was further intrigued by their devious character.

These plants can act as monsters of the natural world as they use their evolutionary techniques of trickery to lure their prey in, before trapping them with their dubious surface textures. Each carnivorous plant is uniquely and skilfully designed to catch the eyes of the natural world in order to thrive.

This collection celebrates a terrible, dark beauty in uniqueness. Inspired by the plants ruthless yet successful survival techniques, I have created a collection of repeat prints to portray a sense of continuous growth. I also use scale to create visual impact and mirror the endearing qualities of the visual source. The printed textiles have been developed digitally while retaining hand-drawn qualities and a lively variety of marks within bold compositions to translate the personality of the carnivorous plants. Additionally, this collection builds upon the printed designs creating dynamic textures through embroidery and embellishment, to produce a bold and striking aesthetic.

The collection is designed for couture inspired, high fashion womenswear. Brands like Delpozo and Richard Quinn are key influences with relation to their use of artisan hand processes and bold prints.  The collection is digitally printed onto a range of tactile materials, from thick linens to delicate satins, to achieve unique statement prints. The use of contrasting textural fabrics creates a tactile experience much like the plants dangerous and intelligently designed surfaces. This collection captures the devious personality of some of nature’s most intriguing plants and evokes it through bold and dramatic fashion textiles.

FLORENCE

CARR

Centred within Julia Blackburn's book 'Time Song: Journeys in Search of a Submerged Land', these works relate to the lost Mesolithic land, Doggerland. Through a repetitive process of discovery and documentation, this body of work pieces together site-specific 

facts and fables. With particular focus on removal of artefacts from their soil bed.

“The people of Urk … a very remote and religious community … adopted a new boom-trawling method in the late nineteenth century… starfish, crabs and lobsters, all hauled into the air in a muddled heap of desperation. But what also came up in the nets was the bulky presence of the skeletal remains of huge beasts: curling ivory tusks as long as a fishing boat; stone-heavy skulls no one could identify. Some said the creatures had been drowned found thousand years ago when Noah’s Flood was rising, in which case the fact they did not survive meant they were not wanted in the world because they were the work of the Devil. Others simply found them too strange and too threatening to contemplate. They broke the bones in pieces and threw them back from where they had come from.” Pg. 92, Time Song

I am a glass artist and began my creative journey in 2017 following a background in maths and technology. I specialise in combining hot glass casting with kiln-casting and glassblowing techniques, and I’m passionate about innovation within glassmaking. I currently work with clear glass and create my own colour using metals and oxides which transform on contact with the hot glass, alongside reagents which create bursts of delicate 

bubbles under the surface. My goal for the future is to continue exploring glass as a material, pushing it to its limits and discovering new and exciting ways of working.

HEIDI

NICHOLSON

ELLA

JONES

Video - Textures of isolation (No sound). 2020. The film would be projected onto a white wall. (1 minute 33 seconds).

The video presents a series of vignettes showing my sculptures and costumes being interacted with and worn, as well as close-ups of their colours and textures. Since Covid19, I've been making fictional ‘COVID Coping Costumes’- outfits, such as conjoined gloves to facilitate hold

Watch Here
Textures of Isolation // 2020

hands while maintaining social distance. A furry hood/poncho to catch the virus spores before they get to your face (thinking of how animals can catch the virus in their fur).

Also, hand, feet, and head cones inspired by pet cones and umbrellas, that resemble petals protecting the inner bud.

Lastly, a pink latex suit that limits feeling with the hands exploring how we've become mindful of our touch using our feet to open and hold doors.

All these are shown in the video.

Two large fluffy latch hook tongues studies the ‘tactility’ of the Welsh language.  I’m a Welsh speaker and I miss Wales and speaking Welsh, especially when I'm not able to go there. The phonetics of the Welsh language seems to utilise the tongue, therefore, I made two tactile tongues imagining there fluff feeling and touching and prodding words and letters.

