MA Degree Show 2016

Bath school of art and design MA degree show

MA 2016

Bath School of Art and Design MA Degree Show 2016

Professor Anita Taylor Dean of Bath School of Art and Design Bath Spa University

Situated in one of Britain’s most beautiful and historic cities, Bath Spa University offers a range of taught postgraduate and higher research degrees across its three Schools of study.

The breadth and depth of this disciplinary engagement with a focus on creativity, culture and enterprise ensures a vigorous and lively postgraduate culture for our students, one that is academically challenging, vocationally relevant, and one that celebrates our unique history and context.

Bath School of Art & Design was established in the early 1850s and has a proud and distinguished history of producing highly successful artists, designers, curators and thinkers who have contributed to the creative and

cultural sectors in extraordinary ways.

With a focus on practice-led enquiry, exploration of ideas, experimentation with process, and direct engagement with the creative industries, the development of a deep and expanded knowledge and understanding for each of our students is individually facilitated.

It is with great pleasure that we celebrate the creative achievements of our MA students in Curatorial Practice, Design: Ceramics, Design: Fashion and Textiles, Fashion Portfolio, Fine Art and Visual Communication through the showcase of the MA Degree Show and catalogue.

We wish our new graduates every success in making their unique contributions to the creative, cultural and economic landscape of the UK and beyond as they progress to

the next stage of their professional careers and join the illustrious alumni of the Bath School of Art & Design.

MA Curatorial Practice Prof Mike Tooby - Acting Course Leader

The MA in Curatorial Practice mixes theory, history and discussion of current practice with ‘hands on’ projects and presentation and analysis of current work in the sector.

Contexts for work range from traditional collection-based and exhibition venues, via informal and ‘pop-up’ settings to digital and web-based work.

This year, the students have addressed a broad range of interests in exhibition presentation, interpretation, and the relationships between the individual and institutions. The role of the individual collector, particularly artist-collectors and private individuals, has been a particular area of enquiry. Above all, the nature of the public realm and the language of public discourse has been a key theme: how do we describe ourselves and others, and the challenge of ensuring we generate a positive

critical discourse, when issues of control, limits to freedom and negative attitudes to difference are widely felt in society?

Much of the work undertaken on the course depends on collaboration with public and private galleries, museums, heritage sites, collectors, public art projects and individual artists, curators and specialist professionals.

We thank them all.

Caitlin Carton MA Curatorial Practice

Caitlin has been working with the Bath Royal Literary and Scientific Institution to create a workshop on Adela Breton, a painter who copied Mayan wall paintings at Chichen Itza.

The activities revolve around learning how to collect information and images during one’s travels and how to collect objects ethically and legally.

She is exploring educational theory, museum educational programs, and formal versus informal learning. She is discussing the audience and how workshop structures change to reflect differences including those in age, experience, and available resources. This builds on her work in educational tours in art galleries, learning programs with exhibitions, and reaching the audience through replicas, stories, and participatory exhibits.

caitlin.carton@gmail.com

Laura Eidintas Keenan Salgado MA Curatorial Practice

During work for her bachelor’s degree in museology, Laura expanded her interests beyond history and began to get more involved with art. Through the course, she discovered her great passion for curating, a field where she could develop her ideas and questions in a dynamic, creative and innovative way.

Over the MA Curatorial Practice course, Laura was able to expand her knowledge through extensive research and projects which included: research on private collections of contemporary art; the creation, development, and staging of the exhibition ‘The Artist Behind the Work’, which took place in Sion Hill Gallery, with artists studying at Bath Spa University; and as a parallel project, worked as the assistant curator for the exhibition ‘Corsham 52’ at the 44AD art gallery,

with artists that graduated from the University during the 1960s.

For her Master’s Project, Laura was invited by 44AD to be the curator of the Open Summer Show: the traditional ‘Eighthwonder 2016’ exhibition, with a theme of ‘Where is your humanity?’.

During the development of the exhibition, her research and investigation was related to the relationship between curator and artists, as well as the relationship between a guest curator and the gallery.

As a Brazilian, the Master’s Course in Bath, United Kingdom allowed her to expand her knowledge on an international level.

Laura was able to experience a different culture and to learn new information about gallery practice.

eidintas.keenan@gmail.com

Hannah Kemps MA Curatorial Practice

Hannah received her Bachelor of Arts in History and Religious Studies from Northland College in Ashland, Wisconsin.

