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About this piece: “I primarily sculpt and I start from material. I feel that I have found my way to make my mark in the material. Therefore, much of my work continues to explore what the medium allows. First, I build models from paper, wood or found objects. Next, I manipulate the models by cutting, adding, taking away, hacking, digging, scratching and sanding. I find this process liberating as I gain valuable insights into previously unfamiliar techniques. Also, I begin to understand how meaning is produced and who uses it. Finally, I carefully cast the models in plaster combining short-lived materials including sand and pharmaceutical drugs. Untitled (door), for example, draws parallels between our distanced relationship we have with objects, highlighting how the conflict between ‘natural’ materials and ‘cultural’ has a hold on our psyche.”

Plaster, Steel, Sand, Undercoat, Antidepressants 76 x 197 x 3.5 £1500


ALEX WOOD Two Projectiles

About this piece: “’Two Projectiles’ is my signature sculpture as rockets have become an ongoing area of my practice and research. The awe and amazement of space travel, with the recent Philae module landing on the comet and Orion being launched December this year, heading to Mars imminently I find incredibly interesting. Merging the ideas of space into materials including bronze, lead and paper creates an absurdity within the sculpture. Michael Petry, director of the Museum of Contemporary Art London, recently described it as “a rather wrecked 1950s version of what a rocket should be, looks like it could never lift off either.” He goes onto say “Alex J Wood might be the unholy reincarnation of Heath Robinson, for he sets his wild imagination and crazy obsession with flight into the heaviest of artistic materials: BRONZE.” ‘Two Projectiles’ is at a teetering angle, yet balanced awaiting lift off at any moment and it is for this reason it is my signature sculpture.”

Acrylic and Spray Paint on Cotton Duck 130 x 100 x 72 cm £3500



About this piece: “’Double Dippers’ is a statement about the richness of colour, the appeal of material and the satisfaction in simplicity. In the past few months, I have aimed to make sculpture as though I was making an advertisement. My work focuses on glossy materials, food stuffs and everyday objects. I want to lure an audience into the curiosity and seductive qualities of my work, whilst enjoying its simple pleasure. I believe this to be a constructive way of discussing a culture of commercialism, by the work becoming a critique on desire. ‘Double Dippers’ is my Signature piece, as it is conveys both my aesthetic and conceptual sensibilities in an entirely modest form.”

Paint Tins, Gloss Paint, Jam, Custard 50 x 30 x 50 cm £500



About this piece: “The source material that forms the work Façade is a snapshot representation of the now. The initial design that has formed the work was created using binary coded text from social media and online tabloids. It is a direct marker of modern trends and highlights a view of the modern technological society. When installed, the work can be rearranged in order to fit in to any space, with more or less being hung at any one time.”

Laser Cut Perspex, Painted MDF and Stainless Steel Fixings 100 x 400 x 7 cm £2800


ALICE WOODS Keep Me Warm at Night

About this piece: “Part blanket, part armour, ‘Keep Me Warm at Night’ acts as a pseudo-cloak. This piece is part of a body of work entitled 'Dead Cat Bounce*', which aims to promote active economic awareness and explores the financial and economic structures which we operate within. ‘Keep Me Warm at Night’ accompanies a larger site-specific installation which features bombs, floppy disks, ties and padlocks which are represented here in the form of recurring negative space. The parts of the 'blanket' are 3D printed and clipped together, and the medium explores the use of future production methods. *In finance, a dead cat bounce is a small, temporary recovery in the price of a declining stock.”

3D Printed Parts 220 x 110 x 1 cm £1200


AMANDA LYNCH SOLD About this piece: “I am submitting this work as I feel it is unique and different. The work is bold and gives the viewer lots to think about. The work tackles some key issues in branding and advertising that I feel are important today and exploded this through sculpture relief. The work is not typically conventional as the materials used are very rigid yet brittle. I am exploring the relationship between the body and the brand, looking at how consumerism becomes part of us physically as well as mentally. The work examines this through a physical representation of the brand, with the body being ‘branded’ with words such as Gucci, Prada and Chanel. The work shows a human scale, generic form of male genitalia, the sexual organ is being used to highlight the underpinning of advertising, which the aforementioned brands use. The reason for using to scale objects is to allow maximum relatability from the audience. I am exploring the way in which a brand can imprint on the public, and I am transposing this concept onto my work, with the intention of leaving a lasting effect regarding the use of sex through visual media.”

Plaster, Shellac, Spray Paint 190 x 330 x 10 cm £4500


ANA CATARINA PEREIRA A Lady in the Looking Glass: A Reflection

About this piece: “This piece was part of my MA final show and come as a result of my explorations in steel and the procedures that allow me activate, or annul, its intrinsic properties, showing its potential for construction or destruction. My research is oriented towards the history of the metal, which reveals my concerns both with humanity, politics and feminism. Here, the black-mild steel bar on the wall is worked with hot procedures which allowed the artist to hand-bended it. The surface was worked with various acids, the fluids of steel itself and iron past. The mild-steel sheet was treated with cleaning oils and bees-wax. The title was appropriated from a Virginia Woolf's short story, which was the base for this piece.”

Black Mild Steel and Mild Steel 46 x 80 x 26 cm £2500


ANASTASIJA SARAJEVA A Tale is a Lie, But There is a Clue

About this piece: “The piece is mainly inspired by Salvador Dali and Max Ernst. The idea derives from memories in order to create surreal and controversial piece based on passion and suppression. The aim is to look unfamiliar and start a conversation within the audience. The ballet dancer - both beautiful and grotesque, in movement reveals more of its symbolic characters and different stories, with accompaniment of Canon D major for music box.”

Resin, Wood, Metal, Electric Motor 100 x 210 x 100 cm £10000



About this piece: “My sculpture is founded in hyperrealism in human and animal forms which I then blend with varying degrees of expressive interpretation. Careful study and deep analysis of the anatomy of every subject I sculpt enables me to recreate the subtlest tensions of musculature and movement, and to articulate my vision with high levels of accuracy. This deep understanding of physical characteristics gives me the ability to manipulate and create something new, rather than recreate the reality. In doing so, I strive for my sculptures have an emotional impact on the viewer, to call to mind memories or tell stories, as if each has its own spirit that is emerging from within.”

