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CHELSEA degree show 2014

BA (Hons) Fine Art

Si-Hyun An 4 Anastasia Andrieu 4 Jheni Arboine 4 Jon Baker 5 Yasmin Barakat 5 Felicity Barrow 5 Clare Baybutt 6 Roshni Bhagotra 6 Channa Bianca 6 Alice Blackwell 7 Cornelia Blom 7 Johanna Bolton 7 Sue Boyd 8 Elizabeth BrannanWilliams 8 Holly Brearley 8 Emma Brown* 9 Harry Brown 9 Xanthe Brown 9 Vicky Chapman 10 Eric Chen 10 Abbie, Wan-Yih Cheng 10 Sarah Clarke 11 Roseanne Connolly 11 Jess Crichton 12 Agnieszka Aleksandra Dlugosz 12 Laura Fowle 13 Margaux-Alix Gardet 13 Alexandra Gromova 13 Kai Guo 14 Marta Georgia 14 Nichakarn Hariphooreevong 14 Kyla Harris 15 Evie Highton 15 Thomas Hjelm 15 Georgina Hodgson 16 Joe Horner 16 Fernando HortigĂźela 16 Leonard Hughes 17 Paul Jong Bum Huh 17 Beatrix Blaise Jacot De Boinod 17 Jessie Jenkinson 18 Eleanor Jennings 18 Mirco Gregory Maximilian Kaempf 19 Marie Kaus 19

Alisa Khalilova 19 Emma Knight 20 Alicia Laishley 20 Nicola Lake* 9 Claire Lamy 20 Tom Langdon 21 Cameron Leys 21 Ana Maria Lima Dimitrijevic 21 Mary Lister 22 Benedict Loong 22 Georgina Low 23 Jessica Mason 23 Eve Matthews 24 Sorann Micollier-Yoo 24 Roger M Miles 24 Jennifer Morgan 25 Gemma Murray 25 Anya (Anna) Myagkikh 25 Jordan Naylor 26 Georgina Nicolaou 26 Rebecca Temitope Oloidi 26 Sarah Osborne 27 Kaveh Ossia 27 Thomas Owen 27 Nicky Payne 28 Phornthep Permsubhirunya 28 Andrea Phillips 29 Holly Piper 29 Ellie Preston 30 Baobao Qin 30 Mahsa Rahbari Aghdam 30 Gabriel Ribeiro 31 Sarah Roberts 31 Karen Smith 32 Noor Soussi 32 Emily Sutherington 32 Borbala Szanto 33 Anwar Talukdar 33 Maureece Mical Taylor 34 Holly Tighe 34 Sylvie Toutain 35 Rosie Walker 35 Georgina Walton 36 Venice Wanakornkul 36 Aaron Wells 37 Soo Jin Yoo 37 Natascha Young 37 *theartyfolk 9

BA (Hons) Graphic Design Communication

Lara Al-Hadeedi 40 Nikita Andrianova 40 Matt Ashmore 40 Phoebe Beasley 40 Art Boddington 41 Georgina Bourke 41 Tobias Bschorr 41 April Cain 41 Oiyi Chan 42

Andrew Cole 42 Sophie Devine 42 Emi Dixon 42 Joshua Duffy 43 Will Ellison 43 Sophie Farrar 43 Eilidh Berry Fraser 43 Arun Gogna 44 Jack Hardiker 44 Calvin Hayes 44 Jake Hollands 44 Alex Howell 45 Helen Hua 45 Benjamin Jacobsen 45 Aleena Jamil 45 Katherine Jenkins 46 Josiah Jones 46 Mackenzie Leary 46 Jeong Min Lee 46 Sally Lewis 47 Conrad Lewis 47 Saori Masuda 47 Holly Matthew-John 47 Nathan Matthews 47 Richard McDonald 48 Liam Moore 48 Safwaan Motara 48 Tshilidzi Ndou 48 Hannah-France Nicholls 49 Billy Osborne 49 Tabrez Pathan 49 Emily Perrin 49 Lucy Powell 50 Claire Sinyor 50 Amy Rose Smith 50 Kayo Takahashi 50 Vanille Van Der Cam 50 Luisa Veloso 51 Adam Waldron 51 Rui Lin Yang 51 Anastasiya Yefimova 51

BA (Hons) Textile Design

Sara Michala Aghataher 54 Kaly Aluvihare 54 Georgina Archer 54 Iman Benali 54 Elisa Bernardini Brown 55 Catherine Black 55 Emily Buckman 55 Abby Bucknall 55 Grace Becker-Burnett 56 Dora Burns 56 Fran Buss 56 Ji Chen 56 Ching Cheng 57 Niam Cunningham 57 Sian Dorman 57 Yasmin Falahat 57 Miriam Forster 58 Natacha Mei

Nouna Gervais 58 Estee Gledhill 58 Emily Goold 58 Beth Graham 59 Chloe Griffin 59 Sabrina Shah Hakim 59 Lucy Hardcastle 59 Abigail Hazard 60 Kim Heeyoung 60 Robyn Hinchcliffe 60 Olivia Holland 60 Naomi Hutton 61 Irene Hsu 61 Yu-Yun Hsu 61 Nianni Huang 61 Olivia Hulme 62 Emma Jacobs 62 Adriana Jaroslavsky 62 Hannah Jordan 62 Saaya Kamita 63 Eve Kennedy 63 Christine Kim 63 Nari Kim 63 Vanessa Kureya 64 Karen Garling Lai 64 Annie Larkins 64 Natalie Yuen Ting Lau 64 Chaerin Lee 65 Rachel Lentin 65 Grace Marshall 65 Hitomi Matsumoto 65 Ella McCabe Barton 66 Abby McGowan-Harber 66 Khaitee Mills 66 Hee Nam 66 Yasmin Neal 67 Wasabii Ng 67 Honami Nishii 67 Bridie O’Sullivan 67 Izabel Oag 68 Hyun K. Oh 68 Xiaoxiao Ouyang 68 Caty Palmer 68 Elise Perrotta 69 Jack Pittard 69 Jodie Anna Posen 69 Lucy Monica Poulden 69 Darshni Pravin Shah 70 Gyeongmi Shin 70 Haruka Shoji 70 Caroline Smith 70 Maria Stavropoulou 70 Lynne Elizabeth Searl 71 Yasmin Ann Stringer 71 Tajui Antonio Tseng 71 Sorrel Daisy Tucker 71 Georgina Fairhurst Walch 72 Harriet Walters 72 Yuwen Wang 72 Abigail Whitfield 72 Nicola Worsley 73 Georgina Wright 73 Yangyang Zhang 73 Mario(Queji) Zhou 73

2 BA (Hons) Fine Art 39 BA (Hons) Graphic Design Communication 53 BA (Hons) Textile Design 75 Foundation Design Interior and Spatial Design 81 BA (Hons) Interior and Spatial Design 101 Graduate Diploma Interior Design

CHELSEA degree show 2014


BA (Hons) Fine Art 2

The Value of Taking Risks The 2014 Chelsea Degree Show is one of a number of exhibitions that BA Fine Art students take part in whilst they are with us. When students arrive in year one their first experience at Chelsea is to put on an exhibition of work. And they go on to take part in group shows within the college and outside in numerous spaces around London. All this exhibiting is a key component of the student experience at Chelsea and serves multiple functions. Students experience working together in groups, promoting themselves and their ideas, building up communities of shared approaches and testing out their ideas in public. Above all, the experience of exhibiting aims to give students confidence. Confidence to see through an idea from its inception to realisation and confidence to take risks. Perhaps the most exciting work is that in which a sense of the artist taking a risk is most evident. And the work in this year’s Degree Show really shows that sense of risk and experimentation. The work does not always sit comfortably but instead challenges the viewer to consider the multiple ways in which artists might explore and articulate ideas. Perhaps more than ever, within the current political climate of what appears to be greater and greater conservatism, the ability to challenge and experiment is of enormous value. The sense of experimentation, risk-taking and invention is not something new at Chelsea. It is exactly this spirit that has led to the success of one of this year’s Turner Prize nominees, James Richards. Having graduated in 2006 he was one of the first groups of BA Fine Art students to have a Degree Show at Chelsea’s Millbank home. I have no doubt that out of this year’s cohort of students there are individuals and groups who, like Richards and many other alumni, will play pivotal roles in defining the direction of contemporary art. Nothing gives me greater pleasure than seeing students’ work develop in the run up to the Degree Show. For the course this Degree Show is the students’ final exhibition. It is the culmination of their experience at Chelsea. For the students it is not the end but the beginning. Some of this year’s graduates will undoubtedly go on to become stars of the art world. And for all the students the experience and confidence gained through an atmosphere that encourages risk and experimentation will also lead them to make vital and positive contributions in years to come.

BA (Hons) Fine Art

Martin Newth BA Fine Art Programme Director


BA (Hons) Fine Art

005 Yasmin Barakat

Painting for me is no longer an image but a record of an actual event, recognition of an experience between an artist and the involvement of their body. This installation is a representation and recreation of the concept of painting. I have constructed perspex cubes and paint, where the paint has been poured into the cubes weekly and allowed to dry over time. Each section of paint in the cubes has been poured at different times and dates allowing the paint to dry asynchronously. The paint is confined in a space and is left to move and seep as it pleases. This exploration has aided my practice; it has challenged my work as a painter and seeing changes that are not in my control has been challenging. In the recent weeks, I have paid close attention to the cubes, watching the changes as they happen. Stepping away from the canvas has allowed me to explore how paint as a medium functions in different spaces and dialogues. I have used paint on bodies, and in comparison to this installation. The artwork is not as free and open as a canvas, although it is free to move, and seep. The perspex cubes symbolize the confined space of a canvas. It juxtaposes the sense of freedom and confinement I experience with painting. My recent works consist of film, animation and photography; I seek to express myself through colour and movement, combining the both and creating a pure form of physical expression that is unique to me and my instinctive decisions.