During her four years at Northland, Hannah worked in the library where she was responsible for the art displayed between art exhibitions. In her final year, she worked as an intern at the newly opened Salmagundi, where she assisted the co-owners in daily business matters, contacting local artists, designing and installing monthly exhibitions, and hosting opening receptions.

The summer before moving to Bath, Hannah lived in Italy and spent time with various individual artists and art organizations.

While at Villa Cacciari in Piumazzo, Hannah helped create an interactive art experience to be presented during a weekend long

wellness conference called Verso un Nuovo Mondo. Her desire to work with contemporary art and small scale galleries led Hannah to pursue a Master’s degree in Curatorial Practice in the UK.

Image: A still from the interactive art exhibition I created with fellow Villa Cacciari volunteers for Verso un Nuovo Mondo, July 2015.

Throughout her time at Bath Spa University, Hannah began to focus on the power curators have over their audience and the responsibility they have to create diverse exhibitions that challenge the dominant culture.

This inspired Hannah’s long study dissertation where she discussed the importance of galleries and museums to provide a diverse representation of queer art and artists; and for an intersectional approach to curating.

kemps.hannah@gmail.com

Kelly Klingman MA Curatorial Practice

After receiving a Bachelor’s degree in History from Ramapo College of New Jersey, Kelly moved to Santa Fe, New Mexico to work as a curatorial intern at the New Mexico Museum of Art. During her time at the museum, Kelly worked on curating three of the museum’s upcoming exhibitions: Gustave Bauman and New Mexico, That Multitudes May Share: Building the Museum of Art, and Looking Forward, Looking Back.

While in Bath, Kelly, alongside Hannah Kemps, curated Dark Matter for the graduating MA Fine Arts Students at the Roper Gallery it Bath Artists’ Studios. Through her studies, Kelly explored matters of interpretation, display, and contextualization in museums, with a particular interest in objects of a historical and anthropological nature.

Continuing in this theme, the concentration of Kelly’s Long Study was to explore the issue of repatriation of cultural property from museums primarily in the United States, United Kingdom, and Europe.

Drawing on interests ignited through her undergraduate degree, Kelly’s Long Study delves into the cultural and political motives for the return of objects, as well as the effect of repatriation on museums, visitors, and the communities pursuing the restoration of objects.

kellysklingman@gmail.com

Barbara Mulas MA Curatorial Practice

THE SUBJECTIVE DICTIONARY OF CONTAMINATION The Subjective Dictionary of Contamination wants to be an independent, open, art and social book curated by Barbara Mulas.

So far, it is composed of 28 contributions exploring the subject of CONTAMINATION. The topic at issue represents a constant presence in the curator’s practice; yet, since it is highly versatile, defining and delineating it can appear awkward.

fields, whom were asked to contribute with a personal analysis of this theme in order to surprise, stimulate and expand both the curator’s and audience’ view.

The Subjective Dictionary of Contamination is an open, emotional and sensitive dictionary which will open your mind about where contamination today can be found.

Image: Illustration by Riccardo Cusimano

In order to avoid superficial and easy definitions, its content is built through an orchestration of subjective approaches and interpretations. Indeed, the 28 contributors are practitioners with different perspectives and sensibilities coming from very different

barbaralamulas@gmail.com issuu.com/barbaramulas 07856 786 684

Ning Tang MA Curatorial Practice

After finishing her Bachelor’s degree in Drama, Movie & Literature from Shanghai Theatre Academy, Ning started to travel the world. During the journey, she found that museums and galleries brought a lot fun to her life. Hence, she decided to study in MA Curatorial Practice.

MA Curatorial Practice provided Ning with a new position and special angle when she visited museums and galleries.

This inspired Ning’s long project which included reflecting on her volunteer work and Chinese guided tour in Holbourne Museum.

At the beginning, she was a freshman without any background of this major.

But throughout her studying time in UK, she learnt a lot form different curators and museums. Besides, she believed “Learning By Doing”. Thus, Ning held the exhibition ‘The Artist Behind The Work’ in Sion Hill Gallery with her teammates, she has been a volunteer in Holbourne Museum. Through these practices, she gained a better understanding and deeper thinking of her major.

