THE SIGNATURE ART PRIZE CATALOGUE 2022 SHORTLIST
THE SIGNATURE ART PRIZE 2022
ABOUT
THE PRIZE The Signature Art Prize was established by art dealers and Gallery Directors, Isobel Beauchamp and Elinor Olisa, in 2006 to celebrate and identify emerging artists’ ‘Signature Style’. As those who have ever visited a university degree show will be aware, there is remarkable talent and high standards on show and the Signature Art Prize aims to capture this energy and assist young artists in exhibiting and promoting their work in an oftenchallenging art world. This international prize has run uninterrupted for 15 years with an annual gala event, held on the South Bank in Central London at the Bankside Hotel; a stones trow from the Tate Modern.
ART SALES
The Signature Art Prize is passionate about inspiring emerging artists to delve into their portfolio and find their signature style. The prize also provides them with the key essentials to furthering their artistic careers. The prize is open to all artists currently studying and those who have graduated from a global artsbased degree within the last 3 years. The competition is divided into the following categories: - Painting - Sculpture - Photography, Digital & Film - Drawing & Printmaking
One of the many exciting elements of the Signature Art Prize is seeing artists' artworks, from the collection, being purchased by collectors and clients who support the careers of these nominated, emerging artists. Artwork purchased from artists selected finalists will be included in the Gala exhibition and delivered to their new homes once the show closes in mid June 2022. Please do not hesitate to contact gallery Director Isobel@DegreeArt.com/ +44 (0)7708 251 687 if you would like any help purchasing from the finalists.
OUR PRIZE PARTNERS WE ARE DELIGHTED TO BE SUPPORTED BY: CALLSIGN
Callsign is an identity fraud, authorisation & authentication company. We solve challenges that organisations face in getting their users on to and interacting with their digital platforms easily and securely. We provide solutions to some of the world’s largest banks and offer “bank grade” identification to public and private sector clients of all sizes. Callsign’s Intelligence Driven Authentication recognises users by combining deep learning insights - derived across device, location and behavioural data - with personalised and contextual customer journeys. As a result, users can get on with their digital lives whilst businesses improve customer engagement, increase productivity and reduce the risk of fraud.
THE BANKSIDE HOTEL
The Bankside Hotel are a design forward and award-winning hotel, who bring to their guests a rich and immersive art experience. This unique hotel, located in the heart of London's South Bank, has been designed for all those with a passion for culture, art and food. Bankside Hotel are proud of their neighbourhood and intend the building to be a true reflection of the community spirit. Handpicked art is at the core of what we do and this partnership with Bankside provides exciting opportunities for the artists we represent to showcase their work, practice and creative processes connecting with people who live, work and visit the area.
THE ALDRIDGE FOUNDATION
The Aldridge Foundation is a charity built on a desire to open the minds of young people, equipping them with essential, transferable employability and life skills and developing an enterprising mindset so that they will have the ability to create better life chances for themselves. And become catalysts for positive change in their communities. DEGREEART.COM AND CONTEMPORARY COLLECTIVE
One of the UK's first Online Art Galleries, over the past 19 years, DegreeArt.com has established itself as the market leader in UK student & graduate art sales, hand picking & promoting the most promising talent, based in Somerset House. As well as selling, commissioning and renting the finest artwork created by the artists emerging from the most prestigious art establishments, DegreeArt.com runs an Artists' Residency and Exhibition program from its gallery and takes part in Art Fairs throughout the year. DegreeArt.com offers clients the opportunity to invest in the artists of the future. ARTCLOUD
The Signature Art Prize China run in partnership with established fine art and interiors company ARTCLOUD, the Signature Art Prize China shines a spotlight on Chinese graduates and emerging artists in both China and the UK. This partnership between Artellite and ARTCLOUD creates an International Young Artists Award, that provides a unique prize for emerging artists in China, and promotes outstanding young artists' "signature style". Placing Chinese contemporary art at the centre of its mission, the prize, which will run alongside the UK edition will target the global art collector and raise further awareness of young, talented, Chinese artists.
PHOTOGRA CATE
PHY & FILM GORY
THE SHORTLISTED ARTISTS NIGEL GOLDSMITH ROEI GREENBERG CATHERINE JABLONSKI VIRGINIE NUGERE ROB BIRCH ALEXANDRA MAVROFRIDI LIANGZI XIAO VICKIE AMIRALIS MELODY THORNTON
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Bath Spa University MA Fine Art Royal College of Art MA Photography Manchester School of Art Film and Media Central St Martins MAFA Royal College of Art
University of West Attica KMD, University of Bergen Fine Art Master UAL Chelsea College of Arts Fine Art MA Leeds Arts University BA Fine Art
Bath Spa University MA Fine Art
NIGEL GOLDSMITH
Video
TERMINAL 2021
10 x 10 x 5 cm £5,300
Terminal explores the non stop movement of goods and machinery that drive the modern linear economy. Terminal has been screened at the Flatpack Film Festival, the Leeds International Film Festival and won the 2021 Zealous Digital Art Prize. Terminal is a digital art work and is sold in a series of 12. Nigel has an MA in Fine Art from Bath Spa University and a BA in Film and Photographic Art from PCL in London Please click on the link below to watch the short video piece: https://vimeo.com/506145643/c2221e6939
Nigel is a lens based artist producing photographs and short immersive videos. His work is mainly concerned with the impact of globalisation and the anthropocene. Recently his work has appeared in the 2019 John Ruskin Prize exhibition at the Holden Gallery in Manchester, the Small Axe Film Festival, the 2021 Flat Pack Film Festival and the 2021 Leeds International Film Festival and he was the winning artist in the Zealous Digital Art Prize 2021. Nigel was born in Carmarthen and grew up in West Wales, he now lives in Bath.
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Royal College of Art MA Photography
ROEI GREENBERG
STONE CARVED TRAIL, EIN ZEITIM,
Direct Print onto Dibond
GALILEE, ISRAEL
330 x 264 x 15 cm
2018
At first glance, this is a photo of a path into the woods partly lit by the warm early morning light which invites the viewer to walk down the path and into the woods. This was a place I used to visit often as a child, being not far from my Kibbutz and a camping destination on school holidays. At the time it was a place of free roaming, climbing trees and bonding with nature.
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A second viewing of the same photograph, accompanied with text which is part of the work: "A man-made forest- planted over the Arab village of Ayn Al-Zaytun. Its houses were demolished during the 1948 war and the pine trees, which are not native to the region were later planted as an act of erasure.
£9,900
The stones that form the trail into the woods, were taken from the remains of the village ruins." The way a viewer experience the work and the scale and, changes all of a sudden and raises a question not only about context but also about the photographic medium itself and how limited it is; without the context, the photograph hides just as much as it reveals. So, How do you portray ideas without making a statement more explicitly suited to the written rather than photographic medium?
