THE BRITISH SCHOOL OF MILAN ABOUT
We are delighted to present this year's collection of student artworks, showcasing the incredible talent and creativity within our school community. This exhibition is a testament to the dedication, passion, and hard work of our students.
As Pablo Picasso once said, "Every child is an artist. The problem is how to remain an artist once we grow up". This quote captures the essence of our exhibition, where creativity and education come together to nurture and celebrate the artistic spirit in every student. At BSM, creativity is something we feel is an essential skill, and therefore, we are delighted to see that artistic creativity in such abundance.
We extend our heartfelt congratulations to all the young artists for the exceptional quality of their work and the countless hours they have invested in bringing their visions to life. Your efforts have truly paid off, and we are incredibly proud of each and every one of you, and in turn hope you are proud of what you have produced.
Thank you for joining us in celebrating the artistic achievements of our students. We hope you enjoy the exhibition and leave inspired by the creativity and talent on display.
Simon Lockyer Principal & CEO
The British School of Milan
An enlargement of Threads of Liberation Oil on canvas
100cm x 70cm
Held in Time
Graphite on paper
24cm x 30cm
Unseen, Unbound Tempera on paper
55.5cm x 50cm
The Poise of Her Tempera on paper
82cm x 58cm
ANGELICA BERNASCONI
Stop War
Mixed media (wood, fabric, cardboard)
100cm x 250cm x 6cm
Nonno
Graphite on paper
27.5cm x 20cm
Minestrone
Acrylic on canvas
70cm x 50cm
Intercontinental
Mixed media piece, photograph, textile, acrylic
80cm x 48cm
Voids
41cm
Organic Matter
Clay and spray paint
30cm x 45cm x 30cm
Abstract Composition
Graphite on paper
17.5cm x 14.5cm
Acrylic paint on canvas
x 30.5cm
Object Distortion
Acrylic paint and watercolour on canvas
66cm x 50cm
30cm x 40cm
A Description of Myself
Distorted Reflections
Acrylic on canvas
40cm x 52cm
Pencil on paper
29cm x 21cm
Beneath the Folds
Acrylic on canvas
Metamorphosis of The Mind
Acrylic on canvas
37cm x 30cm
Essence Overflowing
Tempera on paper
50cm x 60cm
Grey Lines of Existence
Graphite on paper
30cm x 24cm
Melted Reflections
Acrylic on paper
53cm x 32cm
Stains of The Self
Acrylic on paper
100cm x 70cm
Walking Man
Tempera on paper
51cm x 34.5cm
Boccioni Observation Drawing
Graphite on paper
20cm x 15cm
Walking Man
Ceramic sculpture
40cm x 30cm x 30cm
Untitled Acrylic wash collage 57cm x 40cm
ANGELICA BERNASCONI
This exhibition is a reflection on the journey of self-awareness within the female experience and the societal constraints imposed upon women. Feminism challenges the historical and cultural structures that have sought to define and limit women, advocating for autonomy, equality, and self-determination. Meanwhile, femininity exists as both an internal and external construct-one that is deeply personal yet shaped by societal expectations. This exhibition explores the tension between these forces, examining how feminine identity is shaped, suppressed, and ultimately reclaimed. Each piece serves as a moment of resistance, a dialogue between history and the present, urging a re-evaluation of the expectations placed upon women. A central theme in this exhibition is the tension between embodiment and erasure. Embodiment and Erasure explores how women have historically been both venerated as symbols and dismissed as individuals. This duality continues in Mirth, Elegance, Beauty, a piece that reflects on the timeless virtues attributed to femininity-virtues that, while celebrated, have also been used to confine and define women within rigid roles. The figures in this work embody society’s shifting yet persistent ideals of womanhood, as reflected through the lenses of different cultural and social contexts. The exhibition progresses into Unseen, Unbound, a work that disrupts these traditional constructs, challenging the roles projected onto women. Here, art becomes an assertion of self-definition, a rejection of stereotypes that have dictated female existence for centuries. The final piece, Threads of Liberation, serves as both an ending and a beginning - a metaphorical liberation, where women’s experiences and identities are no longer constrained by societal expectations but instead interwoven into a new, evolving narrative of autonomy and strength. Ultimately, this collection is not just an artistic exploration but a philosophical and conceptual discourse. It is a space where feminism is reimagined beyond opposition, embracing fluidity, multiplicity, and self-determined existence.