As for Ning, studying in MA Curatorial Practice is an opportunity as well as a challenge. She thought that people have only one lifetime, so why not go chase their dreams and try all they want?

Life is not a race, but a journey to be savoured each step of way.

“I really enjoy my journey.” she said.

tangning0202@msn.com

MA Design: Ceramics Prof Keith Harrison — Course Leader

This year’s graduating students from MA Ceramics are further and ongoing proof as to the vitality and versatility of this most ancient of materials. The course is a negotiated individual programme of study that reflects personal conviction, a collective willingness to push the capabilities of the medium and an increasing sense of social engagement that clay’s origins and ceramic histories seems to engender.

Very quickly students from the course are announcing themselves nationally and internationally in the established field of Ceramics but perhaps most importantly creating fresh contexts and new definitions as to what constitutes practice, how work is seen and in what ways it is consumed.

It has been a real pleasure to be part of a team of supporting course tutors, external visiting lecturers, and specialist technicians who have all played a vital part in supporting the development of these new bodies of work.

This exhibition of work is a celebration of how far each student has progressed during their MA course. It is a fitting testimony to their determination, desires and the exciting possibilities of where we all go next.

Rupert Breakspear MA Design: Ceramics

I am interested in the way our material culture has an impact, particularly on landscape and what this tells us about our society. I am drawn to the idea of palimpsest – literally a surface (usually a parchment) altered for re-use or some new purpose, but often adapted to refer to landscape and in my work, to the layers in ceramics; fired clay, slip and glaze. Every layer has a story, a series of links to people and place. The interaction between these layers in a ceramic form, and how well they “fit�, will render a vessel useful - or useless.

This fascination has led to the investigation of landscapes that have a connection with ceramic production; through visits to sites of workshops, kilns and clay pits now long abandoned and to farms and quarries where I can request access to materials.

This process is mirrored by the building of links with working bakeries in these localities, where ceramic forms such as pancheons (mixing bowls) were essential to the processes involved in baking in local communities for centuries before the change in material culture over the last century.

I use photography to develop a sense of context, alongside the collection and testing of raw materials and the making of forms that echo the functional vessels of the past. I find that the connections to the environment and the people I encounter, are as much part of my work as the forms I make.

rbrakspear@phonecoop.coop rbrakspear.wordpress.com 07545 889 844

Adele Christensen MA Design: Ceramics

Still here, an emotional response.

A walk in the park, Danish Landscapes.

Invitation to find your view.

I am interested in researching ways to connect the expression of my work with a space; in order to make a place viable and sustainable. Places that resonate with people prove to be more sustainable and decoration can be part of the attraction that keeps an invested interest in a place.

I seek that site specific situation or brief that can take my work out of the gallery and into the context of local environment and architecture, where fine art meets design.

kimad@blueyonder.co.uk www.adelechristensenglass.com 07789 604 351

Richard Winfield MA Design: Ceramics

If I do not create and I do not consume, do I have an identity?

Would I ‘exist’ in other people’s minds if it weren’t for the objects which are created and consumed between us? Am I ‘in here’ or ‘out there’?

For some of us, it feels as though somewhere in the web of connections this activity generates we must clear a space to make things for their own sake.

Are we what we create?

Or what we consume?

Or a personal balance of both?

If I produce a ‘beautiful’ thing, and you want it, what does that say about me?

And about you?

We toil in order to exist.

The effectiveness of this work depends on a mutual understanding between individuals and groups of individuals.

rjwinfield@hotmail.com richardwinfield13.wordpress.com

MA Design: Fashion and Textiles Tim Parry-Williams — Course Leader

The MA Fashion and Textiles course at Bath School of Art & Design aims to nurture ambitious and visionary minds through encouraging the development and extension of existing knowledge and understanding of textiles, the embracing of new technologies and craft applications, deep investigation into materials and process, and the challenging of ideas and traditions in the pursuance and development of a uniquely personal practice and identity.

Our graduates are increasingly visible in the sector, appearing at major shows and exhibitions nationally and internationally, selling designs, products or services to agents, buyers and retail consumers, and continuing to innovate and move with the times, successfully making their ways in the world.

While unusually small, this year’s graduate portfolio typically champions the knowledge and understanding of textile disciplines and personal vision: Two collections focus on exploring the material, structural and visual language of woven textiles applied to fashion accessories; and a blend of drawing, digital design and print has been developed into a striking collection of printed textiles for fashion garment.