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CATHERINE JABLONSKI
STORM CLOUDS OVER PEN-Y-GHENT 2021
Manchester School of Art Film and Media
Velvet C print of a medium format image 50 x 50 x 2 cm £80
A C Print of a medium format image of one of the 3 peaks: Pen-Y-Ghent in the Yorkshire Dales, this photo was to explore the areas history of ghosts and folklore. Taken just before thunder and lightning this image captured British weather and the ancient landscape to create an eerie image, which I believe captures my style perfectly.
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Central St Martins MAFA
VIRGINIE NUGERE
COCOON
2021 Velvet C print of a medium format image 50 x 50 x 2 cm £,1200
This photograph is part of a series entitled Cocoon. Through portraits of people I meet who question identity, and the veils of ego identification. There is always something trembling in my photographs, something blurred, grainy and unspoken. I seek to reflect in the image the tremor that will bring down the veils of illusion. The metal print reinforces the question of mirror and reflection. The rust on the photographs brings up the question of time and materiality.
My photography invites people to pause and stop for a moment... It invites them to ask who I am in this world and how I am connected to it...
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Royal College of Art
ROB BIRCH
UNTITLED
2022 Digital Photo Collage 100 x 120 x 5 cm £2,500
Digitally manipulated photo collage using Adobe photoshop to create a sensorial portrait image.
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ALEXANDRA MAVROFRIDI
University of West Attica
STUPRUM 2017 Photography, Handicraft, Painting, Digital Art 50 x 70 cm £700
It all began in a child’s room. In this room, I spent most of my childhood years. In the morning, the room was bathed in sunlight. At night, when the light turned off, the corners of the room were illuminated by dark figures. My mother used to tell me that it was just a bad dream. I think that this period of my life has been the biggest influence for my artistic journey. I don’t know how and why, but I still remember very clearly most of these creatures that I used to dream almost every night.
It was a very intense experience because I suffered for years from those nightmares. As a result, I created with my imagination a creature, which would protect me from those bad demons. My protector was a small and short dwarf. While I was growing up, the nightmares began to recede, but of course it took me many years to get rid of them. Reaction, anger and egoism. At that time of my life, those were few of the feelings which shaped my behaviour. After several years, art provided an outlet, in order for the terrified child to be purified. The most important reason for the creation of these self-portraits was a personal need for catharsis. With the use of three different mediums: handicraft, painting and photography I attempted to bring those creatures from my subconscious to the photographic paper, in order to create a safe place where they could leave, which I named The Forgotten Palace.
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LIANGZI XIAO
IMPERMANENT SHADOWS (LUMEN BOOK)
KMD, University of Bergen Fine Art Master
Fabric, cardboard, light sensitive photographic paper, natural dye ink, thread 10.6 x 13.2 x 2.8 cm
2021
£550
The prints of Impermanent Shadows are firstly made from fallen flowers and photo paper with light reinvention. The traces on the photo paper are fading with time passing, because I decided not to fix the traces on the photo paper by the chemistry, due to a strong feeling felt from a test when fixing one print- if you want something to be immortal it would never be the same.
The reason why I would like to apply book as the medium is the authenticity of touch. The book pages are the unfixed lumen prints on photo paper themselves, and thus the images of the pages would fade with time passing and also while the readers are reading the book on their hands.
BUY NOW The process of making them carves being of the plants into the photo paper, as if the paper is carrying the life of the plants to extend their lifespan, while the paper itself is becoming alive, but eventually it would fade away as well.
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VICKIE AMIRALIS
ONE MINUTE SILENCE 2020
Sixty, one minute videos of landscapes and environments filmed throughout the first 6 months of the pandemic. The work invites the viewer to experience the locations and face nature and industrial sights. Please click on the link below to watch the short video piece: https://www.youtube.com/watch? v=S6BLQNgecMc
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UAL Chelsea College of Arts Fine Art MA
Landscapes and enviornments £6,000
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Leeds Arts University BA Fine Art
MELODY THORNTON
MELODY FIGHTS THE ELDERS AND SAVES SUSANNA (AFTER ARTEMISIA GENTILESCHI) 2021 Fine Art Paper 85 x 120 x 1 cm £4,500
In this artwork, I confront an image of possible rape and sexual menacing in History and Great Master paintings which are often camouflaged by beauty. I go back in time and save Susanna from her impending fate. This image was inspired by Artemisia Gentileschi's Susanna and the Elders 1610. This image is from a series of seven entitled Terribilitià.
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SCULP CATE
PTURE GORY
THE SHORTLISTED ARTISTS RHEA PATTENDEN JOSIPA BALJAK RAMON RAVE NIKO KAPA SKYE JU HANNAH PAWSEY KRISTEN ELIZABETH DONOGHUE-STANFORD GABRIELLE DISTIN
BEATRICE GALLETLEY AMBER MARSHALL DIA MUNOZ
Academy of Applied Arts in Rijeka
Universidad Ibeoamericana Architecture De Montfort BA Design Crafts Royal College of Art Ceramics & Glass University of Northampton Fine Art BA Chelsea College of Art MA Fine Art University of Derby BA Fine Art The Royal College of Art Ceramic and Glass University of Hertfordshire BA Hons Fine Art Central Saint Martins Material Futures
AMY WESTMORELAND
University of Northampton BA Hon's Fine Art
SARAH STRACHAN
Anglia Ruskin University
LONG YUAN
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De Montfort BA(hons) Design Crafts
Camberwell College of Arts MA Fine Art Sculpture
RHEA PATTENDEN
De Montfort BA(hons) Design Crafts
RESONANT EARTH - BIG BLUE
Stoneware clay, Amaco Velvet Underglaze 60 x 50 x 40 cm
2021
£580
Big Blue from Rhea Pattenden's Resonant Earth series is a culmination of my interest in the aesthetic and phonic qualities of folk musical instruments, bold colour and contemporary ceramics. This piece was created using coiling and slab building ceramic techniques. Rhea Pattenden is a current student at De Montfort University, UK studying BA(hons) in Design Crafts. Her interest in creating 3D craft objects was founded during her college education and developed into a passion for ceramics during her time at university.
Hand-building techniques are of particular interest to Rhea and she is looking to develop these skills by making 3D sculptural ceramic that explores the essence of form and how to communicate this through play with light and shadow through the use of hard-line and soft curves.
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JOSIPA BALJAK
Academy of Applied Arts in Rijeka
(IM) POSSIBILITY
2020 Glass 9 x 21 x 8 cm £2,000
A relationship is any connection between objects and cannot be independent. Relationships are established between the pieces of glass that connect them to each other as a whole, and therefore any change affects the balance of the system. The works are composed of a multitude of glass parts assembled into a single form. The whole is complete when no part of it is missing. It is continuous and simple when its parts extend from the beginning through the middle all the way to the end. Glass sculpture made in the technique of glass paste and later shaped by cold glass processing. They are created by taking advantage of technical impossibilities that give these forms a multi-layered structure that as a whole exudes naturalness.