Kohenoor is a multidisciplinary practitioner whose practice includes a focus on working with clients and briefs which highlights inclusion and accessibility through research-driven design. Her designs are made up of bright and bold colour palettes which utilise minimalist structured designs. She is as much influenced by traditional design concepts as she is by other forms of media such as cinema, photography and

illustrative movements.

She is currently a freelance designer and illustrator based in Leeds working on developing her practice further.

KOHENOOR

KAMAL

SARAH

LARBY

What unites my work is an understanding of materials, using materials in such a way that the viewer is unsure of the processes involved in the making of the object, searching for a type of pure form where the visibility of the hand of the artist or the creation of the work is secondary to the thing itself.

I would describe myself as a maker of things. Not sculptures or paintings or objects but things that exert their

materiality and proud undefinable “thinghood”. 

Inspired by Jane Bennett’s Vibrant Matter, my treatment of materials differs depending on whether or not I consider them to be animate or inanimate. She believed that ‘the curious ability to animate, to act, to produce effects both dramatic and subtle’, I try to reveal this and find the inner life of every material I work with.

I would consider plaster, silicone, resin and expanding foam as “animate” materials, since they have a transitory temporal state before setting. Working with these casting materials, when they are transitioning between two states of matter in the curing process, is a crucial aspect to my artistic practice as the dynamic fluid form metamorphoses into the static, allowing materials to form their own shapes in a balance between human control and chance.

“Inanimate” or dead materials are materials which have been in one state of matter for a while and which have no movement or agency. This includes set casting materials; as well as materials such as rubber, wood and fabric. When working with inanimate materials, I tend to exercise more control, manipulating the material in a more labour and time-intensive process. 

By taking materials out of context or traditional use we can begin to question our immediate relationships to them, showcasing something new and unexpected.

What happens when you struggle to recognise yourself and the person you are can no longer be found? I use my work to explore relationships and the impact they have on me.

Within my work I want to create curiosity, disquiet, humour and to play with the narrow margin between attraction and revulsion. I aim to create an emotional or physical response in my audience and make them ask:

HEATHER

BELL

What is that?

What is happening?

What is the relationship?

 

With my anthropomorphic creatures I look to create and question narratives. I hope for a double take, a feeling of unease or uncomfortableness and a sense of otherness and the unknown.

When lockdown hit I was mid-built on large human scale pieces, I didn't have many finished pieces and no facilities or space to work on them at home. The two pieces I have chosen are very different. The small pair 'Bob and Geoff' were made early in my final year.The larger metal piece 'Hollowed Out' is a personal expression of how I feel, even more pertinent after this year.

KATIE

BUTLER

"I am a multi- disciplinary artist based in London. My work is often inspired by contemporary culture which is explored across platforms such as film, illustration, print and sculpture. Some of my most commonly explored themes tends to open dialogue on societal issues such as gentrification. 

I am interested in this opportunity because I would love to get the chance to have my work seen and gain a platform for myself and ultimately show people what I love to do.

Watch Here
Good Grief The Movie // 2020

My work evolves largely in response to my cultural identity and experience. As a person of mixed Singaporean and British heritage both my research and practice has come to engage with the colonial connotations of the relationship between the East and the West. 

HANNAH

LIM

These connotations are most evident in themes such as Orientalism and its relationship to the Chinoiserie in which elements of Chinese design were recreated in relation to European aesthetics and tastes. My practice touches upon this collision of cultures, both on a personal and political level.

Recently I have been creating peculiar, somewhat furniture-like structures. These pieces combine motifs and imagery from both Chinese and European furniture design. In doing so I attempt to re-imagine and reclaim ideas and designs associated with the Chinoiserie, which have in the past had problematic colonial undertones. Cultural designs are shared as opposed to appropriated, it is no longer about one culture being moulded to the demands of another.