Resin, Wood, Metal, Electric Motor 58 x 35 x 34 cm £3700



About this piece: “With all my sculptures I try to create an empathetic rather than sympathetic understanding of disability or having a body of difference. Belly is a fired ceramic sculpture with a metallic glaze, supported by a mobility shower chair. My sculptures have a reflective surface so that the boundary between the viewer and the sculpture is blurred. The viewer finds it hard to see where the sculpture ends and their body begins. The sculptures create opposing tensions such as being placed at a low height gives them a submissive stance; however they are bold and shiny. They are heavy and bulky and get they also look frail and unbalanced.”

Ceramic, Clay, Plastic 45 x 84 x 44 cm £800



About this piece: “Although in a stage of development, ‘Process #1’ perfectly represents the way in which I produce most of the work within my studio practice, which revolve around single material growth systems that uses simple logic to build objects that are small and begin as a single unit, in either wood or metal, and follow the most 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 begin to emerge within the work that might best be described as having a certain visual aesthetic or delicacy, that is both ephemeral and eternal at the same time. This duality within the work can only reveal itself, or become more apparent, with the use of technology (light), translating what is there into a new kind of experience that is revelatory.”

Cocktail Sticks Dimensions Variable £3000


ARRON KUIPER Head Gardener (Sara)

About this piece: “This is a new form of three-dimensional painting that completely liberates paint from surface. ‘Gel’ is a technique utilising the chemical properties of oil paint and hydrogel to produce a three-dimensional painting inside a transparent vessel. The paint is implanted into the supportive gel environment via syringe and remains exactly where it is placed, as if one were able to leave brushstrokes in mid-air. The ‘strokes’ themselves remain liquid paint and due to this have a more organic and voluminous presence, combined they can create the illusion of surface and mass. I build up forms with many strokes like a kind of analogue 3D printing; this is particularly visible in ‘Head Gardener (Sara).’ The process allows me to create anything I want within the gel filled box, like sculpting in space with a full oil colour palette. This has allowed me to successfully juxtaposition two different realities within the same piece, a portrait and a landscape; one to show the subject, the other to demonstrate the possibilities for further communication of their emotion, memory or imagination.”

Oil Paint, Hydrogel, Glass Tank 30 x 28 x 20 cm £2000


ASHLEY LITTLEJOHN That Which is Seen, Form, Shape

About this piece: “An installation made up of 27 mirrored triangles that cocoon the viewer in an infinite world of 360 degree reflection colour. ‘That Which is Seen, Form, Shape’ explores reflective space in both abstract and literal terms in a supposedly secular age. The archetype of the crystal holds prominence in the aesthetics of the piece also and functions as a sort of iconography of the self, presented synthetically in a completely mirrored three dimensional form.”

Mirrored Acrylic, MDF, Planed Timber, LED's, Duct Tape 205 x 210 x 205 cm £950


ASHLEY SHEEKEY Vaulted Greenhouse Grow House Tomato Grow Bag Garden Patio Vegetables Growbag

About this piece: “I have chosen ‘Vaulted Greenhouse…’ as my signature piece because it is a stark and uncompromising work. Comprised of a book of original drawings, a readymade steel frame, and fluorescent lights, the piece culminates as what is ultimately an absurd situation. In the lead up to creating the work, I had become very interested in the concept of Non-Place, (as explained by Marc Augé) in particular the idea that non-places are able to relieve people of their individual identities, simply through them occupying such spaces. Augé believes that there is enjoyment and liberation to be found in being relieved of one’s individual identity, and it was this idea that acted as the motivation for the making of all my work towards the end of my second year and throughout my final year at Falmouth University. I see non-places as spaces in between – strange voids that exist between where you have come from and where you are going. I feel as though time spent there doesn't count, and for me, this is why they are liberating; they provide you with the opportunity to be absent. Nothing is expected of you as an individual in such non-places, other than to simply follow what rules have been enforced: enter here, form a queue there, wash your hands, don’t leave your belongings unattended, don’t park your vehicle there for more than two hours, exit here…” Steel Frame, Fluorescent Lights, Book of Drawings, Wooden Shelf Frame:120 x 200 x 300cm Lights: Variable, Book of Drawings:38x29cm £800



About this piece: “The work titled ‘DBG’ demonstrates the violent tensions that exist between two opposing forces trying to co-exist with one another. To demonstrate this I took casts of an animal and a human and fused them together in a contorted brutal sculpture. The animal for the project was a baby giraffe that had died from natural causes. I let it go through rigor mortis in a box. Then I asked the female model to mimic the position of the giraffe’s body during rigor mortis. Rigor mortis is the stage in the dying process when your body tries (and eventually fails) to stay oxygenated because your heart has resigned its previous job. The muscles therefore tense up and soon after begin to start decomposing. There is a moment when the body is a temporary sculpture, its last stand against time.”

Plaster, Paint, Varnish 50 x 54 x 100 cm £3000



About this piece: “My work explores ancient mythopoeic themes, narratives and beliefs; and juxtaposes them with current scientific understanding. Whilst this modern re-interpretation of events is valid and logical it also prompts thought as to whether primeval concepts should be completely discarded: It questions their continued relevance to modern society. Many historically significant notions have fallen out of favour exemplified by spiritual based art. This subject is as sensitive as it is significant: The challenge is to provoke discussion and engage the non-believer in discourse whilst not alienating the devout. Reliquary attempts to question the relevance of Christianity in the contemporary world. The antique nails hint of those used at the crucifixion, yet their number (46) and double-helix orientation (exactly replicating the structure of DNA) denote modernity. The spherical nail structure positioned within a white cuboid references a cellular form, suggesting the possibility of inheritance in the biological and belief paradigms. By contrast, the plaster casket infers the encasement of something valuable. The silver signifies purity and, in Christian symbolism, ambiguously both divine wisdom and betrayal. The repository surface is cast from a mold of ancient wood, prompting speculation whether remembrance requires authenticity or just replication.�

Plaster, Antique Iron Nails & Silver Leaf 24 x 24 x 24 cm ÂŁ4000


BERNARD FLOWERS A Logic More Powerful Than Reason

About this piece: “I am interested in the ways in which unreasoned, not to say unreasonable, ideas take hold of groups of people. My work explores the degree to which such infectious mental interventions enter the collective through the conscious or unconscious social engineering by institutions or by being folded into a 'cultural tradition'. I consider the current work a particularly appropriate manifestation of my ideas, containing industrial, cultural and viral elements without being representational. It liberates me from selfimposed conventions that had outlived their use, and the work is a touch stone in my current explorations.”