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RAMON RAVE
Universidad Ibeoamericana Architecture
PERSPECTIVAS
2020 Lost Wax Bronce 40 x 48 x 31 cm £2,300
Manifest of the lack of linearity that we believe has the perspective of the course of the essence of man by the physical plane (time) and of the possible perspectives from where it can be approached. Dreaming, remembering and imagining are just some of the angles from which man splices and builds his limited understanding of time as a straight line. It is these splices and overlaps of past, present, and future that question the very reality of this illusion.
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NIKO KAPA
BOND 2021
BUY NOW Inspired by ‘passivation’, aluminium’s ability to create a shield against corrosion, passivity is linked to themes of isolation and inactiveness during the long quarantine period and its impact. Drawing reference from protective medical masks forming a subordinate skin, I use the nose bridge strips holding it in place to shape an emptied version of myself. Elements shaped in immediate interchange with skin act as both extensions and limitations of the physical body. Once detached from the epidermis units are painstakingly assembled to a sculpture devoid of human presence. 15
De Montfort BA Design Crafts
Aluminium (medical mask nose strips bent on artist’s body) 28 x 35 x 24 cm £5,000
Aluminium, one of earth’s crust's main components shapes a crust over the figure, a shield opposed to uncertainty alluding to its historic use as a defensive medium. Building a response to the material’s properties and referring to its conductive nature, work bonds literally to anatomy. After detachment from its originator, sculpture ultimately expresses an unbreakable bond between artist and artwork mutually reflecting on each other, standing as a signature piece of my practice that explores creator’s consciousness in contact with the subject of creation.
SKYE JU
A MOONLIT NIGHT 2021 In ancient Chinese landscape paintings, simple monochromatic lines are used to outline the perspective effect of the landscape. Influenced by this, Skye “paints” by throwing clay on the wheel in a gestural way, full of emotion. Her works are telling a story about freeing herself, feeling nature, and building her own gestural landscape. Skye enjoys the process of creating scenery on porcelain boards through lines. She uses the most significant Chinese ceramic decorating method, which is painted using cobalt oxide. She outlines the underlying structure and sets up her thrown-organiclinear pieces to create a three-dimensional space composed of lines. Space is not limited to the visual concept, it can also be translated into a materiality context. Skye is interested in simple lines that create the possibility of a visual space through collage and overlap. The form of installation has the particularity of spatial extension.
Royal College of Art Ceramics & Glass
Porcelain and cobalt oxide 37 x 30 x 17cm; 25 x 37 x 14cm £2,300 each I've been making this ruffle-like pieces for over 4 years since I got the inspiration from the concept of 'transitional object'. I found the answer to a 'frequently asked but difficult to answer' question, which is 'why you making art'. Through research on that concept, I realized that the process of making these ruffle-like pieces for me is art therapy. When I throw a perfect circle but immediately cut it and manipulate it from the whole clay body, I feel the power to control others subconsciously. It already became the way to get rid of my anxiety for me. This ruffl-like pieces show on my lots of works from functional tableware to large-scale installation. Secondly, the work explores the playfulness of space, which is always the main concept of my works. Also, the application of cobalt oxide represents my original background of where I come from.
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University of Northampton Fine Art BA
HANNAH PAWSEY
'HE CONNECTION AND DISCONNECTION 2021
24-hour air drying clay, made into balls, 3 plastic balls, 700 metres of thread, nails.
Mapping on cities and overpopulated cities is something that I am drawn to. Connecting and the disconnection is something that really satisfies me. I also have to create as a go along, if I get selected I will have to create a piece especially for the prize.
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600 x 300 x 50 cm £2,800
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KRISTEN ELIZABETH DONOGHUE-STANFORD
MIRROR
Chelsea College of Art MA Fine Art
Porcelain and cobalt oxide 11 x 32 x 1 cm
2021
A bronze cope and drag sand casting of a vintage mirror. Any flaws or imperfections found when looking in are a reflection of the way society taught you to view and condemn your womanhood. Created in the cope and drag sand casting method over the more accurate mould making/lost wax sand-casting method.
This was chosen in order to rely on the process's ability for imperfection and warping in order to allow the material to speak for itself. In my practice, the physical shift into bronze represents the physical manifestation of emotional labour confronted in womanhood and femininity and the burden of existing under social patriarchal pressure.
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GABRIELLE DISTIN
TAKE A SEAT
University of Derby BA Fine Art
Discarded synthetic fabric, foam stuffing and household emulsion paint
2022
195 x 71 x 160 cm £2,000
A soft sculpture consisting of four dining chairs, that have lost their essential quality of supportive firmness. Each chair is an individual piece, initially painted and then stitched together and stuffed. All materials(fabric, stuffing and paint) except the thread, are discarded materials sourced from a local recycling centre. The chairs are four dining chairs that the artist inherited from her Grandparents, who bought them in 1936 during their marriage. The chairs flop and lean into each other as though missing their original owners. 19
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BEATRICE GALLETLEY
DEVILS ADVOCATE 2021
Our lives are intertwined with categories in which we like to place things. Objects are defined by form, colour and scale, but most importantly by their function and our understanding of them. Through my ceramic sculpture, I hope to show how breaking these conventions can bring new order and understanding to objects and ourselves within the world. I am drawn to things that are multidimensional: they defy boundaries both physically and metaphorically. Life does not exist within a static state, so why should objects? This ever-shifting plane or mindset we live in is diminished in the way many works are displayed. I feel it is important to break this and situate artwork in the same fluid state it was created in.
The Royal College of Art Ceramic and Glass
Glazed Stoneware 35 x 22 x 51 cm £1,900
Ceramics have a unique relationship with objectivity because they are seen within the world in many categories, such as art, home, museum, sculptural, functional, and decorative. The culture of ceramics is perfect for exploring objects that exist within the ‘in-between’. With the history of this medium and my unique ambiguous forms, I am able to address the ability of an object to be multi-dimensional and in a state of flux. My hope is that the forms uniquely connect and resonate with each viewer, encouraging discussion and challenging their understanding of how they place, see and experience objects.
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AMBER MARSHALL
University of Hertfordshire BA Hons Fine Art
EDGES 2022 Steel 120 x 110 x 90 cm
This sculpture is a mountain of steel that was created over 3 days of hard work. The heavy structure was made using metal machinery to cut strips of steel, and fold them into cubes which were then fixed together using a rivet gun. The cluster of linear shapes symbolises the ‘mountain’ of emotions Amber feels before she plays one of her competitive racketball matches.
The density and sharpness of the material portray her strong anxiety and nerves, but the solid steel structure reflects the concentration and determination which takes over when she plays. The cleverly built structure symbolises the physical and mental strength Amber shows in her racketball game which she is continuously striving to improve.