001 Si-Hyun An


003 Jheni Arboine

002 Anastasia Andrieu

My work is always reaching the frontiers of reality. Or, more accurately, how our reality can be changed by a small manipulation, conscious or unconscious. Sometimes, we can reach another vision coincidentally. Putting your head upside down, looking through a drop, opening your eyes underwater. I wish to explore those transcendental realities in my practice, and invite others to discover those with me. “The blind sees in the dark a world of light when the physical eye closes, the mind’s eye opens” Victor Hugo

004 Jon Baker

006 Felicity Barrow

My practice seeks to explore what it means to be human, how the world works and the possibility that magical things are happening all around us. I try to approach these fundamental questions with childlike curiosity, gentle humour and a genuine sense of wonder. Working primarily in performance and video, I create playfully constructed scenes, narratives and environments with sculptural/installation elements through which to open up a dialogue of hope between artist and audience. Long periods of in-depth, very specific research become central to each work. Recent projects have stemmed from of a group of scientists working in the 1970s who believed they were ‘eavesdropping’ on the conversations between plants and stars; and the divination methods practiced by the Etruscans, a little documented ancient Italian civilization. The Etruscans believed in a constant stream of signs and symbols present in everyday, odd or mundane phenomena such as thunderclouds, chickens and the singing of frogs. “He then quipped, regarding divination from the singing of frogs: Who could suppose that frogs had this foresight? And yet they do by nature have some faculty of premonition, clear enough of itself, but too dark for human comprehension” Cicero


BA (Hons) Fine Art

009 Channa Bianca

007 Clare Baybutt Title of work: ‘Now this’


008 Roshni Bhagotra

Space is a form of intimacy… and we all love intimacy

Bedroom culture and traditions of home making influence aesthetic references, as well as shape the narratives that I deal with in my work. Knowledge gathered from moving; between parents, countries, languages and friends, the process of choosing what to bring limited by what you can carry. When continuously re-assembling your life, your bedroom becomes a place that can hold points of reference about who you are and who you want to be. I’m interested in using my practice to explore parallel realities and how (un)aware we are of moving between them. In previous shows I have repeatedly taken on the room in situ. Visitors who enter the space subsequently enter the installation, lending emphasis to the act of arriving. In the work Respect is only a matter of distance, two meter tall cardboard walls shape an asymmetrical octagon in the centre of the space. Edging along the cardboard walls we find scattered drawings, shelves and cups; left suspended in place – out of place. This is the physical attribution of dealing with ideas I have about intimacy, the constructed and the unbalanced. Points of convergence between social representations and the individual experience is often the catalyst for what I investigate in my work. Drawing is the ‘first language’ of my process. The installations and publications come about as a translation when my work leaves the studio and enters a public context.

010 Alice Blackwell

011 Cornelia Blom

What is applying yourself and how do I do it? Imagine you are about to graduate from a prestigious art school, Imagine you are trying to come up with something monumental for your degree show, Imagine you wander around London writing down every thought that’s remotely funny as a drafted text on your phone, Imagine a red haired lady in a Comme des Garçons coat and embroidered Dr Martens sits down next to you on a bench on platform 1 at Euston to ask you how to get to Kings Cross as you’re writing your statement for the catalogue. Cornelia’s creativity is too expansive for her to limit herself to one medium only. Going from strength to strength, on top of artist and stylist; perfumer, gourmet bartender, rave decorator and talk show host are just a few of the titles she has collected through the years. ‘What is applying yourself and how do I do it?’ contains a series of slogans written by the artist that she then reworked into logo symbols and printed onto fabric.

012 Johanna Bolton

My practice is based on investigations that start as observations of everyday objects or occurrences. I am awed by the amazing complexity of every little object, if one looks closely enough. I have looked at the knots formed by hairbands for three years, and I am sure there is enough material for a life time of study. The amazing mass of information needed to describe even the most humble object can truly give a glimpse of infinity, and is my path to the sublime. The studio is a laboratory where I make objects to answer questions about the nature of reality, but the objects always raise new questions, creating a continuous dialogue between mind and matter. Because of this I work in open series, series that have no natural end – their start, end and the rules that govern their path is as personal and haphazard as any aesthetic or artistic choice may be. The objects tend to be sculptural, human scale and tactile. My art exists in between information and understanding. In this gap that never closes, my frustrated longing for enlightenment is the engine for an obsessive pursuit. At its heart I view this investigation as a spiritual work, connecting to the mystery of creation.


BA (Hons) Fine Art

013 Sue Boyd

I am a storyteller and filmmaker whose diverse life experiences create a rich library of stories, while my visual focus recognises the extraordinary in the midst of the mundane. I find society and human interaction, endlessly fascinating and this fascination motivates my work, in which stories arising from conversations with random strangers are related over still and moving images, captured during journeys on foot and through the windows of public transport. My work offers a glimpse into, and reflects on, the intrigues of human nature and social structure, using the ever-changing expression of location, as a backdrop.


014 Elizabeth Brannan-Williams

My practice explores the creation of narrative and truth through the medium of documentary film. I am interested in how the tropes and techniques of documentary film can be used and disrupted to create uncertainty and distrust in epistemological sources. My videos also focus on examining the fallibility and distortion of personal and collective memory and the creation of accepted shared histories surrounding spaces. I am currently investigating how different narratives of space can be imprinted on one location, and how these narratives can change over time. This piece records my memories of some of the apartments I lived in growing up in NYC, as well as interview footage of my parents’ memories. Each of the three records of the physical aspects of the space as well as the narratives about the apartments is refracted through the personal experiences of the individuals. I was a child during my time in these apartments and one of my parents has since had memory-altering brain damage; however, each of the narrators is valued equally, as there is no true experience or memory of the location. Through my work, I am attempting to undermine the viewer’s trust in the documentary form as well as the possibility of creating or understanding a definitive truth.

015 Holly Brearley

Towering prints display glossy slick digital renderings of imagined architecture whilst the sharp curves of metal structures appear superimposed within the gallery. Taking inspiration from literature and commonplace architecture, more often than from artists, my work intends to create a space that emulates the corporate sex appeal of a power point presentation. In so doing I create a blank space as a starting point that facilitates the creation of a psychic city. The digitised aesthetic of space in my work makes the imagery seem simultaneously permanent and malleable. The structures are designed to appear impenetrable. However the use of simple digital graphics allows the viewer to feel as though the images could easily be altered or replicated, the solidity holds a potential for change. We occupy places that exist across two planes, the concrete and the psychic. Whilst the physical architecture of that which surrounds us forms the concrete we create the psychic. Memory, play and creative use of space ascribe meaning and purpose to space. I am interested in the separation of these two planes. Whilst in one’s home the two are consistently present this is not the same of all places. A market place is a market place even when the stalls are gone. The psychic space prevails. This inconsistency is also present in areas of transport – the architecture and purpose is weighted towards movement and a potential for psychic space is disregarded. I however use imagery of these spaces as a basis for a dynamic city of movement. I create cities that exist entirely within the psychic plane but are nonetheless defined by transport and movement.

017 Harry Brown


016 Emma Brown and Nicola Lake

Visit our space in DG10 for tea, a sit down, something to eat and a conversation. We will be around all week, so feel free to ask us about the series of different conversations and discussions that will be taking place. Talk about what you think is important, and hear what other people have to say too. If you would like to get involved with this project, or work on anything else with us, we’d love to hear from you!

018 Xanthe Brown

BA (Hons) Fine Art

019 Vicky Chapman


My practice involves using performance as a way to explore social and cultural values, or ‘norms’, often through creating a rift or intervention into social convention. I have an investigative practice, which involves using research as an active material in the work, often at the same time exposing the process involved in making the work. I engage either directly or indirectly with an audience, whether viewers or passersby, using performance or sound (or both) as a way of creating a scenario into which they become an important element. Through examination of popular culture, I often use music, and the culture surrounding it, either as a starting off point for new work, or as the work itself, or both. I also use writing as a means of exploring these issues, presenting it as a medium in its own right, often as a descriptive device after a performance or event has taken place. 020 Eric Chen

The Tale of Legend is my second video work. I intend to make it like a fairy tale film: A brave young man saves the princess from the Dragon. However, there are no graphics or pictures in this film. There will be sounds and subtitle texts. I want people to imagine the graphic based on what I have provided. The key point of this work is to interact with audiences and to use the imagination of the audiences. The reason I choose a fairy tale as script is because it is familiar to most people. However people do not know the exact details of the story, allowing space for people’s imagination. I can guide people’s imagination by using texts and sound. My idea is quite similar to a Hollywood movie called Inception, where dream builder creates an environment and allows others to go on an adventure in it. I am just like a dream builder in the movie, I introduce audiences the background of the story and the characters, giving them a general idea about the film. It’s different from a normal film because audiences cannot see what the environment looks like or how characters look. I use texts on the screen to describe the characters in the film, but my text is not detailed. I draw the outline of a character by using text and conversation. For example, to describe a princess, I tell audiences this princess is 20 years old with blond hair, the sound of princess is an elegant British accent. But I will not say anything about how the princess looks. People can imagine what the princess might be like; they may imagine princesses from other films, animations and pictures that they ever seen before. The appearance of this princess would be varying in different people’s mind; it’s very much according to their aesthetic, knowledge, taste and experience. What I aim to do is to let people watch a fiction movie in a different way, there is no visual effects or 3D technology, so they can think more while watching thus creating interaction. To some extent, my film is incomplete without audiences; imagination is the most important part in my film.