Limestone Composite, Aluminium, Graphite, Wax 80 x 160 x 15 cm £4400

BEX MASSEY He’s So Hot Right Now

20 About this piece: “My work is drawn from the excess of images and narratives that invade our everyday experiences. Because my practice sits between painting, sculpture and archive, the history of art is critical to my examination of the role of painting and the language of display in the face of contemporary culture. I am presently creating a body of work based on the narratives from Grimm’s fairy tales. I am fascinated by the constant remodelling of the stories. This reworking of fictions mirrors the constant amending of news and narrative in current popular culture and as such seemed a natural progression in my practice. Moreover, I see these pieces as a contemporary construct of allegory painting and archival sculpture. ‘He’s So Hot Right Now’ is a nod to Hansel and Gretel and the myth of Narcissus. This piece records the instant in which a parched Hansel yields to his fate. This moment of contemplating his reflection and perhaps seeing his own face gazing back from the surface of the water for the last time immediately makes reference to the legend of Narcissus who fell in love with his own reflection. The objects are important to me as they make reference to the original story. However as the details of the real fairy tale are not widely known, the objects and associative memories will trigger completely different narratives from viewer to viewer. I think this is reflective of the paradigm shift currently happening in contemporary painting and sculpture. Furthermore, this multivalence of narratives enable the viewer to assimilate themselves within history of art, the brothers Grimm stories and the present pop culture through the immediately recognizable image of Owen Wilson.” Oil on Canvas with Mirror, Inflatable Palm Tree and Toy 100 x 91 x 95cm £2000



About this piece: “Buildings have a massive impact on the planet. Shelter is a basic human instinct, important to everyone. Environmental awareness. Natural building materials. A discovery of. Highlight Challenge/discuss the aesthetic of conventional and earth buildings Question potential of Earth (as a building material) uses the building its in to compare/contrast with itself Tension between form and material Large enough scale to sit between or reference to architecture & sculpture As an artist there will always be an aesthetic concern with the work I make. I hope to make work that is considered as beautiful to win people over to the use of this material.”

Clay, Sand, Straw, Wood Dimensions Variable £10000


CAROLINE CLAISSE The Exquisite Cabinet

About this piece: “The Exquisite Cabinet explores how objects can encourage imagination, and how technology can allow for collecting and sharing stories. Users are encouraged to record a snippet of story for each object which will then be embedded in the object using RFID technology. Imagination is encouraged using similar methods as the Surrealist game Exquisite Corpse. The cabinet prints snippet of story added by users and hosts all the stories on an online platform: The Exquisite Cabinet was an experimental piece which translated my research about museum, storytelling and new technologies. The piece deals with both digital and physical aspects and was presented at numerous conference across Europe (Vienna, London, Warsaw).” Follow this link for supporting video

Wood, 3D Printed Objects, Thermo Printer, RFID Tags, Screen 50 x 50 x 155 cm £2000



About this piece: “The piece is a pile of loosely thrown latex rolls, which are casts of the parquet flooring of my studio and reminiscent of the house in which I grew up. The floor to ceiling pile is an expression of the memories, the feelings, the traces of history that we carry with us. Old times, old feelings, old layers of self, old skin are all swept into the corner, discarded and ready to be cleared away. They have lost their power.”

Latex 200 x 170 x 70 cm £1500


CHLOE HAMILL Not to be Forgotten

About this piece: “Embossed into the fabric with thread, this piece documents all of the refugees and asylum seekers in the UK who have died since 1990, the year I was born, to the present day. This piece of work can be understood as a dialogic response to a document created by the 'Institute of Race Relations' which can be found at (used with permission). The needle has been left in the fabric as this is an on-going issue affecting our society which is up

Linen and Gold Embroidery Threads 100 x 300 x 0 cm ÂŁ650


CHRISTOPHER WOODLEY Structure and Light Series 1

About this piece: “This Piece is part one in a series of four sculptures entitled Structure and Light. This sculpture was designed to explore how light moves and refracts through faceted strong geometrical glass forms. The sculpture was constructed from clear glass blocks. I hand ground and polished the blocks to create faceted geometrical glass structures that I then bonded together. The faceted glass blocks refract and reflect light in such a way that the sculpture takes on a diamond like quality. I wanted to heighten this sense of opulence and I have added 24 carat gold to select facets within the sculpture. The sculpture plays with light and form, allowing light to flow and refract through a solid structure. The sculpture is both: fixed in a strong geometrical form and refracting every changing light. The structure also works as prisms and projects an array or shape and colour across its surroundings. This sculpture attempts to create beauty and complexity from simplicity.”

Glass and 24 Carat Gold 24 x 30 x 24 cm £3800



About this piece: “My practice primarily involves working with steel, creating striking, large-scale sculptures and installations. My work not only explores the social and political history of steel, but also the material itself. I am fascinated by the material qualities of steel, and the way in which its physicality can occupy any given area. Often using sitespecific locations, my work aims to powerfully alter and interact with particular spaces or environments.”

Mild Steel Sheet, Rusted Steel, Stainless Steel, Stainless Steel Floor, Anchor Chain, Wire Rope, S Hooks, Grips, U Bolts, Ply Wood, Paint, Lighting 390 x 250 x 250 cm £15000


COLE LU Crying Helmet, Fully Stocked About this piece:

“’Crying Helmet, Fully Stocked’ is an iconic sculptural object that is a part of the multimedia solo exhibition ‘Super Sad True Love Story’ by artist Cole Lu. In this show, the artist comments on modern relationships in a torpedo-like style—sharp and on point. It represents the sadness, loss and struggle of heartbreak when we only have mediated objects or technology to express our emotions. ” Here, we find ourselves already and firmly in a world where relationships are experienced less in person than via exchange: of words and commodities, through Googlechat, IKEA order forms, and text-able brand slogans. Meaning is bought and ordered but rarely received, and one’s sense of self is a scripted and curated projection. The most significant loss of all is undoubtably that of true emotion, as we cry through song lyrics and get lost in the pricey mess of too much stuff. Super-sad, indeed: Lu perceives our insatiable desire for contact as a series of misapprehensions, where feelings are best confirmed through accumulations in inboxes, storage facilities and virtual accounts.”

Head Guard, Stainless Steel, Tissue Paper 30 x 40 x 30 cm £2500


CRAIG LEAR As Pleasant as a Pheasant No.1

About this piece: “An abstracted pheasant running as if startled, made from mild steel and hot forged using a hammer and texturing tools along with MIG welding, grinding and drilling. The piece is evenly rusted and lacquered and is mounted on a slab of black granite.”