We wish each of them every success with their continuing journeys of self-discovery, creativity and invention.

Wenwan Cai MA Design: Fashion and Textiles

Wenwan Cai is an MA fashion and textiles student at Bath Spa University who has a BA(Hons) Fashion Design degree from her home country of China. She is developing a portfolio of digital print fabrics for application in original garment design. Practice is chiefly concerned with illustrating flora mix different elements together in fabrics.

Textile and garment design development will explore these dramatic mixes to make elegant, thoughtful surfaces and clothing.

The Masters project will focus on the creation and display of a collection of summer dresses for the womenswear market in China.

The collection inspired by a mix of several elements: the structure of traditional Greek clothing; a seasonal colour story developed from the sea and architecture of Santorini, with its blue roofs and white walls; and pattern stories exploring elements of poppy and white tiger.

caiwenwan.christina@outlook.com

Marianna Nello MA Design: Fashion and Textiles

Graduated from Florence University with a BA in Fashion and Textile Design, Marianna is a young Italian weaver passionate about fashion accessories. After a year abroad, moving from Tokyo to London, Marianna decided to move permanently to England to undertake an MA in Textile Design.

Her final collection includes a wide range of bespoke handwoven textiles used in combination with high quality leather to create unique handbags. Based on AW 16/17 trends, the collection is inspired by contemporary art and modern architecture.

The final result is a selection of handbags characterized by a simple and classic style; designed for the Italian market, the capsule collection aims to combine different values such as high quality materials, traditional Italian craftmanship and innovative design.

mariannanello@gmail.com mariannanello.wordpress.com 07541 920 000

Frances Westerduin MA Design: Fashion and Textiles

Frances began her MA with research into the current Worsted fabric industry in Yorkshire. This led her to explore the origins of Worsted in the Middle Ages when the wealth of Britain was built on British wool. As a result of this research, Frances designed a collection of fine worsted jacquard fabrics, making the best possible use of the industry’s finishing and weaving skills.

The weaver in the village of Lochcarron recently retired and passed on his Hattersley loom to Frances. This loom, which was traditionally used to produce Harris Tweed, is now being used by Frances to produce hand-woven accessories. Her collection now includes both fine Worsted and Woollen accessories.

Two designs from Frances’ samples were then woven at a mill in Yorkshire and are now ready for production.

Frances recently relocated to The Scottish Highlands near to the Isle of Skye.

Two coastlines near her home have also inspired her final collection; one is the Isle of Raasay and the second is the ruined Castle at Strome.

franceswesterduin@me.com franceswesterduin.com 07789 907 165

MA Fashion Portfolio Kerry Curtis — Course Leader

“This course is uniquely placed in that it has the ability to bring students together to mirror the working practice of the Fashion Industry.” Professor Jane Gottelier, Detao Master Shanghai, External Examiner

This first graduate portfolio represents field specialisms in fashion film, focussing on material and conceptual innovation; and fashion styling, blending garment designand-make skills with accessory and styling.

The pioneering MA Fashion Portfolio course at Bath School of Art & Design aims to provide an environment in which to work both collaboratively and independently within a portfolio of fashion subjects including film, illustration, journalism, photography and styling.

We look forward to presenting further exciting outcomes of the programme as the course continues to evolve in the future.

This completion point marks the first year of this new programme with students on both full and part-time modes of study.

There have been a variety of self-directed and live-projects, and we have seen the emergence of a number of highly individual creative identities.

Luca Salvatore MA Fashion Portfolio

The Chromaderm Project is a fashion film experiment, trying to illustrate the possibilities of wearable technology in a contextualized setting, transforming clothing into a natural evolution of the body of the wearer through the integration of elements from nature and technology alike.

The intention is to portray, through the fashion film, an example of communication brought forth with clothing that reacts to the stimuli of the body. The idea stems the possibilities of wearable tech and the necessity to develop a new language that can help us support our own means of expression through stronger underlining of emotions on the fashion itself.

The ability of the dress to respond to stimuli is almost instantaneous, thanks to the

particular use of actuators and responsive materials, conveying on fabric changes that mirror the emotions of the wearer.