Oppression is a thread that runs through history, affecting individuals and societies in different ways. My artistic process began with Nonno, a graphite drawing that represents the heritage passed down from my grandfather, who endured the horrors of World War II. His home was bombed and completely destroyed, forcing him to face the devastation of war firsthand. His suffering became the foundation of my research into oppression, inspiring me to explore its presence across different eras and regions. This personal connection to history allowed me to engage deeply with the theme, using my grandfather’s experiences as the starting point for a broader investigation. The theme continues in Intercontinental, where I focus on the oppression of women, particularly through Neshat’s stylistic approach. The veiled women in this piece symbolize the control exerted over female identity and autonomy, reflecting the struggles many women face under restrictive regimes. Although Neshat’s work is rooted in Iran, I reinterpret this visual language to demonstrate the universality of this issue, particularly in Italy, where women still face cultural and societal limitations. By placing this theme in a different context, I emphasize that oppression is not limited to distant lands - it exists everywhere, often in more subtle but equally impactful forms. From this foundation, my work evolved into Minestrone, a piece that combines elements from Goya, Shirin Neshat, and Ai Weiwei. By merging these influences, I explored how oppression manifests in different cultural and historical contexts. Goya’s depictions of war and suffering, Neshat’s focus on the restrictions placed on women, and Ai Weiwei’s critique of authoritarian regimes all highlight the universality of oppression. This piece serves as a visual representation of the layers of control, censorship, and suffering imposed on people throughout history. Finally, Stop War is a culmination of my research, directly addressing the devastation caused by conflict. This textile sculpture of a missile, pieced together from fabric, makes a bold statement against war. It visually translates the destruction and fragmentation caused by violence while carrying an implicit message of peace. Through these works, I trace oppression from my personal history to a global scale, creating a dialogue between past and present struggles.
Nightmares are more than just reflections of our darkest fears-they are a confrontation with the hidden corners of the mind, where reality bends and distorts. As Oscar Wilde once wrote, “They promised that dreams could come true, but forgot to mention that nightmares are dreams too.” This duality between dreams and nightmares has shaped my artistic journey. It began with still life drawings, where I carefully recreated objects, capturing the world around me with precision. These early works were grounded in realism, focusing on the faithful representation of the familiar. However, as I continued to observe, something deeper started to emerge. I realised that I wasn’t just creating art; I was becoming an observer, a camera of my own life. Just as a camera captures moments through a lens, I was capturing the world through my eyes, framing it in my mind, and reinterpreting what I saw. This shift led me to take my initial drawings of reality and begin distorting them, pushing them beyond their natural forms into something unfamiliar, abstract, and unsettling. The transition from realism to distortion was not just about altering shapes, it was about reframing my perspective. As I distorted objects, I saw them not just as things in the world but as symbols, representing the blurry boundary between comfort and discomfort. It became a way of engaging with the weird and the unsettling, themes that had once plagued me in my childhood nightmares. What had been terrifying, a source of insomnia and fear, transformed into a source of fascination. I embraced these distorted forms, intentionally warping them to make them strange and beautiful. Through this process, I became both the creator and the camera. My art invites viewers to experience the familiar through a new lens, one that distorts, reinterprets, and challenges their perceptions, encouraging them to see beauty in the unexpected and unsettling.
The themes of identity and dreams have always fascinated me, as they reveal the layered and often fragmented nature of human existence. Identity is not a fixed concept but an evolving, shifting construct shaped by experience, memory, and perception. Dreams, in contrast, provide a space where identity becomes fluid, unrestricted by reality’s boundaries. Together, they create a dialogue between who we are, who we think we are, and who we fear or desire to be. Dreams act as a subconscious mirror, distorting reality and weaving together elements of past, present, and future. In this space, identity is no longer linear but a shifting entity, continuously reshaped by emotions, suppressed thoughts, and surreal imagery. This dreamlike quality reflects the way identity is often misunderstood-even by ourselves. Just as dreams blur truth and illusion, our understanding of who we are is often built on perceptions, expectations, and experiences that may contradict one another. Identity is also deeply influenced by external forces-society, culture, and personal interactions. These forces create tensions between how we see ourselves and how others perceive us. The fragmented nature of identity mirrors the way we wear different "masks" depending on our surroundings, often altering aspects of ourselves to fit into expectations. This duality between inner self and external persona is something dreams explore effortlessly, exposing raw emotions and hidden truths. By intertwining themes of self-exploration and subconscious imagery, my work seeks to capture the fluidity of identity. Dreams serve as a metaphor for the uncertainty and complexity of selfhood, a reminder that our sense of identity is never static. Instead, it exists in a constant state of transformation-sometimes unsettling, sometimes beautiful, but always evolving.