Whilst these themes form the foundation of my practice they don’t control how or what I make, their occurrence in my work fluctuates: sometimes having more presence, sometimes less. I like that the objects that I create can be somewhat playful. In a series of more recent works I have chosen to incorporate slightly anthropomorphic qualities into the furniture structures, this development I think helps to prevent the objects from becoming too static or fixed, rather the sprawling table legs and tentacle-like chair arms seem to portray these objects as having a life of their own. Being in a curated show with a series of recent graduates, is a great opportunity to become more connected with emerging artists around the UK, as well as being a fun way to display my work in a new context.

 

RODRIGO

COSTA

My work draws from repressed needs and feelings, those that have been deleted and/or reprogrammed by society – our purest, unstained self. Researching ways of reawakening our more organic instincts, by evoking a simpler era 

A Cabinet of Wonders and a Living Room // 2020

– childhood –, it explores the concepts of playfulness, evasion and obliviousness, with great aesthetic emphasis on colour, light and scale.
Expanding on a child-like mind – busy, fuzzy, transformative – and recurring to diverse media (painting, sculpture, video, performance), I represent expressions that incarnate the fleetness so common to children. Inserted in environments that exaggerate in scale and momentum childish gestures and memories, amateur, odd, DIY-like objects, installations and situations reflect on how play may inform, extend and disturb what is described as a socially-acceptable ‘adult’.
Everything seems to be happening, everything appears to have been created – society exists drenched in utter boredom. We have forgotten the basics, drowned the easiness and killed true will. Instead, there is a choice to wrongly feed insecurities, rage, hate, egos and depreciation. What I propose with my practice is the creation of playgrounds for questioning and liberation of the self; a journey of self-rediscovery that dabbles with scale, memory-based ‘reality’, identity and image; an alternative to the overly complicated 'now'.

I am a London based spatial designer who focuses on the dialogue between physical and digital architectures to question the physical entanglement within digital practice. 2020 has become a defining moment for 

ANABELL

GARCIA-KURLAND

virtual engagement which has pushed the boundaries to utilise 3D world space in order to communicate with one another. My research embodies the use of technology and multi-disciplinary architectures utilising 3D spaces, VR and sound design to explore my interests in environmental and socio-political impacts from digital infrastructure. All my projects have pursued a common theme of data aesthetic analysis covering the body, data exploitation, machinery and geopolitical infrastructures through a fascination with hybrid extensions in the 21st century. My projects have explored alternatives for efficient heat-reuse in Arctic data centres, urban farming that utilises the mechanics of horology, digital archiving of skin for the violence of pixels and bio-politics in filtered data.

Reclaiming Idleness // 2020
Broadcast // 2020

VIVIAN

ROSS-SMITH

Working from the Shetland Islands, I adopt a collaborative and systematic approach to making and sharing through painting, textiles and the digital. My work creates 

space to discuss the practices of island life from a contemporary, fine art context and explores the textures, qualities and values of material and space. My work builds relationships and conversations between material, place and people and is as much about experiencing as it is about seeing.

'I’m not sure this feeling of dancing would come about again’ is made up of two works: a text piece and a documented performance/video work. With an interest in unpicking the internal adrenaline rush often found in small acts such as listening to music, dressing and dancing in my room, both pieces explore the bodily

MAYA

WALLACE

experience of excitement: its essence, intimacy and effects on the body.  Focusing on two acts in particular, dressing in my red jumpsuit and listening to Kate Bush's - 'Hounds of Love', the work explores ways of allowing an audience to witness these intensely private moments. 

Both pieces are documents from performances that happened during lockdown. My practice became situated in my bedroom, a site that embodies the private and the intimate. The text piece acts as a more reflective work, engaging with the readers imagination. It works its way through a particular dance session that happened alone, a dance session that was more impromptu, that took place with no witnesses. The text is small but carries a lot of weight, it romanticises an extremely private moment of excitement contained within my body, that happened when no one was watching.  The text came before the video work and in a way it fuelled it. 