Rolled Steel, Flat steel, Square Rolled Steel, Granite, Acid Pickling, Wood Finishing Lacquer, Polyurathane Lacquer 58 x 40 x 19 cm £1760


EDGAR ASKELOVIC Her About this piece:

“Thanks to work experience and many years of experiments with different kind of materials and chemical reactions, I have designed unique offshoot of Fine Art, what I called EMBED, where Crystal Clear Resin (CCR) product is used as a base. During the last years, the relatively expensive product CCR is coming popular between contemporary artists. The product is characterized by its strength and transparency. One of the main principles of EMBED - hyper realistic figures, what are made from CCR and submerged back into the CCR, adding different pigments and materials. It is complicated and unique technic, what no one was using before. The wall sculpture "HER" is the first artwork in EMBED. Sculpture "HER" contains two images: hyper realistic sculpture of almost naked young female and abstract oblong spot, what symbolize male nature. The abstract pink spot by its form reminds banana. It starts in right top angle and finish in left down. Because the artwork has glass effect, it was complicated to take photos without professional light system, what usually is used in galleries. Despite that art work looks restrained, it contains humorous story how the girl on the night of Midsummer (St. John’s Day) looking for a fern flower which is a young pink stem in real.”

Crystal Clear Polyurethane Resin 80 x 100 x 5 cm £19000



About this piece: “Compiled of approximately 13,500 tickets stacked in uniformity, Tickets, Please draws attention to repetitive pattern within the train ticket, and emphasises the versatility of paper as a medium. In possession of nearly 30,000 tickets now to date, this ‘collecting as art practice’ approach has established an archive of information and memory from thousands of individual passengers to create a pattern within order, a pattern within time and a pattern within the everyday.”

Tickets, Wooden Shelf 330cm x 5.5cm x 8.5 cm £500


ELEONORA BOURMISTROV The Impossible Lightness of Being

About this piece: “The work explores the tension between rational and irrational principles through the language of constructive, quasi architectural forms and industrial-domestic materials. The sculpture is inspired by the force of gravity and its illusory defiance. Meant to interact with the surrounding space, it seems playfully to support the ceiling. In really, it is suspended and pending 1 cm over the floor. In the construction of the sculpture, I am using the principle of the socalled "edge dislocation" expressed by placing the 'bricks' on the edge of the previous ones in the line. This alludes to precariousness, danger and instability and equally it references growth, defiance and human desire to progress, to uplift, to levitate, to overcome gravity, destruction and death. At the same time, the sculpture is highly absurd; it plays with illusion and our expectations until one discovers that the bricks are made of foam with the effect that the feeling of power and greatness is replaced with that of confusion and humour. This work is 2015 Signature piece because it is many at the same time: sculpture, site-specific installation, architectural element, constructive support and deconstructive suspension as well as illusion and parody. It is straightforward, yet absurd, unstable looking, yet monumental and ambitious, antagonistic and paradoxical - it uniquely reveals the contradictions and complexity in our understanding of contemporary art, culture and life.”

Bricks, Foam 15 x 450 x 6.5 cm £3999



About this piece: “The ‘Sun Scroll’ is a Zen poem revealed on the floor by sunlight and changes length and position according to the time of day and year. It addresses the theme of transience, emphasised by the fact that sunlight is inconsistent so will not always be revealed. This is one of my final year degree show pieces that were installed on the roof terrace of the newly built Manchester School of Art building. It was recently chosen as Tim Marlow's Curator Choice for NOISE Festival 2014 Fine Art Category and has been shown on the South Bank and Better Bankside, London. Also at the Buy Art Fair, Manchester and a special exhibition at the Tetley in Leeds.”

Mirror, Perspex Dimensions Variable £5190


ELUNED GLYN Minimus Maximus Tea Set

About this piece: “I am inspired by the form of the classic ceramics from the 20th and 21st century. The modernist and cubist movements have been my points of reference, using their concept of a well-designed form with facets and angles as inspiration. I take existing vessels and recreate the forms that reflect not only the garish over-decorated 19th Century vessels, also, the cubist theory of the 1910s and the de-constructivist period of the 1980s. This is explored through the cohesive integration of form, drawing and surface pattern. I deconstruct my drawings and create my own interpretation of the abstract vessel. It is the marriage of form and function that intrigues me and the distortion of the domestic object which is familiar yet foreign in form. I deconstruct the shape of the jug by folding the drawings and redesigning them through a layout pad. This is where they evolve into three dimensional objects. These sketches inspire me and influence the process I use incorporating pieces from second-hand shops. First I break up and re-construct the pieces into a solid block of clay, which is then cast in plaster to about 6 parts. These pieces are then cast with earthenware slip and fired three times in the kiln to complete the body of work.”

Ceramics 90 x 30 x 20 cm £280


EVELYN O’CONNOR The Messages Were Got Alright, a Bit Too Many in the End About this piece: “This is my Signature 2025 prize because is best exemplifies my practice. My artwork exists as hybrids between reality and a fictional narrative, as things that only exist in the world as theory or idea are made into solid, tactile and visible objects. These sculptural forms are essentially props for a space. They trace the pathways of so many objects that migrate off the body, fall from it, lean up against it or touch it but also extend that body and therefore extending sculpture into the world. My practice is also grounded in processes and materials as sculptural works consist mainly of unorthodox materials such as flour, cotton wool and sugar. The materials are used to provide juxtaposition with other elements in the work such as vivid colour. Colour is used to emphasise the three-dimensionality of the objects, however, the materials and colour used are never allegorical.”

Flour, Silicone, Cardboard, PVA Glue, Acrylic Paint (First piece) 75 x 60 x 60 cm (Second piece) 90 x 60 x 60 cm £1500



About this piece: “My first self-portrait.”

Wood 18 x 40 x 20 cm £875



About this piece: “The notion of playfulness is a fundamental aspect to my practice and I acknowledge the value of discovery and learning through making. I have a curiosity with, and visual attraction to, colour, surface, texture, strata and patterns, both natural and man-made. The work manifests itself in a wide variety of media, from installation to performance, video and artists books. Most recently I have been working with layered coloured plaster in order to emphasise the sculptural and painterly qualities of the material. Process often has a central role to my work, and I strive to make art that embraces chance and the unpredictable. Spumoni is a sculptural installation of two cast plaster blocks. Each block consists of numerous layers of coloured plaster. With one protruding from the wall and the other standing on the floor, the viewer negotiates them in dialogue with each other and the space they occupy. The context in which the work exists and how the work is curated within a space are important factors in my practice. For me, the installation process involves experimenting with placing work in various arrangements and responding to peculiarities in the space. I am mindful of how the viewer navigates and interacts with the work within space in order to have a meaningful experience.”