ALLEGRA NAPPI
Through my artistic exploration, I engage with the concept of deconstruction, breaking down visual structures to uncover hidden narratives and reconstruct them in thought-provoking ways. My work challenges conventional representation, distorting imagery to reveal the fluid nature of perception. By dismantling familiar forms and reassembling them through abstraction and surrealism, I seek to explore the tension between reality and illusion. My artistic influences-Dalí, Caravaggio, Tanguy, and Ferroni-serve as guides in this process of visual deconstruction. I began my journey with realism, meticulously studying chiaroscuro and the dramatic contrasts of Caravaggio, which informed my piece The Mirror’s Silence. Through graphite observational drawings and portraiture, I sought to master precision, immersing myself in the study of light, form, and human expression. However, as my work evolved, I moved beyond realism into abstraction, embracing the fluidity and dreamlike distortions seen in Tanguy’s otherworldly landscapes. I experimented with contrasting elements, layering rigid, well-defined figures with softer, more fluid forms to evoke movement and instability-echoing the fragmentation and reassembly that define deconstructionist thought. At the core of my practice lies the profound influence of Dalí, whose ability to warp reality while maintaining intricate detail has deeply shaped my approach. His use of symbolism, subconscious themes, and unexpected juxtapositions has inspired me to construct dreamlike compositions that blur the boundaries between the familiar and the fantastical. This influence is particularly evident in my artwork Stains of the Self, where I explored the distortion of identity, fluidity of existence, and the subconscious interplay between reality and imagination. By deconstructing the human form into melting, surreal fragments, I sought to reflect the instability of self-perception and the hidden complexities beneath the surface of consciousness. Through my IB Visual Arts journey, I have not only refined my technical abilities but also developed a deeper cultural and theoretical understanding of art. This process has allowed me to bridge the practical and philosophical dimensions of artistic expression, using deconstruction as a means to question reality, reconstruct meaning, and evoke a sense of the uncanny.
The central premise of my exhibition is "Perspective," a concept rooted in the differing viewpoints people form about others based on personal interactions. This idea highlights the fragmented nature of personality, where identity is perceived in multiple ways depending on context. To explore this, Fragmentation emerges as a recurring theme in my work. Inspired by Doris Salcedo's Shibboleth, I examined how visual elements can convey division and separation. Salcedo's symbolic crack in the gallery floor highlights societal fractures, which I translated into my own practice by constructing and deconstructing forms. Through this process, I explored the notion that identity itself is composed of fragmented elements shaped by diverse perspectives. Another significant theme in my work is Movement, which reflects the constant shifts in personality that occur in response to changing environments and daily experiences. This theme was influenced by artists such as Umberto Boccioni and Alberto Giacometti, whose sculptures capture dynamic energy and the fluidity of motion. Inspired by their work, I incorporated expressive, distorted forms that evoke the sense of a hectic, fast-paced existence. This movement symbolizes the ever-changing ways people adapt and present themselves in various social settings. The underlying concept of "Perspective" is also reflected in my intended impact on the audience. Through my pieces, I aim to challenge viewers to reconsider their own shifting behaviours and viewpoints. By inviting them to reflect on how their perceptions of others are shaped by circumstances, I hope to encourage self-reflection and foster a deeper understanding of identity as a multifaceted construct. Ultimately, my exhibition draws on these themes to emphasize that perception is never fixed; instead, it is shaped by fragmented experiences and ever-changing interactions that define how we understand ourselves and those around us.
THE ART DEPARTMENT
Welcome to the GCSE Fine Art and IB Visual Arts Exhibition, a celebration of creativity, innovation, and artistic expression. This collective exhibition offers a glimpse into the remarkable talents and efforts of our GCSE students, as well as the exploratory twoyear journey of our IB Visual Arts students.
The International Baccalaureate is an incredibly demanding programme that provides students with a holistic academic overview. This enriches the Visual Arts subject, allowing students to reflect on the world around them while exploring a diverse range of artistic mediums. It is a personal and meaningful two-year journey, and one of the most rewarding.
The exhibition begins with the intricate details of GCSE Fine Art and leads through to the diverse and thought-provoking works of IB Visual Arts. Each piece reflects the unique perspectives and skills of our young artists. As you navigate through the exhibition, you will witness the culmination of their hard work, dedication, and passion for the arts.
Kate Michael
Kieran McLean art teacher (maternity cover)
Kate Michael head of art
Georgina Ferns art teacher
GCSE CLASS
GCSE ART AND DESIGN STUDENTS
Amelie Rotta Year 11
Beatrice Esposito Year 11
Elisa Peterlongo Acquaviva Year 11
Stella Yang Year 11
Isabel Chiaramonte Year 10
Jiayi Xiong Year 10
GCSE ART AND DESIGN STUDENTS
Ludovica Bosetti Year 11
Yoonha Hwang Year 11
Luca Dorigo Year 11
Emilia Bodnarenco Year 11
Phoebe Weston Year 11
Xinwei Li Year 11
GCSE ART AND DESIGN STUDENTS
Sara Diana Year 11
Marina Pavlova Year 11
Irene Hu Year 11
Flora Bu Year 11
Anna Manzoni Year 11
Taro Ford Iguchi Year 11
Tommaso Di Carpegna Year 11
GCSE HIGHEST MARK IN THE WORLD
We are incredibly proud to celebrate the outstanding achievement of our GCSE Fine Art student; Xinyue (Fiona) Zhang, who has earned the highest grade in the world from the Edexcel examining board! This remarkable accomplishment is a testament to her unwavering dedication, hard work, and passion for learning. Her commitment to excellence has set a benchmark for this year's cohort. We extend our heartfelt congratulations and look forward to witnessing her continued success in the IB Visual Arts next year.
The British School of Milan Via Pisani Dossi 16 - Milan, Italy - Tel. +39 02 210941 info@bsm.school - www.britishschoolmilan.com