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Central Saint Martins Material Futures
DIA MUNOZ
INSIDE WORM 2022 Plywood and blown glass 65 x 40 x 18 cm £4,800
An exploration of the relationship between organisms and microorganisms that are inside us. A nightlight of that crucial relationship that lives inside us in harmony and is responsible for establishing our human microbiome and immune system. bacteria is represented by glass , invisible to the eye and resilient and our organs will be the wood sculpture forming a symbiosis between them
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AMY WESTMORELAND
CROCK OF NONSENSE
University of Northampton BA Hon's Fine Art
teapot- 21 x 19.5 x 11 cm plates- 15 x 15 x 1.5 cm Crockery, FIMO
2021
Two iridescent broken plates and a teapot, held together by chunky, brightly coloured FIMO clips Kintsugi is an ancient Japanese art of kissing broken pottery with gold, thereby making the fixed item even more delicate and beautiful than before. This work is the opposite. The pieces of the two iridescent plates and tea pot are held together by brightly coloured clips made of FIMO- a craft material that hardens when cooked. The cracks are still evident but the basic shape of the objects are still obvious, due to the almost childish looking clips that are barely holding the crockery together. 23
From £100
This is not a delicate fixing process meant to show the beauty of imperfection, it is loud and brash, and through the clunky attempt to bring back what once was- a new, useless item has been created. The final product objects that are complete, but not fixed. Though the items may be recognisable as their old selves, they will never again be used for afternoon tea and scones.’
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SARAH STRACHAN
JUST A SPOONFUL
Anglia Ruskin University
gilded ceramics, india ink on canford card, bucket of compost, soil sounds
2021
Just a spoonful (2021) is a ground-level installation consisting of cumulative line drawings, gilded ceramics, sounds of soil and a bucket full of compost. Lamenting soil degradation, this work aims to celebrate the value of soil and question the sustainability of sugar beet farming in the UK. Soil accumulates slowly like the line drawings in this installation, but it's being lost at an alarming rate.
£4,250
Whilst we can’t all tackle the issues of industrial agriculture; we can all compost our organic waste. Without soil we won't have food to eat or freshwater to drink.
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The ceramics, moulded from sugar beet, represent the ghostly but enduring impact of industrial agriculture. Sound is also an indicator; healthy soil is noisy - as just a spoonful contains more organisms than there are people on the planet - but intensively managed soil is relatively quiet. 24
Camberwell College of Arts MA Fine Art Sculpture
LONG YUAN
250 x 250 x 250 cm
PAVILION 2021
Stainless Steel Tube, Stainless Steel Mesh, Charcoal on Tracing Paper, Clear Acrylic Plastic Basin, Steel Bar, Brass Clip, Concrete Base, Water Circulation System £12,100
Pavilion is about using the garden as a carrier to probe and discuss the relationship between humans and nature against the cross-culture context in the Anthropocene era..
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DISCOVER MORE ABOUT THE PRIZE
www.SignatureArtPrize.com
PAIN CATE
TING GORY
THE SHORTLISTED ARTISTS
ELEANOR DALY
JOSHUA DONKOR
JEMIMA SPENCE
SIANA GOODWIN
RUTH SWAIN
EVIE BANKS
ANNIE ASHWELL
JOSIE GODDARD
HANNAH SMITH
LATIFAH A STRANACK
EDWARD DENNEY
JOSS NELSON
Goldsmiths University Fine Art
LONG HUANG
Cardiff Metropolitan University Illustration
ISSY GREW
Liverpool John Moores Graphic Design and Illustration
BENJAMIN WILSHAW-QUINN
UAL BA Graphic Design
Art Academy London
Cardiff Metropolitan University Fine Art
Bath Spa University Contemporary Arts Practice
City and Guilds of London MA Fine Art
Wimbledon College of Art Technical Arts and SE
SLADE, UCL Fine art MFA painting
Central Saint Martins BA Fine Art
University of the Arts London BA Fine Art: Painting
SARAH MARIE ROWLANDS
MONIQUE CLARK
DALI WU
ISHA INGLE
TAFSIA MUZIB DANA
SOREN NELLEMANN
VASUNDHARA SELLAMUTHU
Central Saint Martins MA Fine Art
Wimbledon College of Art BA Painting
Loughborough University
Manchester Metropolitan University BA Fine Art
Greater Brighton Met College BA Fine Art
The University of Quebec, Montreal
Leeds Arts University Foundation Diploma in Art and Design
Nagpur
BA Fine Art and MA Fine Art
Royal Academy of Fine Arts, NL BA Fine Arts
City & Guilds London MA Fine Art
JACOB BROWN
University of Edinburgh
CHLOE REYNOLDS
Leeds Arts University MA Fine Art
JULIA SILVESTER
Wimbledon College of Arts
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Goldsmiths University Fine Art
ELEANOR DALY
THAT'S PRETTY PATHETIC
2021 Oil on Canvas 91 x 150 x 5 cm £3,000
An oil painting of two school girls wearing their uniform, laughing and pointing at the viewer. I made this piece in conjunction with a series of works on the experience of being a British teenage girl. I wanted to make the audience to question their role as the viewer, as the ones who are encroaching on their girls; i wanted to force the viewer to relate to the feeling of being watched or the feeling of watching.
This is my signature piece as it combines all elements that are integral to my practicenarrative, colour, humour and auto-biographical elements. The piece also does what I think painting does best, it makes the audience project their own experiences onto the narrative of the artists image.
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JOSHUA DONKOR
Cardiff Metropolitan University Illustration
EMMANUEL, ANCESTRAL FOUNDATIONS 2020 Oil and image transfers on board 50 x 70 x 4cm £2,000
This is a portrait of my Father and was the starting point for my current body of work "Ancestral Foundations". It is painting exploring my Fathers connection to Ghana and how this relationship has changed through the years. He now finds himself at a point where he has lived more of his life in the UK than in Ghana. Yet his homeland and culture that he grew up with is still a huge part of his identity and something he clings onto.
Within the painting are images from old family photo albums capturing images of his family and childhood memories as he is surrounded by gradually fading fragments from his past.
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JEMIMA SPENCE
Liverpool John Moores Graphic Design and Illustration
SELF-PORTRAIT 2021 Oil on Canvas 42 x 59.4 cm £300
A winter self-portrait Jemima is a Yorkshire based artist working with oil paint. Her work is inspired by everyday surroundings, from portraits to drainpipes on the wall, to roadkill. Her influences span from the old masters and impressionists to contemporary murals and street art, all of which inform her approach.
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UAL BA Graphic Design
SIANA GOODWIN
I NEVER IMAGINED DOING THIS 2022 Oil and image transfers on board 12 x 18 x 1.5 £2,000
The woman I painted, and a few others, mentioned that they never imagined having their nude body painted to be displayed as a work of art on a gallery wall. I put their self image into another perspective, to be seen with beauty and appreciation, to empower those women who've picked at themselves in the mirror for so long with no remorse. To empower the women who still remain uncomfortable with their naked body. I want them to look at my paintings and find some beauty.