021 Abbie, Wan-Yih Cheng

What happens when the Eastern culture meet the Western culture? As the Oriental culture and Chinese painting inspire my works. How does the combination of Eastern and Western painting style work together? My own culture influences me a lot. Many well-known Chinese painters are challenging themselves; they bring the traditional skills into modern art paintings. They make those Chinese paintings reborn in a modern way. This is what I am trying to explore in my work. I am interested in the subject of ‘Memory’. The films of Wong Kar-wai, In the Mood for Love and 2046 inspired me; both films are connected and keep telling one thing. Time flies, some of the memories will be forgotten. Some of them will be kept inside of our mind with our secret, thus they will never be woken up again. I find memory interesting; it is something that everyone has. Also, it is something about time; the things we are doing now will be a part of our memory in the future. Somehow, it can exist with our illusion like a dream. Nevertheless, memory is based on the truth and our daily life. Sometimes people will forget about it, or might remember only a small part of it. Sometimes people will remember things vividly. Moreover, people will overlap the memory with their imagination. This is why I am so interested in ‘memory’, and why I want to use my painting to show people my memories.

023 Roseanne Connolly

022 Sarah Clarke

My work focuses upon the human and animal through material structure, placing and form. I am interested in looking at the relationship between the two as one of both harmony and uncertainty. My work developed from the structures of animals; and from looking closely at their movement their form and textures. This then translates in to the forms of uncertain beings and things that are placed together. The uncertain form of each structure plays with the question of domestic and wild and the categorisation of the animal. By manipulating the structures away from their recognisable form I am creating a new being, that can’t be categorised and something that we can’t easily relate to schematically. We are unable to decide what are human or animal attributes confidently in each structure. The material quality of each object plays with the contrast between the animal, wild and domestic. The draped material hides the form, creating something unrecognisable, as the texture challenges your expectation; manmade fibres mimic that of natural animal sin and fur, increasing a sense of uncertainty. The material urges for the domestic, the calm and controlled which contrast to its hanging shape which is aggressive, assertive and sways with the movement of passing people. The ceramic sculpture draws the viewer in, changing the experience of witnessing the sculpture.

My work consists of disparate sculptural elements, making reference to human and animal bodies and exploring ideas around anthropomorphism. This could be a large, arching, twisted torso; skin gathered and pulled tight, the figure appearing frozen in mid-movement. It could be a bright terra cotta fox, lifeless, caught in a graceful slump, with intricately carved lines bringing it a sense of calm and fluidity. My use of clay and ceramics is key. The tactility and substantiality of the material creates an intimacy, reflecting the closeness I develop with each piece during the making process. There is immediacy to working with clay; my ideas can be instantly impressed on the material. My inclusion of other media, such as wax or metal, undermines the preciousness usually associated with ceramics, subverting the expectations of the viewer. I aim to convey a sense of vulnerability and uncertainty through the forms. The partial figures play with presence and absence, alluding to what is missing, producing bodies that are both beautiful objects and unnerving new forms. Delicate textural details make up each individual sculpture, with each piece then coming together to form the whole display.


BA (Hons) Fine Art

024 Jess Crichton


Mostly I work by performing everyday (feminine) activities like applying (removing) make up, undressing, walking in different height shoes. The reason for filming the performances are because the framing, camera quality, for example whether the camera is fixed or moving is key to certain issues I want to address, such as: sexual objectification, by using a camera phone and following the subject whilst moving it up and down implies a gaze of a sexual predator, also its quite voyeuristic as the subject is unaware. The moving the camera up and down shows the subject being ‘checked out’. My work addresses the internalization of needing to measure up and fit a certain size, look a certain way and be concerned by your own appearance but also to judge others on theirs. Appearance is important because it’s the first thing we notice about a person. I’m worried that appearance and aspiring to meet beauty norms and body ideals we see in the media, have taken president over other goals. Perhaps because achievements non- appearance related are less acknowledged. Eating disorders have risen over the last 10 years, which is worrying as they can be fatal or have often a life long effect on mental and physical health. Sorry, I haven’t done my face yet. Sorry, I’m not wearing any make up. God I look awful I’m quite heavy Do you think I’ve put on weight? What size do you think I am? I’m too short I can’t reach.. These shoes really hurt my feet.

Since the development of social media and because of the freedom of speech that the Internet provides, judging people on their appearance, is becoming a norm on Facebook and Twitter, as a society we’re becoming more obsessed with how we look and present ourselves, we may receive compliments and likes on our Facebook which give us confidence however often people are judged, scrutinized, bullied and ridiculed for their appearance on these sites. We’ve seen this happening to celebrities in magazines and also on twitter, why do we think its ok. She’s let herself go She’s put on weight Why’s she wearing that? That outfit is definitely too tight. What a fat ugly slut. You should eat more you’re too skinny I think you should wear more make up The heels make your legs look better. Why does beauty have to = pain?

025 Agnieszka Aleksandra Dlugosz

Like a subject that attempts an idealized self-representation on the screen of its own fantasy, the artistic process anticipates the unattainable ideal and crashes against it. As a result of that battle (almost like light or heat emitted as a side effect of a chemical reaction) an artists exceeds and, often subconsciously, reformulates the guidelines of the medium’s tradition. For me, painting is a philosophy and rediscovery of the materials involved: What if the canvas stretcher is bent (like Einstein’s universe)? What if the painting sticks out of the flat wall, revealing its unreadiness to simply belong? Will the canvas-screen disagree with the curves manifesting its own philosophy? Will it deflate under the pressure of the brush, the weight of the paint’s matter? How will the shadows (the literal ones) be incorporated into the image’s performance? And finally: How will the image respond to the newly discovered dimension? Will it resist distortion? And isn’t flatness a distortion of reality in the first place? Although my practice is inevitably fused into a dynamic of insufficiency that strives for an ideal completeness, I am transforming it into a platform for discovery of the potential side-effects; redirecting events towards the uncertain.

026 Laura Fowle

My practice engages with developing ideas of space and existence. I am interested in the tensions between the physical and the virtual and aim to produce work that can be experienced through a multiple of platforms, in turn, posing questions of authenticity, ownership and materiality. I like to engage with the falsity or sense of farce that the virtual platform exemplifies. In the contemporary climate, a work of art lies equally in its experience within the gallery or museum, the images and other representations disseminated through the Internet and publications or any other variation re-contextualized by any other author. I find this shift in the validity of experience of a work compelling, and something I aim for my practice to embrace. Focusing on the translation of information from the virtual to the physical and vice versa, my practice encompasses notions of the hyper real and methods of imitation. Presenting itself in 3 elements, my current work exists via a PDF file (accessible via a QR code), a publication, and a sculptural, threedimensional component. Reflection, translation and reproduction are fundamental to my process of working; the presented work is a simulation, a mimicking resemblance of, rather than resemblance itself.

027 Margaux-Alix Gardet

The desensitization of the pornographic industry, the objectification of the fashion industry or the sexualisation of the advertising industry, has brought up a generation on brutal, violent imagery of women. I attempt to create a complex, visually literate body of work both in terms of technical execution and multi-layered exploration of ideas. Through the art historical references, I aim to playfully seduce the viewer with familiarity of style, while subverting his expectation of traditional narrative. While tackling social, political and culture issues, the digital handling of these images are created with care and specificity, while exploring different aspects of the tortured female body, the degradation of her image, providing a counterfoil to the conscious theatrical staging of the composition. I handpicked items of the past, and by layering them with elements of the present, transposed them into a world where confidence has been lost; where the spiritual beliefs which once bound man to nature, and through nature, to the divine, fail to connect. I create a visual dialogue between the past and the present, celebrating and emphasizing the unclothed human figure, which to me represents a timeless ideal of humanity. I give you no answers, but raise questions about the loss and search for identity in a difficult modern world.


028 Alexandra Gromova

BA (Hons) Fine Art

029 Kai Guo


Title of the work: Forest In my opinion, painting is a way of expressing inner feelings and attitudes. Therefore, in the creation of paintings, I focus much on how to convey the inner feelings I want to express to the audiences through painting so that the audiences can have emotional interaction with the work. Maybe such feelings are conveyed to the audiences via different color lumps or abstract figures. What is expressed in my works is usually related to the inner feelings of human beings. But judging from another perspective, actually, the painting reflects some social phenomenon. The emotions reflected in figures or color lumps of the paintings are caused by social environment. Many of my works are showing a sense of loneliness, sadness or fear. Perhaps this feeling comes from my own heart or it is expressed by the people around me. The painting therefore is not merely a painting. How to make it generate emotional exchanges with audiences has been a constant effort of mine.