The inclusion of patterns taken from the natural world, like the skin of the cuttlefish or the wing membranes of the butterfly, can convey the transformation effect.

objects can convey a wide array of emotions through the human actuators.

The inclusion of optic fiber that responds to the heartbeat is a latter introduction that can monitor in any moment the emotion of the wearer, retransmitting the signal in a light emission that spreads through the clothing.

The video is purposefully shot in such a way that movements and emotions are underlined, due to the necessity of showing the responsive properties of the wearable tech objects but also due to the necessity of showing how the

lucasalv_@outlook.com

Mun Yi Seow (Yui) MA Fashion Portfolio

Mun Yi Seow (Yui) is a Malaysian designer, qualified in fashion design, now embarking on a career in the world of fashion styling - mastering and directing the skills relevant to couture fashion and focusing on the diversity of accessories.

“I can make your clothes look glamorous even a plain white t-shirt.”

“Creatively combining skills and techniques that I learned previously such as fashion illustration, print design, fashion design and garment making, I offer not only fashion styling, but also one-of-a-kind garments and accessories to create a brand new look.

yuiseow@gmail.com smyyui.tumblr.com

MA Fine Art Roger Clarke — Course Leader

MA Fine Art at Bath Spa University is a studio-based programme designed to develop students’ individual creative potential in a critically challenging environment. The course focuses on students’ own emerging practice and how it is situated in the world of contemporary art practice and the critical and changing world debates that surround artists’ practices today.

The MA final show marks a high point in the academic year. It is very rewarding for all the Fine Art staff to see the abilities of each student realised in a body of stimulating, professional work. Their achievements are outstanding and are the result of meticulous engagement in enquiry and invention and the application of this research in the development of their work.

Many of this year’s graduating students have already exhibited their work in national and international contexts. With the work that can be viewed here, we look forward to seeing them succeed in many more exhibitions and to following their careers as artists. Congratulations on these exhibitions; we wish the 2016 MA Fine Art graduates every success for their futures.

Rachelle Aaronson MA Fine Art

Chance encounters of everyday involuntary `sculptures’ of crushed detritus of sandwich packets, reflections made possible by the rain and sun, traces of paint signs on our city streets, and shadows providing an ambiguity not found in the everyday coded permanent street structures.

Whether my walking journeys take me to public signs or symbols or to the coded numbers for the utility workers to follow, they all stem from the same root of `human intervention’ in urban and rural landscapes.

These are my initial inspirations.

Taking these images into three dimensions requires a rigorous decision making process that can seem at odds with how I find the involuntary ‘sculptures’ through chance encounters. What follows is a process of determining materials, colour, shape, size, scale and location – a singular human intervention of my own for others to `chance upon.’

Walking with my camera, I’m not looking for any one specific object or sign, it’s simply a case of what catches my eye, capturing that moment. The camera makes the ephemeral - the sunlight, shadows and reflections permanent.

rachelle.aaronson@btopenworld.com

Judith Beeby MA Fine Art

My works are made by pouring, tilting and turning mixtures of paint, using gravity to dictate the paint’s movement.

I balance chance with control. The result becomes a subjective landscape of a strange, almost familiar, land.

judithpickering@aol.com judithbeeby.com 07889 135 874

Victoria Bone MA Fine Art

My practice involves making wearable items for performance which consider the social and economic restrictions placed on the female body.

The performance aspect of my work recreates the primal energy of shamanistic rituals and my connection to instinctual, evolutionary tendencies as a female.

victoriaboneart@gmail.com victoriabone.co.uk 07885 781 088

Pamela Bowden MA Fine Art

Each object is part of a personal narrative, fragmentary and pertaining to a continuous variable physical quality, appealing to the contingent nature of the present.

pamelahbowden@gmail.com pamelabowden.co.uk 07766 677 935

Steve Burden MA Fine Art

Steve Burden – born and works in London.

Steve’s practice investigates the dystopian reality of living on one of London’s roughest housing estates – The Pepys Estate in Deptford.

Emergent themes include security, isolation, social class and the historical fabric that underpins the site. His goal is to create an entropic surface that echoes the dysfunctional predicament he lived in – ‘living there was, and still is, a nightmare’

birdys@gmail.com steveburden.co.uk 07557 444 707

Sandy Creighton MA Fine Art

I find an abundance of rich subject matter in the ordinary urban street where I live.