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Art Academy London
RUTH SWAIN
THE PERKS OF BEING A TEENAGER 2021 Acrylic and oil on board 59 x 89 x 1 cm £4,000
Portrait of son asleep with a book that foreshortened him. My son chose the book as he loved it but also felt it was relevant to him and his state of mind. He was struggling with growing up and this highlights that with the image foreshortening him despite his height of 6 ft
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EVIE BANKS
Cardiff Metropolitan University Fine Art
COMBINED PERSPECTIVES 2021 Acrylic paint and graphic pen on MDF 60 x 80 x 1.2 cm £1,000
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Combined perspectives take on a playful approach, combining alternate perspectives of the same landscape at different points across the day to create a multifaceted perspective and experience, bringing the viewer into a vortexlike realm of hyper-perception. By continuously building up layers, combining gestural brush strokes with graphic lines and colour blocks, a unique visual language is created that translates the botanica and landscape into an evocative and vibrant experience. The viewer is left on a constant journey of visual exploration in an attempt to navigate across the surface of the painting.
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ANNIE ASHWELL
UNTITLED 2022
Bath Spa University Contemporary Arts Practice
Oil on canvas 80 x 80 x 16 cm £2,100
My work is about defining the relationship between surface, gravity and space within a painting. I am interested in the removal and application of layers, explicitly revealing the middle of a painting rather than just the end result. I often use contrasting colours to enforce feelings of paradox, chaos and energy.
"Untitled' is a piece that really reflects the accidents in painting. I feel with this particular piece, I started to really intensely explore how gravity can affect a painting. The colour palette itself is something rather quite beautiful, however the mark-making is disordered and slightly chaotic. I like this contradiction, and the fact this causes the two elements to compliment each other, to me is very intriguing.
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JOSIE GODDARD
City and Guilds of London MA Fine Art
PEACE LILY
2022 Oil on Linen 76 x 102cm £575
To disrupt traditional methods of portraiture, I chose to pull the focus away from the head and focus on the points of contact between the sitter and their belongings. The Poet rests one hand on the notebook whilst the other grips the pencil, hovering just above the empty page. The book is nestled in her lap and her purple shirt ripples around her wrists. I intentionally left areas of the canvas raw for a more impressionist style and an impulsive, textured effect.
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HANNAH SMITH
Wimbledon College of Art Technical Arts and SE
HIDE
2020 Oil on Canvas 100 x 120 x 4 cm £3,500
'Hide' is a piece inspired by my time living, working and studying in London, based on photos of friends after a long new years eve shift at the pub, it is also where the paintings title is derived.
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Hannah Smith is a painter based in East Belfast, Northern Ireland. Combining both figurative and abstract elements, her paintings depict surrealist narratives. Working in oils, Hannah explores the physical and intangible strains of hierarchy within our society, how we navigate through spaces, how we are divided and where we intersect and cross paths. Drawing inspiration from dystopian societies, unsettling themes run parallel to the euphoric facade of the work
LATIFAH A STRANACK
NINE LIVES 2022
SLADE, UCL Fine art MFA painting
Acrylic, oil paint and pigment stick on canvas. 180 x 180 x 5 cm £5,900
This painting is part of a series of works that I made inspired by 'The conversation' by Henri Matisse. I was contemplating the role of the artist, our families, domestic spaces and the ways in which we use colour. I took inspiration from my childhood memories, family home and furniture, archival imagery and my cat. In the original painting by Matisse, he painted his wife Amélie sitting in a chair, whilst he stands before her. I decided to insert myself into the work holding a vase of flowers, wearing antique wooden sandals.
The work is about memory, life, time and what happens in the afterlife. I used acrylic paint, spray paint, oil paint, oil bar and pigment sticks on canvas.
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EDWARD DENNEY
180 FIBONACCI ROLLS 2021
Central Saint Martins BA Fine Art
Canvas, Wood, Emulsion Paint 90 x 90 x 6.5 cm £2,500
This painting is a culmination of my exploration into the ongoing relationship between Order & The grid. MY practice from the start of university to this current point has always had two constant factors within it - Order & The Grid - where over time the outcomes of this relationship would change. This painting is a representation of the journey of my practice and the most honest form of depicting the Fibonacci sequence and the relationship of the grid. My practice in my final year was dedicated to depicting the Fibonacci sequence in physical forms until I found this style of working where I would allow the sequence to completely take over the work. 37
Whilst the size of the canvas and composition of the lines may change in future pieces my signature remains apparent within all of these pieces. They're all made using my dice-rolling method which allows both myself and the Fibonacci sequence control over the process and outcome of the body of work. This is my signature as I feel it best represents my journey with the grid into becoming my signature style.
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JOSS NELSON
University of the Arts London BA Fine Art: Painting
Oil on Wood
LES GRANDS EFFETS DE LA LOI MARTIALE
98 x 141 cm
2021
This painting seeks to discuss the relationship between violence and the disguising power of beauty, within the immediate context of colonialism in East Asia during the first half of the Twentieth Century. My recent painting practice has developed around the combination of the human figure and natural landscape, and I think that the idea of beauty within art should not be entertained without observing its relative contexts. I am seeking to strengthen my understanding of historical context, and how this may reveal itself within our shared contemporary experience.
£2,900
It has become essential, in my practice, to combine and apply an awareness of the past to the process of working in the present. The inspiration for this work generates from the chronic lack of education surrounding the history of Empire, and the roles of Great Britain and Japan as forces for immense destruction and savagery. The national curriculum for secondary education in both countries omits the majority of this history, and I think it is vital to our understanding of the present that we reinforce this subject matter within our contemporary cultural conversation.
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LONG HUANG
LUV IS SIC UNTIL YOU KISS ME MORE 2021
Central Saint Martins MA Fine Art
Oil on Canvas 97 x 100 x 4 cm £5,000
This piece is from my on-going series “Saudade”. in my opinion, painting is a poetic self-filling process. The final image presented on the canvas does not necessarily need to be absolutely clear, it can be interpreted or even the opposite. It can be a desirable incompleteness, a continuous presentation. This process is also a strong expression of melancholic emotion, a constant feeling of absence, and a desire for presence I work closely with music and calligraphy in my paintings which I believe are the most important elements of constructing abstract works.
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I used to write poetry as my preference for each painting, but I gradually switch my visual inspirations into broken characters, abstract calligraphy as starting point of my paintings. Music, on the other hand, provides a leading path as non-visual memory to enlarge the potential of engaging the canvas under subconscious actions.