Plaster, Plaster Pigment, Polymer 17cm x 130 x 90 cm £500



About this piece: “’Natura Morta’ is a multi-sensory learning experience, an installation where senses such as sight, smell, hearing and touch are used to help educate. Originally the idea was based upon children with learning difficulties and how multi-sensory learning is used to teach them through their senses. Though I went on to adapt it for all ages. I wanted to create sculptures that the audience could interact with and touch, as often there’s a boundary. I wanted the sculptures to look like two individual paintings in a grand gallery, that you can step inside and become the artwork and the painting. I tried to incorporate and maintain a classical form, based on still life paintings and the works of artist Arcimboldo.”

Foam, Plaster, Alginate, Clay, Silicon, Fibreglass and Resin, Fast Cast, Clear Resin, Paint and Mirror Perspex 243 x 235 x 121 cm £7000 (Excluding frames)



About this piece: “My current artistic practice can be described as a humorous object based engagement with themes of performativity, narrative and joke telling, executed by theatrically employing an eclectic mixture of materials in sprawling stage set-like installations. In my varied points of reference I site cartoons to critical theory, ancient mythology to double acts and duos. A small sample of my most important influences include the ‘Wile E. Coyote and The Roadrunner’ cartoons of Chuck Jones, Herni Bergson’s theories of laughter, the slapstick comedy of Laurel and Hardy, the delicately funny and equilibrial works by Peter Fischli and David Weiss and ancient mythological stories ranging from The Sword of Damocles to the Native American ‘Trickster’ fables. Whilst my practice to continues to develop around themes of humorous balance and tension, I maintain a playful engagement with narratives ranging from the ancient and canonic to the banal and absurd. In essence, I am currently creating works that can be experienced as stage sets and potential platforms for absurd and mysterious actions or stories.”

Stage Lights, Polystyrene, Sand, Acrylic Paint 200 x 150 x 200 cm £3400


JEFFERSON MIRANDA Lewison Silva's Private Collection - PLAN CHEST

About this piece: “The piece is a multiple and part of an installation work about a fictive Brazilian artist from the 1960's - Lewison Silva. The plan chest is part of a so called 'private collection' the artist developed after giving up the artistic metier. A catalogue-like leaflet is included, telling a short story about the artist. The piece is comprised of several works: polaroids, small photographs and negative films, collages (using paper and/or dried plants), collections of men's hair, pills, seeds, (re)appropriated ready-mades and others.”

Mixed Media 90 x 70 x 45 cm £3000


JEMMA LIDGARD Delineation of Destruction

About this piece: “Influenced by ‘unmonumentality’, the 21st Century, the fragmentation of fragility within an everyday and solid surface. The shards were reformed and remade into a precarious formation and purpose. It was the strategy of the elements; taking objects and changing their functions from what they were specifically made for aesthetic aspects. Glass itself advocates its purpose as a visual reflection and visual language between the exterior and interior world.”

Glass, Glass Frame, Resin, Wood 19.9 x 69.1 x1 cm £115


JENNA MEYER Blocked About this piece:

“This piece emerged through an exploration of my practice and studies to this point. It has encompassed all that I strive for in my work; interactions between images, objects, and sound, the effects of space and positioning, and creating an atmosphere through lighting and sound. This piece is a photographic sculpture built up from the ground. It is a layering of images and Perspex which separates the images and rests on four wooden blocks. A reaching lamp shines light onto the piece with small lights set underneath as well. A sound piece of water drops is played as well; the sound apparatus being hidden underneath giving an illusion of an environment. It was made as a disruption of the space in which it was situated and varies depending on the effects of the space; wind coming through doors blew the top image and placed it in a new way, and as the day came and went the lights affected the piece differently as well. This ever changing quality of this piece is important in my work as well, as things and ideas never stop and continue to change and grow. From here, my practice will continue to expand, change and explore new ways of creating.”

Printed Images, Wood, Perspex, Lamp, Lights 84.1 x 118.9 x 12 cm £1000



About this piece: “I am interested in the nature of a safe place; the experience of a sheltered space which acts as a portal to a larger expanse. Inspired by the natural formation of a cove in the landscape, where a small parcel of land, sheltered by the cliff topography surrounding, I found the quiet environment acts as a safe place, and thus diverts the sensory experience to the expanse of sea and sky. I have used the form of a circle to capture a series of quiet spaces.”

Plaster 50 x 50 x 10 cm each £3000



About this piece:

It’s Coming from Inside the Trees

‘Let’s not change the world but make another one just for you and me’. I create intricate imaginary landscapes combining fine draughtsmanship with intensity of colour in seductive and playfully charged subjects. By painting onto found wooden panels or any objects and then shaping them into sculptural configurations, I expand the frame of the paintings to create vivacious visual 3-D landscapes within the surrounding space itself. My work is created by remembrance and delusion, and making another surrounding. Indulge in reminiscence is fundamental of making up myself and delusion is the mass of hope also misery. My work is a visual narrative expression towards objects and it can be interpreted as merger of remembrance and delusion. My work could be a very small or huge space, yet is a totally imaginary space. The sculptural painting becomes an imaginary scene and a strange landscape which eventually evolves into a three dimensional object. In the painting, there are various objects and repeating patterns which are not working as background that are extended from a virtual space. In addition, that is in an ambiguous position because it is not also main subject. Each sculpture and painting is often part of a set although it sometimes fails to merge as ‘newer world’ or ‘another world’. The various elements of my work play with the boundary of whim of your inner thoughts and the preposterous combination of landscape.”

Mixed Media 210 x 200 x 187 cm £3500



About this piece: “This work is intended to provide an insight into the twilight world, where suddenly, unexpectedly and usually through mysterious glimpses, we catch sight of another visible order, one that intersects with ours and yet has nothing to do with it; as if, suddenly and disconcertingly, we see between two frames. We come upon a part of the visible that isn’t meant for us.”

Fibreglass and Concrete 91 x 213 x 91 cm £1200


KATE LINFORTH Lumen About this piece: “A sculpture inspired by the study of cells and aquatic creatures. It was created using the finest casting plaster to achieve a smooth white exterior which encases the delicate, sculptural forms of the encaustic within. Encaustic is a medium with an ancient history back some 2000 years to the Fayum Mummy portraits, which can be seen in the British Museum. Encaustic literally means 'to burn in'. Each layer of wax is fused to the last using a blow torch, this gives the painting strength. The beeswax is tempered with Damar resin; a process which takes up to 8 hours. The resin offers additional strength to the wax and raises the melting temperature so the sculpture will not melt. Due to the creative process used when making these sculptures, each one is totally unique and several of these sculptures have been made with one being recently sold to a high profile collector. The measurements include the stand and the sculpture can either be hung on the wall or simply displayed on a shelf.”