The second performance was documented, my camera acting as the only witness. Dressed in the red jumpsuit, I performed alone in my bedroom: my eyes were shut and the music, Kate Bush's - 'Hounds of Love', was playing through my headphones. The sound consumed me whilst I sang out loud and began to dance. The dancing is unchoreographed, messy, unrehearsed – my instinctive reaction to the beat and Kate’s voice. Watching it back, I noticed differences: my heavy breathing, my missed words, my stumbles. In my head were sound, drums, shrieking: watching it back there is only my voice, breath and sounds of my body moving alone in my bedroom.  The short, unedited film creates an intersection between liveness found and felt in the fleeting moment of performance work and the archival nature of film. Dancing in the middle of a pandemic, I attempted to find excitement amongst the uncertainty, the solo performance creating a strange sense of heightened intimacy. 

I'm Not Sure If This Feeling Of Being Able To Dance Would Come About Again // 2020
The Everyday Achivist // 2020

KAYA

FRASER

Now just a wee message to say why I have chosen to submit this piece. In recent graduate opportunities, I have focussed on presenting my photography as I have plenty of it 

and felt I could continuously change it up to display different series and or images. I think it is a perfect opportunity now and with you to show my film again and I'd be so excited for it to reach and connect to a community through collective working-class memory, beyond Scotland. 
I graduated this year in art and philosophy. The multi-disciplinary aspect of this degree has been essential in my development as an artist. Perhaps directly influenced my own description too. I am a multi-disciplinary artist, drawn to analogue lens-based mediums, archives, mastering the amateur and artist publications. My practice is bound in the everyday archives found in the site of the working-class home and its surrounding communities, often engaging with my own or collective memory-work. I use the title 'The Everyday Archivist' a lot because it is simply the most descriptive way of telling what I do. I have a collect, catalogue, archive, respond methodology approach to making work. 
My physical degree show was to emerge in three parts. The main focus of the space was the two films shown on CRT t.v monitors sitting on four-legged metal frames, standing towered next to each other with a harling/pebbledash printed drape hanging behind and real harling scattered across the floor. I also had a series of four embossed prints and 120-page photography and writing publication.

As a graphic designer and image-maker, I creatively explore subject matter through material, typesetting and print. I have a particular affinity for the physical object which is represented through my work, whether the outcome be tactile or digital. I pride myself on maintaining a high attention to detail and, as well as taking on projects individually, I often work as part of a team; with printers, photographers, stylists and illustrators. I thrive in changing environments as a confident communicator and an effective 

ROSALYN

MCLEAN

collaborator. I have a great many interests I can share from film and music to garish knitwear, but something I have explored creatively outside of my university work is environmentalism and social justice, working closely with a group of creatives and academics to research and debate a breadth of causes and issues.

With a current lack of space to show work and uncertainty around when this opportunity will arise I am keen to have access to space which will allow this. Alongside this, I would be excited to show work with other graduating artists that understand the feeling of losing their degree shows. I would also be excited to be apart of a show that demonstrates how their practices have changed due to Covid-19 lockdown measures, yet celebrates the graduating class of 2020.

The Norwich Movement // 2020
The Big Sneeze // 2020
Lockdown Diary // 2020

HARVEY

RUTTER

I work mainly in print, collage, video and 3D, exploring themes of sexuality, identity and fashion. My work is very much related to me and my experience living as a 

young gay person in the twenty-first century. I see my creative process as a way to investigate anything that fascinates me, for example, popular culture. My obsession with celebrities, fame and fashion has become a strong feature in my work where I like to splice together high and low culture and explore the vicious cycle of fashion.

My practice is built around the repurposing of popular imagery and sound, found fonts and signage, habitual movement. In performance, they look to the body as a tool, an embodiment of labor, migration, industrialization. By improvising actions with found objects and paper mache sculpture, I re-enact the

EMALIA

MATTIA

alienation of the body. The sound of country music haunts my work, in connection with a holy ghost.Through painting, video, and installation, I re-work gendered tropes into a transgender experience of longing and desire.