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ISSY GREW
Wimbledon College of Art BA Painting
TOGETHER
2021 Oil paint on plywood panel 40 x 60 x 3 cm £1,600
This painting ‘Together’ discusses themes of relationships, desire, care, and memory. By working from a film photograph as my subject matter, I aimed to mimic the moment and connections that once existed between the figures, architecture, and landscape within the image. I have destabilized the relationship between the photograph and the painting, the information has been altered therefore the memory has also been altered.
By depicting a relationship and trace of a moment, I convey a familiar friendship which viewers can relate to.
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BENJAMIN WILSHAWQUINN
Loughborough University
RENI 2020 Oil on Canvas 59.4 x 42 x 2 cm £1,500
BUY NOW This piece is a portrait painted under lockdown conditions. Delving into years of the personal lived experience of the sitter, conveys a convincing and recognisable sense of character and identity. Employing a confrontational pose, combined with complementary bold markmaking to frame the face capturing and demanding the viewer's attention; a presence reinforced through the use of the bold, abstracted background.
The composition of the face itself, while being realistic, utilises purposeful mark-making. Though more subtle than other elements of the piece, this approach to mark-making works to reflect the strong and confident character of the subject.
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SARAH MARIE ROWLANDS
Manchester Metropolitan University BA Fine Art
Oil on Canvas
'YELLOW TILES' 2019
170 x 140 x 3 cm £1800
This piece was made by mixing collaged images, and an exploration of colour. This work is formed from collaged images, creating a dreamlike, imaginary space. The inspiration stemmed from film imagery and 80’s retro bathrooms. Bold yellows and blues, composition, and distorted perspective create focal points and asymmetrical balance that leads the eye around the space. The use of motifs in the painting, such as the stairs and mirror, suggests an otherness and lack of human presence, thus producing uncertainty.
The painting process is just as crucial as the final result. Areas of construction are left exposed. I have contrasted controlled detail with areas of debris built of dripped paint and brushstrokes. The interest lies in the juxtaposition between the mundane and the strange. Both consciously and subconsciously, I explore the unknown. The use of design principles and motifs creates communicative spaces open to interpretation, allowing the viewer to produce different narratives which ultimately become part of the painting.
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MONIQUE CLARK
Greater Brighton Met College BA Fine Art
F@#K IT
2020 MDF, oil paint 84 x 59 cm £1,500
F@#k it is from a series of paintings called "Inspirational women in my community. " This project explores the connection between myself , the inspirational women in my community and the one year of lockdown we have had. How have they coped and inspired others. They are the heroes motivating others to be and live their best lives.
@lulinluland is a Sustainable Stylist & Lover of Life! Vibrator Advocate & Mindset Shifter, A Ray of F@#king Sunshine and a Head Positivity Rebel! This piece is of Lou taking control of her life. Doing what she wants when she wants to.
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The University of Quebec, Montreal
DALI WU
NIGHT TOUR : THE UNLIMITED LOCAL LANDSCAPES
Mixed media: oil paint, watercolour, resin, plaster, glass, gold and silver leaf, gold and silver powder
59 x 72.5 cm
2019
£8,000
BUY NOW Over the Nu River Grand Canyon, a pair of birds in white and black forms the shape of infinite. They are legendary bird(s), the “biyi bird” ( biyi niao, birds flying wing to wing) — The biyi bird is a one-eyed, onewinged mythical creature in which each entity is half of a bird, such that only when a male and female pair up and fly together, can they become a whole bird. It later become a metaphor for a loving couple. There are many interpretations on this legendary bird(s), one of Bai juyi the Fairy Poet’s most well-known works “ Chang hen ge” Song of Everlasting Regret), illustrates the immortal love story between Emperor Minghuang of Tang and his Imperial Consort Yang, making reference to this legendary bird(s) within four parts:
比翼鸟
（
长恨歌
Falling in Love, The Inseparable Couple, Farewell to Lover, and finally Reunification in Fairyland. Originally used as a metaphor for loving couples, the biyi bird is drawn as the form of Jīvajīvaka. The white bird looks toward the sun and the moon, and the black bird is drawn into the chain of twelve Nidanas which is intertwined with the white bird. The texture under the white bird is outlined by plaster, and its modelling takes into account the local characteristics of Yunnan cloth patterns. The white bird's cloud-like chiffon skirt has been drawn as wedding dress.
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ISHA INGLE
Nagpur BA Fine Art and MA Fine Art
MY IDOL
2020 Acrylic on canvas 92 x 76 x 2 cm
Van Gogh is my role model who inspired me by his work and his struggle because of which I am a good artist. He was a hard working artist and did lots of work in his life but could not sell a single painting of his own but was never disappointed and did hard work tell the end of his life.
In this painting, I have shown the painting of Van Gogh. my life is also the same not totally but somehow I connect with his life. I have also faced so many problems in my life for entering this field, but In some years I proved to my family that I will be doing good in this field. I got so many prizes and did many shows. Artist life is a really struggling life, but artists never stop their work.
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TAFSIA MUZIB DANA
Leeds Arts University Foundation Diploma in Art and Design
CHESS 2021
Oil on Papers 42 x 29.7 cm £1,300
This painting depicts a scene in front of Leeds Art Gallery that I walk by almost every day. I wanted to capture the transient happiness felt by these strangers who were united by a simple game of chess. In a world full of uncertainty caused by the pandemic and ongoing global conflicts, we all need an escape to feel human again. This painting captures that brief moment of respite. It is my signature piece because I like to use loose, confident brushstrokes in my paintings in order to create gestural movements and make the painting feel more alive. I also created a slightly blurry, distorted effect in this painting which further signifies the movements of people, while creating the illusion of a fleeting moment.
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SOREN NELLEMANN
Royal Academy of Fine Arts, NL BA Fine Arts
PINK CHAMPAGNE
2019 Oil, acrylic and pen on canvas 140 x 200 x 4 cm £3,800
BUY NOW “Pink Champagne” – a giant work 140x200cm (oil, acrylic and pen, 2019) is inspired by Hieronymus Bosch’s “Garden of Earthly Delights” (c. 1503). Upon immediate viewing of ‘pink champagne’ despite the festive title it appears as a clear imaginary of Hell on earth with the war ravaged landscape and smoke and pink pig with a blank (dead?) stare.
However, upon closer view, several other symbols and images emerge from the floating refugees, the bathing tourists, the Pepsi and McDonald’s’ signs and the persistence of major brands, to the popcorn (entertainment), yellow trucks entering the vagina of the baby creature symbolizing the future in peril, to the sparkling clean skulls next to the Ajax bottle symbolizing the ability to clean-up and forget, to the monkey nursing a human baby questioning our state of humanity today and that in reality, we have abandoned our kids and future generation leaving it to Mother Nature to fix (symbolized by the primate). Just maybe this is not Hell, but a reflection of our times? Aleppo and now Ukraine. It calls for action. After all as an ironic statement "a glass of champagne and popcorn may make things right again", but it doesn't. The perspective is one of the viewer staring into a landscape as a participating observer.