Pigmented Encaustic on Plaster 33 x 30 x 20 cm £1200


KIT BROWN Untitled (Garden)

About this piece: “’Untitled (Garden)’ is a sound and visual sculptural installation that presents a concentration of my primary artistic concerns. This includes an ongoing critical analysis of 'reality' as a 'constructed' phenomenon, in which I specifically reflect on relationships between 'society' (in the forms of art, technology and the metaphor of the machine) and 'nature' (as both a representation of metaphysical mystery and as a culturally constructed entity). Through this work I seek to explore boundaries between concepts of 'the image' and ' the object', degrees of conflict between opposing semiotic associations, as well as the visual and physical properties of sound.” Follow this link for supporting video

Digitally Manipulated Sound and Photography, Speakers, MDF, Plastic, MP3 Players, Paper 100 x 50 x 300 cm £10000


LEONIE BRANDNER Doubt About this piece: “The cube is an immaculate form, a form that is the same form wherever we see it, however we turn it, a form that results in itself from wherever we perceive it. In that sense it is a very stable structure, a reliable structure. The piece ‘Doubt’ is an immaculate cube made out of sand. The damp sand is pressed into a mold; once the mold is removed all that holds up the sand in its shape is water. By the temperature in the room, by the warmth of the people passing by, the water slowly evaporates and the cube starts to crumble and loose its structure. Eventually all that remains after a certain amount of time is a pile of sand, all sense of structure, certainty and stability is lost. I am very interested in that fragile moment of change, the idea of losing structure and sculpture that reacts to its surrounding. Making something, giving a material a shape and over time losing it, pointing at the ephemerality of all things being. What I like is that before and after the crumbling we are dealing with the same thing, it always is just sand, it is just a question of order.”

Sand 50 x 50 x 50 cm £1000


LILYA METROPOVA Imprisoned by Simulation

About this piece: “’Imprisoned by Simulation’ is a sculpture work influenced by ancient philosophy and science. It represents a surrealist interpretation of 'the inner man', encompassing particular aspects from human personality and most importantly the way we present ourselves, as entities. It uses recognisable 'vehicles of expression', whose purpose is not only the revealing of a philosophic concepts but also to raise fundamental issues and to provoke speculation.”

Brass, Polyurethane Resin, Taxidermy Specimen (Sasakia Charonda), Glass 42 x 23 x 25 cm £3500



About this piece: “Spectrum Pavilion iii pulls together many of the elements I’ve worked with over the last two years. I am interested in the effect that the Internet and social media has on society and have worked through various ways of expressing my research and observations. This piece best captures my ideas and is the most arresting. The structure of my work is informed by both light electromagnetic waves being the means of carrying data through the ether and optical fibre - and of the many layers of information now freely available via the internet. The works comments on our move from the built to the virtual, everything from how we use our bank to how we socialise. Splitting light into the spectrum colours, and working with contrasting and complementary combinations, the work seeks to distil the above observations into zones of material colour and pools of intangible coloured light. As the viewer moves past the pieces pockets of colour are revealed and concealed Spectrum Pavilion iii positively sizzles with colour with each side of every ‘wave’ altered by the light reflected from its neighbour. The piece deliberately references architectural models and the utopian ideals they seek to manifest – the Internet also being a utopian structure. Largely constructed from building materials savaged from skips it comments on the waste in renewal. Formed using a band saw, and other construction machines, as drawing devices to draw through the materials, lines representing electromagnetic waves.”

Acrylic on Canvas, MDF, Alucobond 35 x 35 x 11cm £600


LUCY SOMERS Line Describing a Table

About this piece: “This piece came as both the culmination of many years of a painting practise, but also as a dramatic leap in a different direction. For many years my painting practise was concerned with space: marking the unconscious efforts of 'feeling a space out' - the physical act of focusing an eye on a depth, feeling for a distance, or deducing the barrier of a shadow. The blue gloss is un-knowably deep, the carpet is rough and exact in its homely human scale, but both are brought together in a broken diagram of a shadow. This piece marked a new split that has come to define my practise- which now develops in a duality of painting and construction work.”

Carpet, Gloss Paint, Board, Paper, Brass Screws 400 x 250 x 200 £4200


MONA CHOO Web of Consciousness

About this piece: “My aim is to challenge people’s perception of the space we inhabit and push our understanding of dimensionality, as I believe we live in a universe with more than three dimensions. I want people to ponder the question of where our consciousness might reside and the possibility that it is in a different dimension to our physical world. ‘Web of Consciousness’ attempts to give consciousness a physical form and is based on the theory that we are all connected to a universal intelligence and to each other’s consciousness. The sculpture is also a metaphor for our relationship with nature and the fragility of our ecosystem. When one point comes apart many of the other points are affected. The links are broken and the whole structure suffers. Currently, our view of the world and the way we live is very much focused on individual points rather than the structure as a whole. We need to begin to understand that we are all interconnected and our actions affect one another in ways we cannot ever know.”

Acrylic Rods, Fibre-Optic Strands, LED Lights, Batteries, Wire, Mirror Panel 73 x 60 x 65 cm £2400


MORWENNA LAKE Sensory Device No. 1

About this piece: “The modern plethora of gadgets and devices, which do the work for us, has created a culture of no longer doing or making. At the same time, we are constantly bombarded by sound and imagery each demanding our attention. We have become distanced from our own senses. Therefore, how can we live in the present when all is clamour? Touch is what truly connects us to our world. 'Sensory Device No. 1' is a playful gesture at encouraging physical interaction with an object. Touching is a bodily experience. As John Keats said “Touch has a memory.” 'Sensory Device No. 1' has a number of dark holes into which have been placed various objects (made by the artist). The viewer is encouraged to reach in and explore the objects, thus creating a haptic experience. A bit like the Bocca della Verita in Rome, do they dare to voyage into the unknown? My work aims to challenge the taboo of touching sculpture and to encourage direct viewer interaction with sculpture.”