032 Kyla Harris

030 Marta Georgia

031 Nichakarn Hariphooreevong

In a not-so dystopian future the guardian of toilets sings ‘The authorities will want to look, if you’ve paid the proper fee, for the privilege to pee’. This excerpt is from the musical Urinetown. Many people don’t consider that paying to pee is a current reality for many people with disabilities. I currently collect each catheter that I use in my process of urination, and have done for the last three years. Once they are sterilised, objects are made out of them that are associated with wealth and domesticity. Titled Privilege To Pee – a five-foot chandelier made out of thousands of catheters – the project is simultaneously disturbingly surrealistic, abjectly beautiful and encourages many reactions. This is the latest in an on-going series of chandeliers, which are then transplanted to site-specific installations. Most of the materials are reused; for example, the catheters are ones that are normally discarded after one use. In addition, I require twenty-four hour personal assistants (PA’s) to help me with daily activities, which include my artistic production. The unusual relationship that forms between us adds an unspoken Performative layer to the work. Their assistance makes me realise that it is, indeed, a privilege to pee.

033 Evie Highton


034 Thomas Hjelm Title: I Wanna Be Adored

BA (Hons) Fine Art

035 Georgina Hodgson


From soft, sagging, mutated and unrecognisable to hard, structured, lucid and intact, my work takes surfaces of architecture. I am interested in different kinds of spaces, particularly mundane, domestic sites which I interact with often. I uncover their histories and previous functions but also my stories with the environment as I am interested in both the physical and discursive sites. Processes of, painting, accumulating, casting and peeling has become the important part of my practice as well as the evidence of my encounter with the site. Baking paper, foil, talc, glues, fabrics load the skins further, thickening the importance of its domestic femininity in what could often be gendered sites such as; home, kitchens, sheds, garages. I see my interventions as negatives of the environments, as the process takes the negatives of the surfaces, the materials I use cannot shelter like architecture does, and they cannot hold themselves up and rely on new architectures to stand. I take photographs of the space I am working with, editing them to get their negative colours, digitalising the skin and painting. I then displace these skins in new sites, dislocating the country into the urban, home into the less domestic which causes a tension between sites and questions how we use architecture.

038 Leonard Hughes

040 Beatrix Blaise Jacot De Boinod

036 Joe Horner

039 Paul Jong Bum Huh

037 Fernando HortigĂźela

Consciousness is the evidence of how the human is different than other animals in the world, also it has lots of potential power, and so, everyone is accepts this. Consciousness; would not be existence but everyone acknowledge so it has various view point, it can be divided culture and race more specifically can be divided with body and spirit. In my works showing above ideas with as a canvas works, 29 Canvas work and 6 different mirror to show how the relationship between consciousness and Human. In a 24 canvas showing the imagery of consciousness, and 5 canvas works are imagery of combined human and sprits. Moreover, the mirror is the way of the audience and installation. I want show the audience about the human’s character is very similar but different, also if our consciousness will be together people could have more chance to experience with other.

My photographs explore issues of abandonment and control (or lack) of emotion. Whether the physical human element is displayed, concealed or ignored, the chosen surroundings reflect an insular mental state. The images are semi-autobiographical, they probe a battle between emotional extroversion (symbolised in the peeling of the walls, for example) and emotional introversion (symbolised in the predetermined positioning of objects). Found objects and abandoned spaces plead to be restored from neglect, and they harbour a protective, defensive quality, whether in the metal armouring at the top of the wall or the aesthetic of the image that initially confuses the viewer, boundaries are present. In addition to the thought-inviting element of the images, there is an attempt to capture a painterly sense of beauty, offering the viewer a light relief from the darkness of the sensibility, whilst at the same time, suggesting that perhaps one should look beyond the surface.


BA (Hons) Fine Art

041 Jessie Jenkinson


Mortem What do a performance artist, a stalker, a forgetful person; a pessimist and an obsessive lover have in common? Follow five different characters through their everyday lives and struggles in this short film that is bitter sweet and explores the ultimate unfathomable and unspeakable action of one’s life: Death.

042 Eleanor Jennings

Individual – THIS (shouting at Individual, whilst pointing at both Individual and themselves). THIS IS THE CONDITION OF OUR EXISTENCE (still shouting, angry now and can’t hide it). Individual – YES (doing the same hand gestures as Individual) THIS IS OURRRRR ERRATIC RELATIONSHIP. Individual – YOU (shoves Individual) DON’T NEED TO BE THE BALANCE BETWEEN IMAGINARY IDEAL AND PRAGMATIC MANAGEMENT. Individual – (falls on knees and looks up to the ceiling in distress, arms raised as if waiting for a miracle) I JUST WANT TO BE DECENTERED!! Individual – (towards Individual) Oh quit with your ironically bland management jargon. Your role is that of executor not co-creator... Individual – (mimics Individual in a childish way) Your role is that of executor not co-creator... Individual – (shouts) SHUT UP. JUST SHUT UP FOR FUCKS SAKE. WE ARE IN AN IDEOLOGICAL PRODUCT!! ITS AN INSTRUMENT IN ITSELF!! Individual – YOU’RE JUST A WRECK! PAINSTAKINGLY PIECED TOGETHER FROM SCRAP! (shouting down at Individual, who is still sitting on the floor). Individual – AND YOU THINK YOU’RE SO BLOODY COMPLEX! BUT YOU’RE JUST SOME PARANOID ASSUMPTION (lurching towards Individual). (INDIVIDUAL TURNS DRAMATICALLY TOWARDS INDIVIDUAL, FIST RAISED, AS IF ABOUT TO PUNCH THEM. INDIVIDUAL COWERS AWAY IN ALARM).

043 Mirco Gregory Maximilian Kaempf

Beautiful is this terrible world, and the beauty and the terror need to be enhanced. MGM The original: “Untitled”, acrylics on canvas, 185x275cm by artist Martin Eiter, 1993, CHF 1250 . The performance: “Daddy, does one still have to paint that? (1994)” Live painting on the 13th of June 2014

044 Alisa Khalilova

045 Marie Kaus

My practice seeks to seize the meaningfulness of the present, an anchoring endeavor ceaselessly defeated by its nature. It is a live process out of which works emerge in the form of documentation; their titles are the date and time in which making or attempting to do so was recorded. 20th of May, time tbc (2014) is a digital glass print, a documentation of an installation that consisted of presenting the piece of glass next to a monitor playing the recordings of past reflections on its surface therefore bringing past and present together. 29th of May, time tbc (2014) is a large photographic print of the wall on which I am to perform gaining a degree. Standing in the space, its emptiness teeming with promises of fulfilment, I faced a surface, blank, waiting to hold onto something, a soon forgotten sight that I wished to share. 3rd of June, time tbc (2014) is a recording of a life drawing piece using 29th of May, time tbc as the background. It is a performative gesture wishing to bring life back into the stillness of the photograph using drawing as a process for immediate and autobiographical mark making.


BA (Hons) Fine Art

046 Emma Knight


Containment, Suffocation, Torture, Freedom. Tension, Fragility, Balance. Accessibility, Restrictions, Corruption, Justice Myth, Truth. Temptation, Destruction, Healing. The Greedy Artist, the Greedy Viewer. Whether you are a Journalist, an Anthropologist, a Play-right, a Poet, a Writer, an Artist, an everyday citizen, there are times in life where you come across a story that is so juicy, you feel you simply have to respond to it, have to tell the world so they can feast on it also. But soon you have to hold back… what will be the consequences of spreading this story? Will the release of this story to the public be correct to your own morals? other people’s morals? Will this private story, piece of gossip blister and erupt leading to more tragedy? Will the spread of this story help heal those involved or lead to further pain emotionally? Physically? Emma Knight is responding to this tension we have within ourselves when we fall into this position, tempted to leak buried or hidden secrets, forgotten stories… whether we have the permission to expose these stories or not. At the same time she is expressing that feeling of lack of control and desperation we feel to heal the people suffering from the events these stories contain, represent the people within stories in a just way.

051 Ana Maria Lima Dimitrijevic

047 Claire Lamy

My practice focuses on psychiatry both from a theoretical and personal perspective. My event ‘I have Paranoid Schizophrenia’ explores my own journey through psychosis and provides insight into other peoples experience’s of mental illness. My accompanying performance is a transcription from my drawings that were undertaken whilst in psychiatric units, they depict the removal of cables – these cables represents voices, telepathy and intrusive thoughts – and by removing the cables I am metaphorically freeing myself from psychosis. The academic side of psychiatry is also crucial in my practice: Anti Psychiatry particularly the work of Laing, Foucault and Guattrai intrigues me. My main focus is on institutionalization, Schizophrenia and psychiatric power. Although reduction of stigma in mental health is not specifically my purpose, it seems to have been something that my work has advocated. The mental health events I have organised encourage openness and discussion. The discussions following my events have truly enriched my practice and hopefully the minds of the people who have attended.

048 Alicia Laishley

Trailing your fingertips along an uneven wall… The sensation of your footsteps across a concrete floor… The sense of lightness of a high ceiling… The architecture of every place you encounter has a direct impact on your emotions, behaviour and health. Subsequently, it can have a profound effect upon the choices you make and the experiences which arise from them. Despite this, it is a subject which is usually overlooked, and remains a subconscious, physical and psychological influence. I create large scale installations which act as subtle interventions within a place. Building structures which imitate existing features of their environment, I realign and reconfigure parts of them, thereby encouraging the viewer to question what is real and what is fabricated, and how environments can be manipulated to produce a desired response. As with the subject as a whole, these works are often experienced subconsciously, but perhaps a second glance may be cast at a part of a room which seems slightly odd, leading the viewer to scrutinise it in more depth. There are a series of these interventions around the degree show. To experience them, take your time exploring the college buildings and closely examine your surroundings.