I record everyday objects and events and present them in a way that reveals their hidden strangeness, beauty and significance.

sandy.creighton@talktalk.net sandycreighton.co.uk 07972 084 534

Zsolt Dudas MA Fine Art

It is not me.

It is something I have seen.

So it is me...

Ez nem èn vagyok.

Ez valami amit làttam.

Tehàt èn vagyok...

info@zsoltdudas.co.uk

Constantina Hadjisavva MA Fine Art

Enhanced by different textures, I find beauty in raw industrial materials that have been damaged by human or natural influence and in the contrast created when they are combined with new bought materials and paint to create art.

As an artist, I never felt fully satisfied by the use of brushes as an aesthetic result of creating a piece of work. With the use of materials not usually found as part of paintings, such as wood, rusty materials and different types of cloth, paper, metal etc.

I create large scale installations and sculptures driving the viewer to experience art in a more physical way and to create a dialogue between the architecture design of the space and the ‘object’ called art creation.

The aim is to offer the viewer an experience similar to the atmosphere of a painting although in a more tangible way.

I treat my materials as I would treat paint on a canvas to express feelings and thoughts I carry inside occasionally. All this suppression of emotions and outburst of feelings, during this course, led me into the position of researching into brain and its functions, and especially the Limbic System where emotions arise from and use part of its anatomy to shape my work.

The result though is always abstract as limiting the viewer’s imagination or driving their point of view was never my intention.

constantinahadji@hotmail.com 07490 737 303

Charlotte Humpston MA Fine Art

My focus is on fibre sculpture and moving images, sometimes in combination to provoke and suggest different ways of thinking.

‘The Living’ a corridor of delicate goldenyellow threads to guide a walk towards hope, the warp of the loom ready for weaving a new life.

In exhibition are three related works – all are my response to the Syrian Refugee Crisis 2016.

‘Exodus’ re-purposed clothing felted together makes a red cloak connected with yarn to the piles of garments. Are the clothes discarded or waiting to be re-used.

‘The Dead (In re: The Raft of The Medusa)’ a broken raft lies shattered under images of the sea which itself covers the people who died at sea seeking a new life.

ch.humpston@btinternet.com charlottehumpston.weebly.co 07976 166 454

Elena Hutchcroft MA Fine Art

Electrical lines carrying the breath of humanity, are animated and tremble by the fluid music of water, playing the silent melody, the oxymoron of existence.

elenahutchcroft@yahoo.com elenahutchcroft.com

Aqeel Solangi MA Fine Art

The romantic notion of distant places and the intimacy of familiar places are the concerns I am addressing in my work.

I am taking Freudian term ‘uncanny’ to explore the notion of uncertainty, precisely in German words ‘heimlich and unheimlich’ territories in my work. In a way work is a response to places; sharing stories about them, its inhabitants and their pursuit to ‘a sense of belonging’ attached to them.

Longing for unseen places, collecting and sending postcards that carry images of places strengthen this debate.

aqeelsolangi@gmail.com aqeelsolangi.blogspot.com/ 07450 245 633

Nichola Wagg MA Fine Art

In my work I address questions around consumerism by exploring different forms of consumption in person and documenting them with photographs.

After thinking about the various reasons why I used to, for example, go to an art gallery, I realised that it seems different from the reasons I bought items to satisfy a want, such as sweets and toys; in fact they are just different forms of consumerism, a consumption to satisfy a want.

I ask why some things are valuable and useful whilst other things are not. I then create a painting from these collaged images that provokes a thought on why we care so much about useless things.

In conclusion, the work is a celebration of consumerism. Consumerism is an innate part of survival. I am trying to show that consumerism encompasses more than just physical gratification. There is an emotional and mental space that needs fulfilling as well.

I also found that by comparing the different forms of consumerism it was possible to create a link between them, provoking thought and awareness of their differences, and their various values to the consumer.

nicholawagg80@gmail.com nicholawagg.com 07497 865 856

Julieann Worrall-Hood MA Fine Art

Perhaps we are all exiles to some degree, each carrying a composite and fluid notion of home within us. I seek to evoke this continuous incompleteness, this longing for home that extends beyond any one place or people.