Big Moon // 2020
Trap Door // 2020

CELESTIA

ANSTRUTHER

Expanding sculpture digitally and thinking through making, I use sculpture and imaging as a way to re-inhabit a place and state of mind, disorientating atmosphere 

with physical absence and remains. I try to reframe psychological situations of inarticulacy and illegibility through resourcefulness, constructing forms with defiant precarity out of perishable, found materials local to a site.

ANNA

DAVIES

In my work An act of a performance. (One Night Stand), I explore the performance of casual sex, specifically a one-night stand. I have find the concept of casual sex and one night stands very interesting as a common case-study for human behavior. It’s almost like a pre-rehearsed dance routine that two strangers perform together. There’s a routine to the act that is rarely discussed beforehand although you both know how it works, similar to other ritualised behaviors, there are ‘do’s and don’ts. Casual sex can be 

extremely lonely yet is also one of the most intimate acts you can perform with another person. It can sometimes feel a bit like a transaction, once the deed is done, both parties leave and carry on like nothing happened. This ambivalent behaviour contradicts the common perception of natural human desires or cravings and provoked the concept for this work. As a woman, the ambivalence of casual sex is a taboo subject I wanted to materialise in my sculptures.

Elizabeth Grosz writes ‘Until female genital and women’s bodies are inspired and lived (by the subject and by others) as a positivity, there will always remain paradoxes and upsetting implications from any notion of femininity.’(Grosz, 1994: P.73). Although young women often get labelled as crude or accused of oversharing for discussing sex, I hope my work starts conversations about sex that could destigmatise this topic.

During the creation of this work I was having very open conversations with female friends to try and explore their own thoughts on the topic, my intention is that this series of work is to encourages such conversations about sex. I view this piece as a collaboration of thoughts even though still very much a materialisation of highly personalised experience. An act of a performance (One Night Stand) is designed to be site specific so is open to change. I didn't want the use of fabric or representation of the bed frame to have any reflection of the "type" of person they might belong to, i.e. wealth , background, race or age. In various iterations I have altered the size of the bed, sometimes it can fit two people and other times it can fit no one. This work simultaneously embodies some of the women I have spoken to as well as being representative of no one, rather the anonymous body implicit in the ambivalence of a casual sex encounter.

Why Get Complicated, I Know You Wanna Turn Me On // 2020
An Act of Performance // 2019
Watch Here
The Path of a Single Thread // 2020
Watch Here
Performance in an Industrial Setting II // 2020

AISLING

WARD

My practice focuses on the human body as a sight for political imposition, of memory and also as a ground for resistance. Combining a mixture of archival materials,

choreographed dance routines, digital footage, text and rhythmic edits of sounds, I create multidisciplinary performances that often reference the social and political histories surrounding industrial labour, and how collective human forces have emerged through material culture. This gesturing towards the past is a way for me to engage with my own personal history, and to utilise this information to reimagine potentialities for the present, paving new ways for social change in the form of a creative, collective resistance.
My fascination with social histories, particularly those surrounding labour, class and gender politics, is derived from a keen interest in Marxist feminist literature, along with a personal, familial history connected to industrial labour. Silvia Federici’s essay, ‘In Praise of the Dancing Body,’ influenced me distinctly, stating how women’s bodies have been the primary ground of their exploitation, but also hold a potential for individual and collective resistance. This led to an investigative study into the physical and political movements of female bodies within the industrial workplace.

Recent performances include an exploration of the history of industrial lace-making in my home town in Derbyshire. Through movement and dance, I began choreographing routines to the rhythms of machinery, which I recorded within the last working lace factory. These dances are combined with video and sounds from popular culture, both as a way to engage with collective memories of audiences and also to create sensations of the cathartic and releasing pleasure experienced through dance and music.