049 Tom Langdon

050 Cameron Leys

My videos are about cynical young men who think their life is a movie—reflexive because the work takes the characters’ presupposition of an audience and makes it so. If these characters think they are being watched, and moderate their actions accordingly, they may as well be. Cursed to perpetual boyhood by their proclivity for angst, anger, and paranoia the characters loiter around London, hysterically thrashing against the viewer-viewed relationship (the gaze which they thought would endow them with selfimage has become mocking and unrelenting). How self-willed is this plight? It is indulgent because these boy-men revel in bitterness, are proactive in revolution because they don’t want it, and scorn the viewers’ gaze to court it. Nevertheless, the rants on topics such as the housing market are, worryingly, only offensive because of how they are said. Perhaps the medium of film is inherently cynical; the boys imagined viewership does exist, their world is deterministic and there is no escape—images cannot jump out of screens. The films can argue against reactionary politics, but still never reflect the notion that we could jump out of our screen of liberal capitalist democracy if we wanted to. But the films don’t need to; as long as the world is two-dimensional, self-conscious film is realistically false.

You are not fooling anybody when you say… these are my knees everyone! I’m lying in the sun, I don’t feel like moving, I finish my yawn and turn to my side to see mum lying there next to me with a towel over her head a-soakin’ up the sun. Don’t want to go to water yet, I want a tan, I want to look golden delicious. So, here are my knees! Getting into position, so the sun gets to my chest and I get an even tan. My skin has a healthy sheen to it now that I have been to the beach a few times and soaked up the salty Mediterranean water. Mum says being here will cleanse me. Hm. How to keep myself amused? I can’t get up it’s too hot so I’ll stay occupied and photograph my surroundings from this position. First mum’s beautifully brown back on one side (perhaps nearing overcooked back) but she is the sun angel after all, she knows what she’s doing. Next, to my left, we have dad. Yes, dad’s knee propped up in position. His curly whirly soft leg hair shivers in the wind. Such definition! Dad’s knee! Haha I’ll stop there. I got nothing more to say other than, here are my knees, these are my knees everyone!


BA (Hons) Fine Art

055 Jessica Mason

052 Mary Lister


054 Georgina Low

053 Benedict Loong Buy me I’m broke.

In my practise I construct sculptural works that evoke a sense of lightness through form and arrangement. A system of transferal is made ever present throughout an active space, full of material elements. Through the physical methods of casting and re-moulding, a sense of removal and subtle imitation allows the viewer to create inter-relations between different physical components within each piece. The work often appears complete despite there being a remaining sense of an element of the never done. My most recent piece, Accented Moment (stopping points) 2014, operates from this position of examining movement. References to physical processes from industrial machinery and the mechanical processes of liquid distillation provide overall shape to the creation of works. A built up sense of layering deepens the inter-sections between the physical attributes of the materials used and a sense of transmission. The activity of looking, holding through sight, is coerced by physical triggers such as aluminium pistachios, which operate as stoppers throughout the piece so as to imply an active undoing. The liquidity of the materials used, such as wax and plaster, inform and enhance a dialogue between the constructed and the deconstructed.


BA (Hons) Fine Art

056 Eve Matthews


The Dislodge series (2014) challenges the relationship between process and content. It considers the tension between the material and the knowledge that together purposefully and subconsciously shape the work. The series presents a physical manifestation of cognitive processes, providing a structure through which to navigate concepts of material exploration and reflection. Investigations of the journey, the edge and the horizon inform the work as metaphors for spatial experience. The selected pieces act as vessels to explore the potential for sculptural narrative to take on form. The sculptural installation examines the physicality of materials being “at work” in the constraints they are placed in. This assemblage examines notions of the undone by reversing or occupying these objects, thereby challenging their primary state. The grid-structure of linen fabric is undone, the hollow interior of copper tubes are filled.

057 Sorann Micollier-Yoo

Display, composition and details are at the core of my practice. I explore the subtle possibilities and poetics of materials. I am interested in how materials and objects from different nature interpenetrate each other and embody in-between spaces. I use the space as a blank page to construct three-dimensional abstract drawings. I use the floor, the walls, the ceiling and the “air”. My installations are playful dialogues with echoing surfaces, shapes and colours whilst keeping an overall minimal quality. I have been making fragmented environments focusing on transformation and impermanence through the repetition and response of the same shape under multiple versions. The fragile and the tactile which reveal the vulnerability are present; there is a sense of uncertainty about what is going to happen. I am also interested in dichotomies such as geometric/organic, ethereal/solid, visible/invisible. My works could be read as elusive sketches of the world attempting to reveal its complexity and ambiguity. My concerns are encounters, relationships and interactions. I question about being in the world. The audience is invited to carefully experience space. I attempt to create tensions between two and third dimension, artwork and beholder, idea and materiality.

061 Anya (Anna) Myagkikh

059 Jennifer Morgan 058 Roger M Miles

Resonate/Generate – 2014 For two months, in the summer of 2013, I was artist-in-residence at my local recycling and re-use centre, with full access to all items headed for landfill. The project was wide ranging and included, researching the journey of a discarded object, observing society’s need to both dispose of and collect consumer goods, discussing the history of objects with their owners and responding to the melancholia attached to the objects. Collecting, memorialising, petrifying, cannibalising and recording – my practice attempts to combine these processes with found objects and their histories, through sculpture, installations and print making. The resulting work activates discarded items, disrupts imagined histories and celebrates both the materiality and the past of the altered objects. My final degree show installation, Resonate/Generate, is my imagining of the arrival, at the recycling and re-use site, of a discarded mobile library, with my dream contents from the 70s. The installation is a memorial to my experience of the 70s and the poignant effect of this time. It is designed to trigger memories, question how much progress we have made as a society in the past 50 years and to be an immersive and entertaining experience.

It can happen to any woman, anywhere, anytime. Some are not even aware it exists... Street Harassment is a growing social phenomenon. It restricts and limits a women’s access to public space, causing many women to avoid certain areas that should be equally accessible to everyone. Working mainly in performance my practice questions power and authority through movement, language and gesture. I am particularly interested in the urban environment, and the hierarchical organization of the streets. In analysing the interactions between subjects, I aim to reveal the gender power-relations that exist in public spaces. My performances are created as a response to the physical and social design of a space; they are usually site-specific and involving uninformed subjects. Chelsea Parade Ground is the location for my most recent work, exploring the history of the site itself by incorporating military actions and gestures. I have taken a meticulous and process-orientated approach to making this work, but what excites me most is the element of chance that is built into any live performance, determined by the people that happen to be present at a particular moment in time.

060 Gemma Murray

The existence of a ‘thing-in-itself’ as an object- independent of the mind, suggests the ability for an object to exist within thought via language and yet separated from sensory understanding. My practice is invested within the process of re-routing sensory data to attribute objects their titles; such a desire for categorisation results in a doubling effect, one which creates an ideal mental object through language and the parallel but separate sensory stimulus. Through sculptural installations, my work speaks of the manner in which through attempting to capture an object, language may in fact destroy it. My latest piece ‘It is Something, it is Nothing’ (2014) explores the of notion of materials which have no fixed form. Taking Merleau-Ponty’s notion of “being honeyed” as its point of reference, the installation consists of PVA glue orange skins suspended from the ceiling. Recalling the sensation of peeling dried glue from my hands as a child, much like removing a layer of skin, the PVA’s ability to mimic the skins of the oranges suspends them both literally and metaphysically, and questions our desire for permanence and what can be lost in attempts to achieve it.

When I was a kid, I was once told that you have to keep on being a kid as long as you can throughout your life or it will become a boring burden. I completely agree with this and try to keep my inner child alive and flourishing through my art. I work mostly in painting, sculpture and installation. I like making different objects and then bringing them together as installations. I mostly work small scale, as I believe that smaller works create more intimacy with the viewer. An important medium to my work is kitsch; with its bright colors, it’s over-doneness, and its glittery childishness. The main inspiration for me to produce work is people – their emotions, feelings fears and so on (as much as those of me). You can also call my art self-therapeutic as it helps me to get a deeper understanding of myself as a person. I think that contemporary life is based mainly around interacting with other people and the way you interact with people, which comes from yourself, its all tied together like a giant living organism with is veins and arteries. The main idea that I would love to get through to people is that in our computer age, feelings and emotions often get suppressed and neglected, which, I think, should change in order for humanity to grow as an intellect.


BA (Hons) Fine Art

064 Rebecca Temitope Oloidi

062 Jordan Naylor


063 Georgina Nicolaou

My work explores culture and identity. My influences have come from many sources including Chris Ofili and Yinka Shonibare who both explore national identity in different ways. My work investigates traditional Nigerian clothing which has inspired me as I am very intrigued by the colour, pattern and textiles used. For example I undertook a project that used portraiture to explore personal identity and used found African Textiles to embellish the photographs leading the viewer to question how culture affects personal identity. I enjoy creating different patterns and designs for my work. I dye the fabric first and then paint it, changing the appearance of the process of how the fabric has been manufactured. Using dye and paint, manipulates the fabric onto which an interpretation of culture and identity is applied. I also use colour dye printing and lino printing to create pattern and texture. Sometimes ideas come randomly and just run with them and once they are complete I love the outcome. During this type of process I engage in the materials and techniques to explore what will happen next and I am guided by the process that is happening organically.

065 Sarah Osborne

There is not one artist, there are only artists.