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City & Guilds London MA Fine Art
VASUNDHARA SELLAMUTHU
EDAPPADI CROSSING 2021 Vinyl matt paint, exhibition wall, Indian cotton duck canvas, plywood, tile adhesive, sand, gesso 151 x 104 x 1.5 cm £2,300
Vasundhara Sellamuthu’s sculptural paintings feature cropped façades in perspectival views. Using canvas, shaped relief panels and the exhibition wall, she establishes a relationship between plural supports. Her source imagery draws on architecture without architects in the Indian subcontinent, Western hard-edge abstraction and Memphis design. Playing on binaries including high/low art and abstract/representational painting, the title alludes Edappadi in Tamil Nadu, India, and Frank Stella's Delaware Crossing from 1961
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JACOB BROWN
University of Edinburgh
Oil on Canvas
MONADHLIATH 2022
70 x 70 x 3 cm £825
Oil painting on canvas depicting Monadhliath, in the Scottish highlands. 'Monadhliath Mountains, also called Grey Hills, are a Munro range in the Highlands of Scotland, between to the northwest of the Cairngorms and the River Spey. This painting depicts the upper course of the river Spey weaving its way through the hills in cloudy autumnal conditions. The piece is based on sketches and images taken on-site, and later completed in the studio, the style of the painting is impressionist aiming to exaggerate the atmosphere and certain features, such as the river to draw the eye through the landscape. 49
The area in the foreground is textured and coloured more so than the hills to reflect the changing seasons and lighting. The hills themselves are shrouded in clouds and mist reflecting the autumnal atmosphere of this part of the Scottish Highlands'.
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ANNA BLOOM
HUSK 2021
Royal College of Art MA Painting
Acrylic, graphite on canvas 150 x 180 x 2 cm £3,500
‘I research the daily overlooked emotions and unseen objects of my immediate environment. In this way I interrogates their life cycle, from conception to discarding, and further. Like a human archaeology.’
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In 'Husk' Anna explores socialpsychological situation, in a diaristic form, to find ways of appreciating how we function together and how our circumstances are created and recreated. The daily mundane situations are given little recognition, but in her opinion, these micro-situations have a powerful and undeniable influence on its participants.
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CHLOE REYNOLDS
'TEA TIME' 2022
Leeds Arts University MA Fine Art
Oil On canvas 5 x 114 x 99cm £2,200
Painting past loved ones at tea time.
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JULIA SILVESTER
Wimbledon College of Arts
BATHING 2021 Oil on Aluminium 40 x 50 x 1 cm £2,700
Reflections on my relationship with space, led me to investigate connections between birds, femininity and interiors. My body of work titled Domestic Disruption, consists of a series of paintings that depict the human struggle with the notion of home. In a disrupted form of realism, layers of oil paint create a bruised colour palette that presents disquieting defamiliarisations of interiors. Notions of anxiety, isolation and nostalgia are presented in this Domestic Disruption. Oxblood tiles form the floor and walls; their linear division and the reflections of the bath, reinforce a sense of enclosure. Some ducks float upright, some are upside down, emphasising the pose of the female figure and the uncanny atmosphere. The viewer is invited, in an intimate and immersive way, to observe the process of bathing.
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"THANK YOU FOR SUPPORTING THE SIGNATURE ART PRIZE 2022."
Elinor & Isobel
DRAW PRINTM CATE
ING & MAKING GORY
Luxun Academy of Fine Arts Printmaking
WANG YUANFENG
Turps Art School Painting
CHRISTY BURDOCK
JENNY HALLETT
University of the West of England Drawing and Print
GEORGE METU-ONYEKA
NIAMH COUTTS
JIONE CHOI
KATRINE LYCK CHENYUE YUAN ISAACK FIKIRI LOUISE RICHARDS MARIGOLD PLUNKETT REDBLACK D. LAWRENCE SUNDAY ABRAHAM
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University of Northampton BA Painting and Drawing Gray's School of Art MA Fine Art Slade School of Fine Art MFA Painting Royal College of Art MA Print Royal College of Art Visual Communication University of dar es salaam BA Art & Design Central St Martins MA Fine Art Camberwell College of Arts MA Printmaking Royal College of Art MA Sculpture Federal University of Agriculture
WANG YUANFENG
Luxun Academy of Fine Arts Printmaking
TELLING LIFE
2021 Lithographs
70 x 100 cm £750
In 2019, the global pandemic of Covid-19, in which the problems of human society, human civilization and animals are acute. Human beings invaded the territory of wild animals, suffered injuries, and produced additional disease problems. However, theed animals were killed on a large scale in the epidemic because f the infection danger. In my works, I used strong biological image segmentation to contrast with human architecture and daily necessities.
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CHRISTY BURDOCK
HUNG UP TO DRY 2021
Turps Art School Painting
Graphite on paper 59 x 84 cm £1,550
I am a socio political commentator and the past two years have been spent in isolation with only the radio for company. Therefore my work has centred on media and governmental critique. This piece perfectly symbolises my interpretation on the the recent response to the pandemic. Minority and vulnerable groups, children, the disabled, small businesses and old people in care homes, paid a high price, whilst the corporate world made huge profits.
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JENNY HALLETT
CANOPY 2022
‘This piece is my signature because it shows the strong mark-making in my work, each mark and line shows the care and precision I have taken to produce this image, and how much I care for the subject of the work. As well as this, in my third year, this style of using the negative space has become second nature for me, I use this approach to highlight the form itself, without creating a literal rendition of the landscape, instead, I have taken a more abstract approach. I made this work stand out and show the immense power of these forms, especially showing the audience the beauty of drawn work as well as the environment itself.
University of the West of England Drawing and Print
2b pencil 80 x 100 cm £400 ‘ This piece can be displayed as a series of two, I have drawn a positive and negative version of this.
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GEORGE METU-ONYEKA
University of Northampton BA Painting and Drawing
KUKUA
2019 graphite and eraser on paper
21 x 29.6 cm £2,250
A portrait drawing of Kukua Williams. As much as the photorealistic look of the portrait is compelling, the tens of thousands of strokes should also be celebrated because without them, there is no drawing.
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Gray's School of Art MA Fine Art
NIAMH COUTTS
Screen-print
NATURAL HISTORY 2021
79 x 56.5 x 2 cm £420 framed
Within my practice, I imagine bizarre, fictional subjects beyond the realms of taxonomy. In “Natural History,” I describe the fish as otherworldly and challenge the anthropocentric management of the environment and classification of specimens. The Chthulucene, a new term for the Anthropocene which stresses the interconnectivity between all species and the environment, encourages thinking, figuring and storytelling as a mode for motivating cultural change and stimulating eco-centric mindset. I create new uncanny worlds which must be deciphered by the audience to spark new eco-centric thought and discussion. I create prints which describe our tenuous ecological relationship; there is a tendency to consider non-humans as distinct, uncanny and ‘other.’