Papier Mache, Steel, Paint 80 x 180 x 80 cm £2000


NAYA ELEFTHERIOU Colours of the Wind

About this piece: “This sculpture stems from the theme of perverse architecture in my studio practice. Taking the shape of the corner out of its context and by applying different scales, I have been exploring its qualities and also considered questions of volume, surface, solidity and transparency. The use of acrylic, translucent surfaces in bold industrial manmade colours are juxtaposed by their subtle shadow formed by the natural phenomenon of the diffusion of light through the protruding side of the 90 degree corner panels. Elements such as point, line, surface, solid, and simulacrum, are at the core of my investigation. This process of thinking and making relates to the Pythagoreans of Plato’s day, including Plato himself who held that the beginning was a blank white; there appeared inexplicably a spot which stretched into a line, which flowed into a plane, which folded into a solid, which cast a shadow, which is what we see. This relationship between an object and its shadow raises questions about reality and illusion, truth and perception, appearance and deception, and is a poetic allegory about life itself.”

Acrylic 120 x 40 x 10 cm £4200



About this piece: “The sculpture consists of two free standing wooden window shutters, that are interlocked, and a section of stitched thread that hangs between them. The shutters have been sanded, drilled and carved so that in places they look as if they are being restored and in others being systematically reduced and weakened. The nature of the wood has been exposed and explored so that its structural integrity is revealed. These interventions into the material at times look playful, rushed and destructive, as well as deliberate, controlled and loving. In places the metal has been restored from rust to a polished shine. The thread that hangs over two rusty nails reflects the shapes of the design carved into the frame above it. It is suspended and in places held together by single thread showing its inherent fragility. The vulnerability of the work is corroborated by its imperfect, impermanent and incomplete state. The contrasting elements of the process of making are juxtaposed on opposite sides of the shutters, questioning the intent and value of these interventions and the objects themselves.�

Wood, Thread 135 x 120 x 65 cm ÂŁ4000


OSCAR DEMPSEY It's Just a Projection, Really

About this piece: “This sculpture is part of a body of work that fluctuates between two incidents. These are portrayed through disjointed layers and mediums of video, sculpture, text and installation with each playing an equal part. My practice involves creating interactive sets, portraying elements of narratives as it aims to put the viewer in the role of responsibility as external protagonists are painted around them in an attempt to question their approach to themselves and others around. This body of work has been based upon a text that was developed from a feed of psychological theories of shame, disgust and guilt in reference to sexuality. After the two separate stories were written they were de-constructed and rebuilt using categories of decided relevant importance, these sections of text were then given as an influence to the separate works including this sculpture. This sculpture acts as a physical presence of the older, male protagonist from one incident based around a derelict yacht club, questioning the relationship of two characters, hinting at both disturbing family traumas and collective childhood memories. The sculpture is either positioned against a wall as a "shamed" character taking a passive position to the audience or facing the audience in a more dominant role, confronting them”

Metal, Resin, Plaster, Glue, Paint 150 x 140 x 190 cm £975


PETER HANMER Regressive Flight

About this piece: “The literary theorist and critic Terry Eagleton sums up my current practice, “one of the great humanist functions of culture is to open some daylight between its self and the rest of our social practises and institutions so it could actual operate as a critic of them”. Art as a cultural and political critique is important to my work through the largely narrative driven events taking place in my sculptural worlds where the extremes of society are played out. Within my piece ‘Regressive Flight’ I examine a regressive tendency in a post technological society in the aftermath of disaster. Specifically I question a possible rise in belief as a questionable substitute for science and reason. I question if the ‘Opium of the people’ as Marx called religion would became un-tempered by reason and regress and warp into an Ideology of the extreme aided and abetted by abject poverty and ruin. The piece seeks humorously to depict this by focusing on two main characters. The one below is chained although is giving the impression of being a semi willing sacrifice. His arms are raised in a parody of flight but his crossed fingers allude to some doubts. Far above on a raised platform a larger character is preparing to throw a rubber duck out into orbit; evidently the hope is that this divine object ‘with wings’ and magical glow is going to fly. If it fails there will be a blood sacrifice and the cycle will go on next time in the form of a toy plane. At the back of the sculpture a character specifically references this cycle, by breaking the fourth wall and looking at his human audience and pointing to a blackboard on which a full circle is chalked.” Animal Bones, Rubber Duck, Coal, Wood, Mixed Media, Metal Plinth 62.5 x 28 x 146cm £2000



About this piece: “The piece is a conversation between age and beauty, capturing the definition of time through the melting of the wax. The sculpture studies the subjects of Age and Change, both inevitable which makes us fear them at one point or another in our lives and wished for our youth back. The work is about those moments we wished lasted forever. It is about slowing time and making those feelings endless. It is about making a connection within oneself and becoming infinite.”

Wax and Latex on Varnished 18mm MDF plinth 200 x 35 x 30 cm £3800



About this piece: “Based on recovery from depression. This piece is a transparent photograph that when placed under resin the ink bled to create interesting patterns.”

Photograph and Resin 50 x 70 x 1 cm £350



About this piece: “This piece is inspired by the game birds painted in old still life paintings by Jean Baptiste-Simeon Chardin and Jan Weenix, I aim to convey a vulnerability and dusty, faded grandeur. It is the culmination of a large project of works, developing on from my degree show pieces. I make ceramic sculpture, exploring the boundary between and duality of the beautiful and the grotesque. Clay is central to my practice. It has an undeniable physical presence. The rawness of clay in its dense, matte state makes it so distinct, engaging and touchable. It is something that can be sensed by a kind of virtual touch as well as visually. The possibilities offered by the material drive and inspire my work. Its tactility and plasticity mean the making process is immediate and instinctive. This is reflected in the intimacy I feel with each piece, something I aim to reproduce in the interaction with the viewer. The ornament of historical architecture and interiors alongside textural details found in nature has instilled in me a keen interest in the ceramic surface. The visual depth offered by different techniques enlivens each piece in a unique way. I have recently been experimenting with carving individual lines of texture in to different slips painted onto the clay. The repeated detail creates a feeling of movement and fluidity, animating the form.” Stoneware Clay 50 x 30 x 33 cm £2100


SAM CARVOSSO Hat Over Your Face, Sitting in the Shadow of a Cactus

About this piece: “’Hat Over Your Face, Sitting in the Shadow of a Cactus’ has a filmic reference to perhaps a wild western film, and although the cactus is the only reference or connotation of a dessert we can't help but imagine the large steel sculpture presented in these films or scenes. The work is quite ephemeral and resembles a drawing in the space. The steel becomes a sculpture doodle but with elements of reality (the cactus) this then allows the work to be in limbo between where it is and where it wants to be.”