27 066 Kaveh Ossia

In my work I deal with the idea of creating a space, or a movement in space, with the fewest elements necessary. I like to visualise the perfection and strength that a line can produce. This in no ways means that the work itself is perfect. The power in the emptiness and the whiteness of the paper, as well as the trace or the line that is left behind fascinate me. I look at a line as a whole entity in and of itself and although some of my works are flat on the wall, they are dealing with three-dimensional realities. My interest lies in a strong and immediate situation and the materiality of pen and paper as tools to create this situation. However, some of these situations I like to create in an actual physical space, where my works become very much site-specific. In my current work I use wool threads to build surfaces and shapes, creating illusions of spaces within the room. By blocking certain areas of the room and making them inaccessible, I like to divulge these areas and enable the observer to apprehend them in a different way. In their formality one might consider my lines and spaces as abstract ideas, but they are not abstract because they are not reductions of anything. They are facts and traces of my mind that I leave behind.

067 Thomas Owen

BA (Hons) Fine Art 28

068 Nicky Payne

Exploring ideas of identity throughout my practice; surrounding the roles of gender and femininity – what gender means in regards to society and how others perceive you based on how you represent yourself. Embodiment is an important subject matter for me, looking into the body as a vessel that carries you through life. There is no distinction between you and body – without you there is no body. The body is a key focus across my practice and is something, which takes a performative form. Whether it is for a documentation process or something which involves the viewer or myself within the piece, physically. I’ve been playing with the idea of stepping into different ‘bodies’. Taking on a new identity – even if it is only for a short period of time. This notion of dress up has a playful element to it, creating different costume like bodies, using clothing to represent each sex based on what we have been taught from society. The interest for me is to lose the sense of self for a split second and take on someone else’s persona for as long as you want to engage with my work. As well as allowing the audience to step into the art and take on a different role, I like to play tricks on the viewer swapping the genders of my subjects.

069 Phornthep Permsubhirunya

The artist reveals his own knowledge by printing most of his unknown vocabularies in the past 4 years of his education in the UK at the back of these plinths. The plinths construct together as a structure that block the entrance of the space. The viewer will be keen to walk and observe around these structures. The ideas of understanding and judging information will appear after the viewer interprets these vocabularies. The artist tends to ask a question about the price of his education through these vocabularies, that still remind mysterious for him after 4 years in the UK, is it worth the money that send him here? Is he supposed to be here?

070 Andrea Phillips

‘Dragon’ My practice explores satire, utopian imagination, and ontology; drawing on various forms of storytelling. I draw influence from science fiction, theatre and animation, among many other things. My current work is a layering of fictions brought together by a character I’ve developed, namely ‘Dragon’. In this work, I insist that I am in fact collaborating with this self-aware paper-mâché dragon head, which I found in a Bromley trash can. He has his own tumblr, and we have also performed, where he was interviewed by a fox with two translators present. Our finished piece amounts to and installation consisting of a graphic account of Dragon’s philosophies and activities. There is also a painting Dragon has commissioned me to make of the land he comes from. The nature of our ‘collaboration’ is a process of transference. There is a mutual searching for our identities that we explore together. He seeks to recollect himself through fragmented memories, and contextualize himself in the present day. While I seek to navigate life inside and outside of an institutional framework from a reflective distance. In this work there is essentially a subjectification that occurs through Dragon, and this takes place somewhere between the political, the ontological, and the farcical.

071 Holly Piper


075 Gabriel Ribeiro

BA (Hons) Fine Art

073 Baobao Qin


072 Ellie Preston

Icarus in Space The basis of the work is the key idea of the thesis: that is, reworking a standard theme. I have chosen Icarus but this time I want to work the idea in my own way. Pierre et Gilles has some influence on composition, colour and slight quirkiness. In a different way Poussin (elements from A Dance to the Music of Time) and Eric Fischl. I have deliberately chosen a simple composition with a single figure and I have found a new way to shape/frame the picture. I want an image that does not provide an obvious narrative. A statement of mood or j ust a feeling is what I am after but with some humour. You’re never alone with a phone In addition to the Icarus piece. I think it offers a good contrast in terms of approach and ideas and shows my different influences. This work is strongly influenced by Hopper and the idea of loneliness – also considering the simple internal/ external, inside/outside, space/ confinement oppositions.

Ready-Played. R. Mutt has his retinal art. Use another part of your brain to analyse an object, a riddle, as an artwork. When tired of fitting my behaviour into sound/ music/ visual art, I decided to be an outsider. After graduation, I will throw all of my sketchbooks and music sheets into the streets. I used to be obsessed by C*ge. But I know his works are indigestive ruminations. Still! ...hard to escape that hypnotic randomness. I might as well adopt a new surreal pragmatism: ‘Attention!! Auditory Indifference!!’ Let me play the last time, some clumsy mimic notes as a grand finale to celebrate this separation.

074 Mahsa Rahbari Aghdam Title of the work: Virginity

The piece I’ve been working on for the degree consists of films made while investigating concepts of the ‘poor image’ and imagery of sightings in particular – ranging from Big Foot/Loch Ness Monster to any other odd observable phenomena caught on tape. In terms of methodology my work has always been concerned with impromptu aspects, combining an ongoing exploration of DYI specialeffect techniques with performance. The idea was to distill this found footage into ‘infinite gestures’ that somehow incorporated themes of myth and nature. It’s articulated with an investigation on the paradoxes of documentation and artifice. The idea of hypothesis/ambiguity has always been an important interest in my work and has been articulated here in relation to the idea of hoaxes and monsters, and how much distance and identification there is in calling something a monster. This encapsulates an ongoing research of YouTube ‘caught on camera’ footage in dialogue with film theory. My work isn’t usually trying to establish a narrative in the sense of ‘telling‘ something as it’s more ‘showing’ something. The tempo of these recent pieces has been really important in establishing a language and the hypnotic aspect of each film.


076 Sarah Roberts

BA (Hons) Fine Art

079 Emily Sutherington

077 Karen Smith

Change is the only constant; it sustains us and destroys us.


078 Noor Soussi

My practice explores the notion of hysteria, its episodic nature and the periodic extremes that surround it. Fragmentation, sequence of thoughts, movements and routines. The comfort we find in repetition. Asylum as a safe place, asylum as confinement. A demonic element running throughout. Inspired by both the findings and teachings of Jean-Martin Charcot during his time at the Salpêtrière hospital in Paris, which he referred to himself as being a kind of ‘living pathological museum’, medical muses in varying states of mental distress and the mind doctors who learned from and cared for them. Patients – women – turned into objects of desire by those in a position of trust. Voyeurism and the unrelenting victimisation of the already vulnerable. Hysteria creates the master and tries to take the power back from the master. I work with materials to create medium scale installations and assemblages to form the psychological body into the art object, often creating physical and mental areas of solitary confinement that can be encountered, explored or just left to be. Disjointed lines and bold colours combine and collide to reference chaotic thoughts and a hectic state of mind.

080 Borbala Szanto

If I must describe my work briefly: I consider my pieces as frozen, intermediate moments of endless possibilities halfway through the process of becoming or ceasing to exist. My work is fixing a point on the fine line between the chaos of meaningless materiality and a wellcontrolled state of the meaningful arrangement of elements. There is a strong ability of movement; the objects show the remains of a process or even an act of performance but the scenes are frozen in one of many possible scenarios. I think of my installations as theatre stages that presuppose the action that have taken place or might happen in the future. Coming from a strongly material based sculptural discipline where for me the physical form is a key container to embody artistic principles or to behold a possible meaning; I am struggling to accept my dependency on the object. I constantly question the relationship between the ‘container’ and the ‘contained’. At a deeper level my practise challenges the boundaries of the embodied existence of sculpture. By pushing the limits of the physical object I am trying to find out what is a meaningful artwork and what role does artist and viewer play in the complex process of creating and assigning meaning?

081 Anwar Talukdar

My practice revolves around single material growth systems using simple logics to build objects, which can be both time consuming and labour intensive. The works are small and begin as a single unit in either wood or metal, measuring between 5-18cm in length or diameter. The physical act of making, the craftsmanship, is an important aspect of my practice, something I value greatly, and pay particular attention to; I build in two distinct ways; one rigid and controlled, where growth is precise and exact, led by a plan, whilst the other is more relaxed and freeform, where the growth occurs more organically, without rigid systems to guide it. Despite the differences in the way I produce work, both are the same in that they follow the basic premise of repetition, or more precisely, building or making marks by means of repeating an action, duplicating similarities, over and over, until a pattern or rhythm begins to emerge.


085 Rosie Walker

BA (Hons) Fine Art

082 Maureece Mical Taylor


My area of interest is the spatial relationships between man and his environment. What is space and how does one experience it? I investigate what constructs it, how it is constructed and, how this space is understood. I am deconstructing and reconstructing these spatial experiences which occupy my subject matter; looking at it both objectively as well as subjectively. I think experience can be taken in to three parts; those being the physical, the metaphorical, and perhaps the more mythical; that is to say what is understood but not really present. My methods revolve around a mash up of drawing and painting both worked together and separately on somewhat unusual supports with my works being created in series. The idea of working in series is really important to me. The experiences of space are only fleeting; they constantly change as one version in a series will look different from the next. I like to break down the image into planes, which when put together leave the viewer room to generate space for themself. The unusual supports I work on include tarpaulins and plastic sheets. The artificial surface gives the impression that the work will degrade; the paint will fall off. This heightens the sense of a fleeting moment. It becomes something organic. These grounds lend new objective experience into the original one I am recording making new experience; new space.