I have found parallels in nature, in the flocking behaviour of birds and the long distance migrations of butterflies, that mirror the routes and vulnerabilities of human exile and migration today.

j@woho.co.uk woho.co.uk

Andrea V. Wright MA Fine Art

I seek out methods of reflecting the ‘impossible plane’, constructing abstract geometric linear structures using illusion, trace and spatial retraction. Extracting / flattening / re-extracting line and form by introducing temporal elements, such as shadow and light, in the space between the wall and the floor.

between what is solid and transitory, formal and indexical.

My work encourages the viewer to recreate in their own imagination the tracing of the form - even to alter their spatial and material perceptions.

I work intuitively through the interaction of natural and manmade materials such as steel, wood, latex, paper and paint, weighing up how these materials unite when placed together through exploring various methods and processes.

I am particularly interested in how line and form can express the relationships between weight and lightness, strength and fragility, the perceived and illusive tensions in a play of opposites, blurring the distinction

andrea@andreavwright.com andreavwright.com 07903 120 786

MA Visual Communication Andrew Southall ­— Course Leader

The Masters in Visual Communication is a practical course for specialists. We focus on the distinct yet related strands of Photography, Illustration and Graphic Design, encouraging our students to work independently and collaboratively, whilst learning a shared visual language.

In consultation with tutors and whilst working in collaboration with their peers, our students produce a professional and a conceptual context for their practice in the process of developing their own projects.

We believe that the new confidence this provides is clearly evident in the resulting portfolio’s, or continued doctoral study.

Our view is that specialist Photographers, Graphic Designers and Illustrators are most effective when they integrate their methods with those in related

fields. We believe that a contextually informed approach to specialist practice is especially necessary in the present era, when boundaries between disciplines are changing - and in some cases dissolving.

The MA Visual Communication is designed to allow its students to retain and develop their own practices, while maintaining a critical dialogue with others in closely related fields.

Whilst developing an individual specialist project, our students learn to conceptualise, critique and contextualise their approach and develop and fine-tune their aesthetic sensibilities. They also collaborate to produce joint projects, in which the final outcomes are negotiated with their team members.

Through practical workshops, seminars, talks and presentations from a range of lecturers and visiting speakers, the MAVC helps to broaden our students outlook, gain necessary skills and develop a genuine confidence in their approach.

Isaac Christian MA Visual Communication

The MA in Visual Communication has developed my understanding and ability to articulate my photographic style and interests.

As a graduate of Human Geography (BSc) and Social Policy and Criminology (BA) I have always had a deep interest about the relationships between the Natural and Built environment, and how people performed as individuals and/or collectively in those spaces and places.

In order to make sense of the visual world around each of us, and how we are being communicated to, it is necessary to deconstruct the many layers of visual information. Reading the layers information, individually and collectively, enables us to assimilate information, which we recognize to be relevant or irrelevant.

The result of how we read the visual information dictates, to some degree, how we perform, whether encouraging us to buy products or to drive in a certain manner.

Working collaboratively with Monica (another MAVC student) I was able to apply, ‘Ways of Seeing’ the layered technique to build a recruitment project with the Avon & Somerset Police Constabulary, which has been encoded with meanings (such as colour’s, textures, text and images).

My final projects again draws on the concepts and practices gained throughout the course. The focus will be on the Pablo’s a black male barbershop and its role in shaping identity.

ivizz.co.uk 01761 274 999

Dina Sanchez Espinosa MA Visual Communication

I am a graphic designer from Mexico.

I love to work on children’s projects.

The spontaneity and the authenticity leads a fantastic creativity.

holacarrot@gmail.com dinaespinosa.tumblr.com 07401 402 256

Monica Romero Ruiz MA Visual Communication

With a BA in Graphic Design from her country, Colombia, Monica has 12 years of work experience and 8 working in branding design for retail stores and signage design in different fields such as commercial malls, schools and universities, hotels and hospitals for clients in Colombia, Panamá and Dominican Republic.

Image: Project “Let’s Play Bath” with both maps of the city, a booklet with the identity design and a storyboard that showed the interactive process.

During the course of her MA, Monica tried to explore the idea of taking the signage of the city of Bath to an interactive level, placing and evolving a map of the city in the bus station that invited the user to play and by that interaction, bringing to the user a more in depth information about the place.