I work a lot with self-portraiture, using my work to explore issues surrounding race, gender and sexuality as well as racial and colonial history. My work is centred around reworkings of historical tropes relating to the black female body, taking from contexts that include art historical paintings and sculptures as well as 19th century colonial photography. It's important for me to understand how the ways in which the black body was seen and treated in the past has informed how we are treated in the present.

TAYO

ADEKUNLE

 

I am a Northumbrian photographer, printmaker and early-career curator. My practice investigates the post-industrial landscape, ideas of Northernness and how archives can interact with the contemporary. ‘It Must Be Somewhere Here’ is a survey of the 

Northern coal-mining landscape. As I am the granddaughter of miners, it acts as geographical study and inquiry into ancestry. I record colliery remains and places of memorial. Former sites visually affected by chemical aftermath, exposed landfill materials and mine-water stained rocks. Through large-format photography and the photopolymer gravure, I create works where time cannot be specified, where process is elongated as much as possible, commenting on manual labour, materiality and the ritual of returning home to walk in empty industrial lands where man once laid his hand.

AMBER

BROWN

 

RITHIKA

PANDEY

I'm a visual artist from Mumbai India, currently based in the UK. My work is an exploration of the multifaceted surrealities of displacement that emerges from ancestral journeys, anxieties and hopes to contemporary socio-cultural, technological and evolutionary entanglements. Through a multiform practice spanning

painting, animation, collage, writing and installation I speculate both playfully and sensitively the dissociation that exist between mental life and lived experiences.

Throughout my years studying fashion, I have spent a lot of time reflecting on the relationships between us and our clothes. I see fashion as something that is intimately and inextricably tied to our bodies, our routines, our sense of self. It is not only something that is part of our lives -- it is our lives. Meanwhile, to me, drawing the faces for the models on my sketches brought me deeply in love. I 

NIM

TUNG-TANG

wanted my designs aren’t only about clothes but the emotions hidden behind. Therefore I started paintings and sketching try to understand and explore the faces and the mood, this is the essence I want to bring to my art work.

SURI

PARK

I have been researching marks from Disney films, abandoned dolls and images of children’s belongings. Alongside, rough, unintentional marks and images. I am curious about how materials and specific shapes can deliver a message by themselves. These collected marks are expressed in abstract drawings in my works. Researching the marks based on the context in which I find them, leads to the act of exploring them as ambiguous 

documents, each a part of the varied history and the materiality of drawing. In my current daily practice I build a variety of images from the aforementioned influences. This consists of a few key approaches such as small, delicate pencil drawings, mixed media collages and larger format, oil on canvas works. I am looking toward this opportunity as a way of showing a drawing collection of motifs that I have built up during the lockdown.

My practice has centred around exploring the process of collage and the cyclical nature of the image and the processes it goes through when posted on the internet, I initially explored this through digitally layering imagery but developed it further through digitally lining up symbols (through scanning and editing) and reprinting over the magazine excerpt using the manual feed tray. When I first began exploring art (especially after receiving bad grades in sixth form for it) I felt I could only have a successful piece 

LYDIA

AHMED

of work if it involved more traditional methods such as painting and drawing but I have loved the journey that doing Fine Art at university has taken me on in exploring new processes and how art encompasses such a vast variety of materials, processes and outcomes. I would love to have this opportunity to encourage others to explore Art themselves no matter what skills they have, I was selected to partake in the Manchester Open at HOMEmcr and I felt honoured for my work to be amongst the work of many others no matter what age or qualification.

KATIE

MCVEIGH

My Final Major Project was inspired by my Dad's cockney roots.

It consists of a series of limited edition screen and lino prints as well as a book project showcasing the print methodology and research. The dialect has a rich, niche history. The origins became paramount to how each print was created. The nature of the term and its context would decide the materials