084 Sylvie Toutain

083 Holly Tighe

On tiny shelves, mere ledges in some cases, tiny objects gather. Accumulations of all manner of natural and man-made objects exist together in one collection, displayed over a series of shelves ranging in height. Sporadic placement of shelves is used to manipulate the viewer’s body into mirroring the scale of the work itself, and to mimic the feeling of peeking and discovering treasures and curiosities. The physical relationship between objects is explored by playing with combinations, configurations and placements. Our prefabricated idea of how the objects relate to each other is questioned; is it next to, inside of, on top of, coming out from, under, after? The urge to create a narrative is suspended by the surreal and imaginary. Sometimes the objects appear as a sequence, sometimes as a story, and other times something invisible and unspoken requests that they be placed together, in an explainable, satisfying moment, a combination of objects which feel correct together. Each piece in the collection holds a deeply sentimental meaning to me, and by showing them to you without any explanation of their history each element is free to conjure different thoughts for each individual; memories, ideas and connotations. I invite you to project your own sense of self onto the objects so that they may be reincarnated.


089 Soo Jin Yoo

BA (Hons) Fine Art

086 Georgina Walton


My work sits at the intersection between painting and installation. Having previously focused upon the use and structure of paint on two-dimensional surfaces, I have since pushed the boundaries of traditional painting techniques. An interest in domestic spaces and the concept of ‘taste’ has been the driving force behind my most recent project. My degree show project sees the translation of two-dimensional canvas pieces onto a conventional living space. I have assimilated gestural marks with more structured interior design, in order to embody the dialectic of self and society. I’m interested in how paint interacts with various surfaces, both disrupting and augmenting the room and its contents, with the use of a multitude of colours and textures. The piece is intended as both a playful take on interior design, with simultaneously highlighting socially accepted aesthetic norms through contrast.

087 Venice Wanakornkul

088 Aaron Wells

Everyday objects are my favorite. I see many exciting possibility in them, also the beauty of their ordinary being. If everything started from nothing, everything can become anything. If you see an apple as an apple, you will only eat an apple. But if you see an apple as the apple, you will eat the only apple. However, if you see an apple in the same way that Newton saw it, you won’t eat that apple but you will see the gravity. Sometimes, I question myself in order to make things, What would happen if ____________? What would happen if a toilet roll jumped out from a window? What would happen if I put a glass of water on a treadmill? What would happen if I dropped my iPhone instead of an apple? In fact, why don’t we drop an apple instead of the iPhone? I hope the unexpected (or expected) you experience here will change the way you see your everyday life at some point. Perhaps nothing changed at all. 090 Natascha Young

Contemporary society is becoming more complicated than ever, and ambiguous social phenomena put strain on human relationships. My work explores the associated problems and solutions of this increasing complexity. My main area of investigation lies within the psychological concentration towards human relationships in society. Society defines one’s identity, characters, culture and more. Individual identity is formed within society’s boundaries. My works reflect this ambivalent phase of society and question the very essentials through the image of cells and their characteristics of fluidity. Cells form the foundation of my work. The complex relationship between each single cell and the others around it, that make up whole bodies, are what intrigues me. The essential beauty of the way cells constantly change and harmonise with their surroundings inspires the paintings and installations I make. I attempt to depict the fluidity of cells represented as the individuals within a square shape of frame, which is symbolic of the society in which we live. Different characteristics of the individuals can be considered through my series of works conveying various psychological tensions, dilemmas and emotions. Indeed, nature offers a variety of subject matters, making me realise the harmonies and relationships between the self and others.


BA (Hons) Graphic Design Communication 38

A creative community of extraordinary practice The undergraduate Design Programme at Chelsea College of Arts comprises five individual courses that share key principles that support a community of practice dedicated to enhancing the quality of our students learning experience and progression as creative practitioners specialising in the communication of messages, meaning and ideas and employing a wide range of analogue, digital and craft media. Designer practitioners play a critical role in identifying and addressing conceptual and communication needs across changing and challenging commercial, social, cultural and environmental contexts. Many Chelsea alumni are leaders in their fields and have revolutionised design in print, digital interaction, textiles, physical environments and experiences, systems and services for business, the arts, government and communities. Chelsea design students from FdA through first degree to postgraduate certificate level are motivated individuals learning through experimentation, critical thinking making and practice. They work within the diverse creative communities of the college and the economic, cultural and global resource of London, one of the world’s leading capitals. Work represented within this publication and staged within the 2014 summer show is informed by the contemporary practice of interior design, creating and conceptualising new spatial situations and with a distinct focus on complex architectural spaces, multi-media installations or sensory environments. Experimentation within textile design, brings together ideas and conceptual development within textiles for fashion, interiors and exteriors and graphic design demonstrates exclusive live projects in collaboration with the creative industries, and a passion for new ideas within print, moving images and interactive arenas. Our dedicated staff and alumni are among the initiators and innovators continually expanding and redefining invention and directional focus within our portfolio of vital disciplines: FdA Interior Design, BA (Hons) Interior Spatial Design, BA (Hons) Graphic Design Communication and BA (Hons) Textile Design and Grad Dip Interior Spatial Design. Congratulations and best wishes for a glittering future to all our students. Geoff Thomas-Shaw Design Programme Director