Other fields explored in her projects are editorial design, illustration and typography.

moniromeroruiz@yahoo.com freewebs.com/portfoliomonicaromero 07490 544 436

Sarah Rossignol MA Visual Communication

Illustrator and designer whose practice is concerned with the harmony between organic textures and flat shape, typography and print design.

slrossignol@hotmail.co.uk sarahrossignol.com 07450 245 633

Tanaorn Narinsuksanti MA Visual Communication

It is a wonderful year, I have far away from my home. Very warm welcome from the first step into Bath School of Art and Design.

I focused on graphic design, for the purpose of improving my skills.

Visual communication, as its meaning, I tried to make the design which people can get something by just looking at it. This is just the beginning of my life. Making the new design is what I need to do. To create uniqueness, to stand out of other, this place gave me that thing. Everything is go beyond my expectation.

tanaorn.narin@hotmail.com fayyztography.wordpress.com 07490 042 647

Contact Details

MA Curatorial Practice Caitlin Carton

caitlin.carton@gmail.com

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Laura Eidintas Keenan Salgado

eidintas.keenan@gmail.com

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Hannah Kemps

kemps.hannah@gmail.com

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Kelly Klingman

kellysklingman@gmail.com

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Barbara Mulas

barbaralamulas@gmail.com

issuu.com/barbaramulas

07856 786 684

Ning Tang

tangning0202@msn.com

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Rupert Breakspear

rbrakspear@phonecoop.coop

rbrakspear.wordpress.com

07545 889 844

Adele Christensen

kimad@blueyonder.co.uk

www.adelechristensenglass.com

07789 604 351

Richard Winfield

rjwinfield@hotmail.com

richardwinfield13.wordpress.com

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Wenwan Cai

caiwenwan.christina@outlook.com

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Marianna Nello

mariannanello@gmail.com

mariannanello.wordpress.com

07541 920 000

Frances Westerduin

franceswesterduin@me.com

franceswesterduin.com

07789 907 165

Luca Salvatore

lucasalv_@outlook.com

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Mun Yi Seow (Yui)

yuiseow@gmail.com

smyyui.tumblr.com

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MA Design: Ceramics

MA Design: Fashion & Textiles

MA Fashion Portfolio

MA Fine Art Rachelle Aaronson

rachelle.aaronson@btopenworld.com

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Judith Beeby

judithpickering@aol.com

judithbeeby.com

07889 135 874

Victoria Bone

victoriaboneart@gmail.com

victoriabone.co.uk

07885 781 088

Pamela Bowden

pamelahbowden@gmail.com

pamelabowden.co.uk

07766 677 935

Steve Burden

birdys@gmail.com

steveburden.co.uk

07557 444 707

Sandy Creighton

sandy.creighton@talktalk.net

sandycreighton.co.uk

07972 084 534

Zsolt Dudas

info@zsoltdudas.co.uk

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Constantina Hadjisavva

constantinahadji@hotmail.com

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07490 737 303

Charlotte Humpston

ch.humpston@btinternet.com

charlottehumpston.weebly.com

07976 166 454

Elena Hutchcroft

elenahutchcroft@yahoo.com

elenahutchcroft.com

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Aqeel Solangi

aqeelsolangi@gmail.com

aqeelsolangi.blogspot.com

07450 245 633

Nichola Wagg

nicholawagg80@gmail.com

nicholawagg.com

07497 865 856

Julieann Worrall-Hood

j@woho.co.uk

woho.co.uk

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Andrea V. Wright

andrea@andreavwright.com

andreavwright.com

07903 120 786

Isaac Christian

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ivizz.co.uk

01761 274 999

Dina Sanchez Espinosa

holacarrot@gmail.com

dinaespinosa.tumblr.com

07401 402 256

Monica Romero Ruiz

moniromeroruiz@yahoo.com

freewebs.com/portfoliomonicaromero

07490 544 436

Sarah Rossignol

slrossignol@hotmail.co.uk

sarahrossignol.com

07450 245 633

Tanaorn Narinsuksanti

tanaorn.narin@hotmail.com

fayyztography.wordpress.com

07490 042 647

MA Visual Communication

Catalogue Design Abbie Edis abbie-edis.com Megan Glenister meganglenister.com

Cover Artwork Andrea V. Wright andreavwright.com Bath School of Art & Design @artbathspa artdesign.bathspa.ac.uk