My prints transform this ‘otherness’ into otherworldliness. I selected koi fish as the subject, as new research has discovered that koi fish have a fascinating relationship with humans. When given the opportunity, they spend more time than expected in proximity to humans and will freely engage in physical contact. The Chthulucene stresses that in a time of ecological destruction, we must learn to make “kin;” to create new relationships with other species, which recognise the interconnectivity of all species.
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JIONE CHOI
Slade School of Fine Art MFA Painting
Graphite Pencil on Paper
ANNIVERSARY IN SILENCE 2022
190 x 125 x 1 cm £2,700
Soundless Moment: Based on personal memories I have built my works upon my memories. I am particularly interested in the way that memories appear and disappear. Memories are like uncontrollable creatures, appearing suddenly one day and then disappearing another, however hard one may try to catch them. After reflecting upon the mechanism of memory, I’ve decided that I would like to portray this mechanism in my work. Recently, I am particularly interested in what memories seem from my personal experiences during the pandemic. During the pandemic, I have suffered under forlorn and soundless moments that stem from enforced social distancing. Throughout the last two years, so many restaurants and cafés have closed either permanently or temporarily. Only a few people went out on the streets without conversation.
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These experiences prompted me to paint my memories of my daily routine during the COVID-19 pandemic; I focused on how to express “silence” in a drawing. In this piece, I drew the moment of my parent’s 30th wedding anniversary. My parents couldn’t go to a restaurant or invite any guests over because of social distancing; instead, our family stayed at home and exchanged small gifts and cakes for the anniversary. It was an important anniversary spent in silence. This experience was impressive for me, so I captured the moment and drew it. In this piece, I wanted to express the soundlessness and calm moments with some drawing marks, while also including some of the warmth and emotional connections between the two figures.
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Royal College of Art MA Print
KATRINE LYCK
SOOTHING FORMS
Monoprint on Silk mounted on dowel 109 x 87 x 0.8 rod cm
2022
£1,200
My practice explores how a heightened awareness of nature’s nurturing abilities impacts body and mind. The work is influenced by the collective experience of lockdown and a personal experience of chronic pain. The journey of healing for people with physical and mental pain has been challenged by the pandemic and as such and I, as many others, have turned towards nature for its intricate healing abilities. The work “Soothing Forms” is from a series of monoprints on silks I’m currently working on. Each piece focuses on a particular body part that has been magnified. The picture becomes almost abstracted as the mark makings from rollers and rags are highly visible.
The marks also express a tactility as I use different amount of pressure with the palm of my hands and nails through paper to pick up the ink. I attempt to convey a sense of rest and wellbeing by bringing together soft natural silks and mono-printed shadows from plants on skin. These works are an invitation to the viewer to meditate on the marks and imagine how this area of their own body can feel good with the sensations of a warm sun through dancing leaves and soft fabric caressing the skin. Even simply imagining nature can help rest the nerve system in challenging times
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CHENYUE YUAN
PEARL'S DAUGHTERS 2021
Royal College of Art Visual Communication
Pencil, Monotype 52 x 37 cm £350
Pearl’s Daughters follows the lives of female labourers who worked and lived in factories, the southern part of China that first opened to the free market in the 1980s-1990s. It uses the true narratives of a large number of female labourers to recreate their work and life in the factories, echoing the lives in a period of change and reformation: women left the traditional agricultural lifestyle and became part of the collective economy. They gather the key moments of the women's everyday lives, portraying the endeavours and perseverance of their youth to tell a personal narrative of the unnamed in memory of the life of the last generation, our mothers. 61
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ISAACK FIKIRI
University of dar es salaam BA Art & Design
THE ABILITY OF MY HAND REFLECTED ON THE PAPER 2021 charcoal pencil,charcoal powder,and graphite pencils 30 x 42 x 0.1 cm £115
I decided to do this piece really to express the feelings of the children who left away with their parents.
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LOUISE RICHARDS
GRATE FROM BELOW 2021
Central St Martins MA Fine Art
Digitally manipulated photograph 122 x 90 x 4cm £1,000
Framed Limited Edition 1/5 Digitally Manipulated Print. A humble kitchen utensil, monumentalised, abstracted and layered with Pop Art Inspired colours.
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MARIGOLD PLUNKETT
Camberwell College of Arts MA Printmaking
ELLIOTT LOOKING 2021 Etching with aquatint 53 x 65 x 0.2 cm £425
This etching is a portrait of my daughter, Elliott, I made it in early 2021 when schools had shut for a second time due to Covid. It came from the gut-from a place of overwhelming love and concern for my children's mental and emotional welfare. I consider it to be my 'signature' piece because of the portrait's intense direct gaze, her look is ambiguous and open to interpretation, which is something that has become pivotal to my practice and I continue to develop these themes. Hard ground etching, with handshaken aquatint on copper
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Royal College of Art MA Sculpture
REDBLACK D. LAWRENCE
EXHALING SHADOWS'! 2021
Drawing (Khadi Extra-Large Rag Paper (400gsm), Uni-ball Eye Micro Rollerball Pen,
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Rosary Peas’, Red Filtered Perspex Container). 153 x 123 x 5.5 cm £4,600
I often shower in the dark for meditation. Within this wet blackness, structure evaporates.........formlessness creeps in and shadows grow skin. At the heart of the work is a quest for the demonic. Drawing for me is like standing upon a frozen lake where beneath the ice I observe redness. The paper is the ice and my pen is an ice pick, with this tool I carve into the surface the shadows of tangible entities simmering below, this scarification exposes and amplifies mark making with sculptural intention. I am in pursuit of a sensation that can break the membrane, to move an image beyond its state of illusion and into possession (to hold a presence more than itself).
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Framing is essential to the presentation of a drawing. Currently, containers are produced using blood-red transparent perspex. The perspex saturates a drawing with a coloured hue. These sculptural devices aim to instil a distance between the viewer and the artwork (tapping into this idea of the frozen lake as mentioned above), thereby giving the drawings' their own context and world to be held within. The work, Exhaling Shadows', is my point of breakthrough! I consider this piece the true beginning of my practice and that is why it is my signature; it sets the tone for what is to come.
SUNDAY ABRAHAM
Federal University of Agriculture
LET HER SPEAK
BUY NOW 2019 Graphite pencils 2B,4B,6B and paper 40 x 40 x 0.1 cm £10,100
This piece Of art focuses more on gender-based violence and my desire to confront it saying structural VIOLENCE IS WHAT PEOPLE NEVER TALK ABOUT. We must start talking about it. For too long we have been providing protection to the wrong people, not the victims, remember we can challenge gender-based violence.This piece of work took weeks to complete and I was all done with pencil
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