BA (Hons) Graphic Design Communication


BA (Hons) Graphic Design Communication

095 Art Boddington

091 Lara Al-Hadeedi

097 Tobias Bschorr

093 Matt Ashmore



096 Georgina Bourke

092 Nikita Andrianova

094 Phoebe Beasley

098 April Cain

BA (Hons) Graphic Design Communication

099 Oiyi Chan

103 Josh Duffy

105 Sophie Farrar



101 Sophie Devine

104 Will Ellison

100 Andrew Cole

102 Emi Dixon

106 Eilidh Berry Fraser

BA (Hons) Graphic Design Communication

107 Arun Gogna

111 Alex Howell

113 Benjamin Jacobsen

109 Calvin Stefan Hayes


108 Jack Hardiker


112 Helen Hua

110 Jake Hollands

114 Aleena Jamil

BA (Hons) Graphic Design Communication

119 Sally Lewis www.

115 Katherine Jenkins

122 Holly Matthew-John

117 Mackenzie Leary



120 Conrad Lewis

116 Josiah Jones 123 Nathan Matthews 118 Jeongmin Lee

121 Saori Masuda

BA (Hons) Graphic Design Communication

124 Richard Mcdonald

128 Hannah-France Nicholls

130 Tabrez Pathan

126 Safwaan Motara



129 Billy Osborne 125 Liam Moore 127 Tshili Ndou

131 Emily Perrin

BA (Hons) Graphic Design Communication

134 Amy Rose Smith

137 Luisa Veloso

132 Lucy Powell 139 Rui Lin Yang


135 Kayo Takahashi

138 Adam Waldron

133 Claire Sinyor

136 Vanille Van Der Cam

140 Anastasiya Yefimova


BA (Hons) Textile Design 52

BA (Hons) Textile Design


BA (Hons) Textile Design

141 Sara Michala Aghataher

142 Kaly Aluvihare

145 Elisa Bernardini Brown

146 Catherine Black



143 Georgina Archer

147 Emily Buckman

144 Iman Benali

148 Abby Bucknall

BA (Hons) Textile Design

149 Grace Becker-Burnett

150 Dora Burns

153 Ching Cheng

154 Niam Cunningham



151 Fran Buss

152 Ji Chen

155 Sian Dorman

156 Yasmin Falahat

BA (Hons) Textile Design

157 Miriam Forster

161 Beth Graham

162 Chloe Griffin

158 Natacha Mei Nouna Gervais


159 Estee Gledhill


163 Sabrina Shah Hakim

160 Emily Goold

164 Lucy Hardcastle

BA (Hons) Textile Design

170 Irene Hsu

165 Abigail Hazard

166 Kim Heeyoung

169 Naomi Hutton



172 Nianni Huang

167 Robyn Hinchcliffe

168 Olivia Holland

171 Yu-Yun Hsu

BA (Hons) Textile Design

173 Olivia Hulme

177 Saaya Kamita 174 Emma Jacobs

179 Christine Kim



175 Adriana Jaroslavsky adrianajaros

178 Eve Kennedy

176 Hannah Jordan

180 Nari Kim

BA (Hons) Textile Design

181 Vanessa Kureya

185 Chaerin Lee

182 Karen Garling Lai

186 Rachel Lentin


183 Annie Larkins

187 Grace Marshall

184 Natalie Yuen Ting Lau

188 Hitomi Matusmoto


BA (Hons) Textile Design

189 Ella McCabe Barton

193 Yasmin Neal

194 Wasabii Ng

190 Abby McGowan-Harber



195 Honami Nishii 191 Khaitee Mills

192 Hee Nam

196 Bridie O’Sullivan

BA (Hons) Textile Design

198 Hyun K. Oh

201 Elise Perrotta

202 Jack Pittard

197 Izabel Oag



199 Xiaoxiao Ouyang

200 Caty Palmer

203 Jodie Anna Posen

204 Lucy Monica Poulden

BA (Hons) Textile Design

206 Gyeongmi Shin

212 Tajui Antonio Tseng

205 Darshni Pravin Shah 210 Lynne Elizabeth Searl


71 207 Haruka Shoji

213 Sorrel Daisy Tucker

208 Caroline Smith

211 Yasmin Ann Stringer 209 Maria Stavropoulou

BA (Hons) Textile Design

214 Georgina Fairhurst Walch 218 Nicola Worsley 219 Georgina Wright

216 Yuwen Wang



215 Harriet Walters

220 Yangyang Zhang 217 Abigail Whitfield 221 Mario(Queji) Zhou

FDA Interior and Spatial Design 74

Foundation degree Interior and spatial design


FDA Interior and Spatial Design

222 Sean Koo 224 Stephen Lennon

225 Verena Li Wai Kei



226 Tamina Ospanova

223 Salonee Kothari

FDA Interior and Spatial Design

227 Angelo Paterno

230 Katia Thoger

229 Yuki Teraoka



232 Ping-Kuan Wu

228 Ampik Ponnirun

231 Kirsty / King Wing

BA (Hons) Interior and Spatial Design 80

BA (Hons) Interior and Spatial Design


BA (Hons) Interior and Spatial Design

233 Chae Ah Ahn 234 Jiyoung Ahn www.worldofjahn.blogspot

237 Benjaratt Arthachinta

238 Afsana Begum



239 Annie Belding

235 Laura Aiyer

236 Mohammad Al-Taie

240 LĂŠonie Bensoussan

BA (Hons) Interior and Spatial Design

245 Shinhwi Chon 241 Chrysavgi Roza Bolari


85 242 Corina Borromeo

247 Emma de la Chapelle

246 Ming Wai Choy

243 Massimiliano Oscar Carpanini

244 Federica Cernuto

248 Taranpreet Kaur Dhooper

BA (Hons) Interior and Spatial Design

249 Elliot Draper 255 Agata Gierak 251 Thais Furtado


87 250 Meiyi Feng

254 Linn Georgson

253 Gabriella Geagea 252 Tong Gao

256 Leonora Gray

BA (Hons) Interior and Spatial Design

261 Taejon Hurlock

257 Lucy Haggerty

259 Kenneth (Meng Yu) Hsieh

264 Antrea Karousiou

88 262 Sujeong Hwang

260 Wenya Huang 258 Archianne Haig 263 Angna Kansara


BA (Hons) Interior and Spatial Design

269 Sujong Lee

265 Bora Kim

271 Wanming Lu

267 Katarzyna Kordalska



266 SooHyung Kim

270 Wei Lin

272 Saranthorn Luangsomboon 268 Tsz Chun (David) Lam

BA (Hons) Interior and Spatial Design

277 Maria Nenasheva

273 Hellen Luchi

275 Christopher James Marsden

278 Selvia Novita



274 Alice Maffai

280 Yoonhee Park 276 Evangelia Michail

279 Piaoyun Pan

BA (Hons) Interior and Spatial Design

281 Tripti Pinichkusolchit

285 Caragh Ryan

286 Charlotte Alisa Senno


282 Agne Rakauskaite

284 Bai-Sri Rungrosttanakul

287 Krystyna Sheremet

283 Rosalie Reid

288 Jessica Single


BA (Hons) Interior and Spatial Design

291 Elisheva Stone 293 Jacqui Taylor

289 Panphen Sottivoranan


292 Kam Shan Sze

290 Ella Francesca Stone

296 Irene Willy

97 294 Chenene Trundell

295 Lucy Wills-Wright

297 Wilona Supriya Wilson

BA (Hons) Interior and Spatial Design

301 Huanyi Zhang, Rita

298 Celia Wong Hiu Ting



303 Siyuan (Joyce) Zhao

300 Melanie Yi Nam, Yip

299 Bo Yang

302 Liu Zhang

Graduate Diploma Interior Design 100

Graduate Diploma Interior Design


304 Urvashi Agarwal

Graduate Diploma Interior Design

309 Oksana Bazhina

306 Masayuki Asami

311 Bido Betiri


305 Sara Alrashed 310 Leanne Benjamin

308 Chloe Azara 307 Francesca Hue-Woon Au

312 Hannah Bick


Graduate Diploma Interior Design

313 Luke Campbell-Yates 315 Yihong Chen

317 Olivia Edwards

320 Frances Jaine


105 318 Sophie Epperlein

314 Leyue Chen

316 Lena Cottray

319 Shanel Gupta

321 Evgenia Kananykhina

Graduate Diploma Interior Design

322 Vidhi Kotak

324 Wanyi Lin (Victoria)

327 Vivian Lord

329 Sanae Maeda



325 Yuan-An Lin

328 Anna Mackie

323 Mengru Li

326 Yang Liu

330 Eyat J. Molaeb

Graduate Diploma Interior Design

337 Dahye Ryoo 331 Joanna Kabindi Nasasira 335 Hui Peng 332 Theresa Obermoser theresa



336 Elena Petriakova

333 Shioka Okamoto

334 Barima Owusu-Nyantekyi

338 Olga Sakelari

Graduate Diploma Interior Design

339 Meher Sra 342 Tianyue Wang



340 Shih-yi Tsai

344 Lu Yang

343 Chaoquin Yang chaoqing

341 Guoqing Wang (Felix)

345 Rucheng Yin

Design and production Print Empress Litho

All work Š individual graduates, 2014. No part of this book may be reproduced in any form without written permission from the publisher. Chelsea College of Arts 16 John Islip Street London, SW1P 4JU Telephone +44 (0)20 7514 7751


CLASS OF 2014 FROM CHELSEA COLLEGE OF ART AND DESIGN Kupambana was founded by LEWIS PR, a global digital communications agency, to connect the creative arts with communications. The Foundation spans the worlds of the creative arts and the communications industry by sponsoring the most outstanding creative talent through education and career development. It helps train students and professionals and carries out insightful research into the creative industries globally. To find out more visit

Foundation Degree Interior and Spatial Design Sean Koo 76 Salonee Kothari 76 Stephen Lennon 76 Verena Li Wai Kei 77 Tamina Ospanova 77 Angelo Paterno 78 Ampik Ponnirun 78 Yuki Teraoka 78 Katia Thoger 79 Kirsty / King Wing 79 Ping-Kuan Wu 79

BA (Hons) Interior and Spatial Design

Chae Ah Ahn 82 Jiyoung Ahn 82 Laura Aiyer 82 Mohammad Al-Taie 82 Benjaratt Arthachinta 83 Afsana Begum 83 Annie Belding 83 LĂŠonie Bensoussan 83 Chrysavgi Roza Bolari 84 Corina Borromeo 84 Massimiliano Oscar Carpanini 84 Federica Cernuto 84 Shinhwi Chon 85 Ming Wai Choy 85 Emma de la Chapelle 85 Taranpreet Kaur Dhooper 85 Elliot Draper 86 Meiyi Feng 86 Thais Furtado 86 Tong Gao 86 Gabriella Geagea 86 Linn Georgson 87 Agata Gierak 87 Leonora Gray 87 Lucy Haggerty 88 Archianne Haig 88

Kenneth (Meng Yu) Hsieh 88 Wenya Huang 88 Taejon Hurlock 89 Sujeong Hwang 89 Angna Kansara 89 Antrea Karousiou 89 Bora Kim 90 SooHyung Kim 90 Katarzyna Kordalska 90 Tsz Chun (David) Lam 90 Sujong Lee 91 Wei Lin 91 Wanming Lu 91 Saranthorn Luangsomboon 91 Hellen Luchi 92 Alice Maffai 92 Christopher James Marsden 92 Evangelia Michail 92 Maria Nenasheva 93 Selvia Novita 93 Piaoyun Pan 93 Yoonhee Park 93 Tripti Pinichkusolchit 94 Agne Rakauskaite 94 Rosalie Reid 94 Bai-Sri Rungrosttanakul 94 Caragh Ryan 95 Charlotte Alisa Senno 95 Krystyna Sheremet 95 Jessica Single 95 Panphen Sottivoranan 96 Ella Francesca Stone 96 Elisheva Stone 96 Kam Shan Sze 96 Jacqui Taylor 96 Chenene Trundell 97 Lucy Wills-Wright 97 Irene Willy 97 Wilona Supriya Wilson 97 Celia Wong Hiu Ting 98 Bo Yang 98 Melanie Yi Nam, Yip 98 Huanyi Zhang, Rita 99 Liu Zhang 99 Siyuan (Joyce) Zhao 99

Graduate Diploma Interior Design

Urvashi Agarwal 102 Sara Alrashed 102 Francesca Hue-Woon Au 102 Masayuki Asami 102 Chloe Azara 102 Oksana Bazhina 103 Leanne Benjamin 103 Bido Betiri 103 Hannah Bick 103 Luke Campbell-Yates 104 Leyue Chen 104 Yihong Chen 104 Lena Cottray 104 Olivia Edwards 105 Sophie Epperlein 105 Shanel Gupta 105 Frances Jaine 105 Evgenia Kananykhina 105 Vidhi Kotak 106 Mengru Li 106 Wanyi Lin (Victoria) 106 Yuan-An Lin 106 Yang Liu 107 Vivian Lord 107 Anna Mackie 107 Sanae Maeda 107 Eyat J. Molaeb 107 Joanna Kabindi Nasasira 108 Theresa Obermoser 108 Shioka Okamoto 108 Barima OwusuNyantekyi 108 Hui Peng 109 Elena Petriakova 109 Dahye Ryoo 109 Olga Sakelari 109 Meher Sra 110 Shih-yi Tsai 110 Guoqing Wang (Felix) 110 Tianyue Wang 111 Chaoqing Yang 111 Lu Yang 111 Rucheng Yin 111



Chelsea Undergraduate Summer Show Catalogue 2014  

The exhibition catalogue of the Chelsea College of Arts Summer Show 2014 featuring artists and designers from Fine Art, Graphic Design, Text...

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