Steel, Paint & Cactus 300 x 220 x 15 cm £4000

SARAH FORTAIS Things Being What I Want Them To Be…

61 About this piece: “…And Not What They’re Supposed To Be. Two astronauts named Daphne and Apollo are frozen in space. The installation draws from the 'kludge' of early NASA - the resourcefulness and ability to repurpose - and in turn repurposes the NASA narrative to talk about a Greek myth. Both narratives present a common quest: to attain something beyond one’s reach and in the end finding satisfaction in something unexpected (Apollo honouring Daphne as a laurel and the NASA missions really cementing the identity of Earth). Part-for-part I substituted what I needed to construct with materials at hand. The spacesuits are replicas of early Apollo mission pressure suits (the layer underneath the white puffy part) and are made from materials found on the streets in London. It is my attempt to mirror the original spacesuits’ process of invention and capture their surprisingly unsophisticated materiality. To paraphrase Apollo astronaut Jim Lovell, 'We learned a lot about the Moon, but what we really learned was about Earth.'


This is my signature piece because it demonstrates that I like to take things apart and that my practice is bricolage. It shows how overlapping, forcefully dragging together parts, and rebuilding them ultimately becomes a way to record a practical method and makes me a storyteller of methodologies. It is my effort to make something meaningful, which is different than trying to make sense.”

Found Objects Variable Dimensions (Life-Sized Astronauts) £14000



About this piece: “Breaking point is my signature piece as it is centred on my own emotions connected to anorexia and a relapse a suffer could encounter on recovering. Using process art and the sense of being lost to create this hanging piece of sculpture. Using very basic materials such as wax and material to explore their limitations to create an emotion. The piece is made of two material mesh fabric and wax both these material have strong connection to the sculpture. The mesh fabric material similar to gorse is a thin fragile material; it is light weight and is in a single strip, this is similar to what you would find in a hospital to dress wounds. This is to demonstrate the medical care a suffer would have to help and support them. This is sandwiched between two broken strips of damaged wax, to show an experience with the health system. The wax has been melted and dripped onto the material over the course of 5 hours, this created a solid wax surface. This surface has been damaged making the appearance heavily cracked and fragile. This sculpture holds a lot of tension. A tension in your own neck looking up at this piece of work. A tension in the material it being a soft material having a hard substance of wax applied onto it which has set. The display of this sculpture is to crane your neck and to feel uncomfortable to see the work.”

Wax and Material 20 x 80 x 0.1 cm £70


SIAN DORMAN The Twisted and Strange in Horror Film

About this piece: “A project based around my love for horror films, exploring a particular scene in the film 'Silent Hill' where the walls begin to peel and mutant 'things' begin to come out. I created a mini collection of 'little horror' characters made from dried fruit & veg. These were the inspiration for my final three wearable art pieces. Each dress fabric has been manipulated/distressed by hand, then heat-set into shape using a boiling sugar process.”

Heat-Set Polyester 60 x 170 x 80 cm x3 £350


SOPHIE GILLER Umbrella Plinth No. 5

About this piece: “The piece is part of body of work made for my degree show that was about testing material's structural limits, and in this case using umbrellas. The work was about interrogating commonplace functional objects, once initially created and presented to the world, which have prescribed purposes that dictate our attitudes and behaviours towards them, problematising our relationship with any material “what-ness“ they might possess. The aim of these works is to explore what inherent meaning they can have, and how their essential nature is apparently altered by the way they are packaged and presented. In subjecting found objects to physical tests, stripping away their use-value and removing them from their usual situations, the work interrogates the effect that form has on our relationship with the materials that make up objects. This facilitates a practical examination of the roll of matter in art, proposing a version of sculpture and painting that are not contingent on the combination of art “stuff” into art “works” but rather on actions exerted on any number of existing materials. Paintings that are not made of paint can escape the creative limitations of the mediums prescribed qualities, and everyday objects can take on a richness that transcends their existing forms.”

It is my 2015 Signature piece as it is made entirely up of it's own Plaster matter of umbrellas andUmbrellas, plaster, with the umbrella's being the armature and structure of the work, playing on sculpture's 40 x 120 x 40 cm traditional display of the "the plinth". With plaster and umbrella filling what would usually be the negative space of the plinth and £25000 the "art", (umbrellas) are, and with an array of handles at the top where the piece of art should be displayed.



About this piece: “’Landscape/Colour’ is a collection of ceramic vessels that showcases my current body of work. This project was borne out of a desire to interpret the landscape through pared back geometric forms. My work has always sat on the boundaries of art and design, exploring the ideas of the object and the vessel. I intentionally wanted to create ceramic art that was ambiguous, to create a dialogue between the viewer, the object and myself, raising questions about material, process and function. I utilise colour and negative space to play with the perception of what is 2D and 3D.”

Earthenware Slip, Porcelain, Stains 60 x 15 x 100 cm £2800



About this piece: “I rip… I burn… I slash… I tear… I scar. My three-dimensional drawings use subtle and hand-crafted materials, exploring personal narratives which are often at odds with the work’s delicate formations. Utilising objects that wear a history, I assemble solid and fragile structures to project personal narratives, tensions and conflict that change the pieces both physically and emotionally. Up-hole-stered …a deck chair re-furnished with brown parcel paper, which has been burnt meticulously using the blistering tip of a soldering iron until only the delicate perforations and residues remain, rests above the ground whilst a blood red skein drips onto the floor. The labour of the process is not evident at first. The myriads of small intimate marks take time to observe. It is drawing you in… Summoning your intrigue… Come closer… Closer still.”

Wood, Hand Burnt and Stitched Paper, Thread 54 x 240 x 100 cm £3800

TOM BEVAN 4.02pm, 1462 Tweets

67 About this piece: “My work is focussed on the archival nature, and potential, of paper in an increasingly digital world. I am interested in how people record their personal stories, particularly through social media, and how this blurring of private stories in a public arena affects our use of the internet. ‘4.02pm, 1462 Tweets’ is a recording of all the tweets I could collect from Twitter – random tweets that were gathered by searching the word 'the' (the most used word on Twitter) – at one minute in time (4.02pm). These tweets were then digitally printed on to archive paper, preserving this digital snapshot for years to come, and bound into book form. The book is often seen as a symbol of knowledge and power, due to its rigorous editorial process (something which many areas of the internet do not have), and so the book acts as a grounding base for the work. The text is then cut out of the book and woven on the peg loom. By weaving the text together, these seemingly disparate and unrelated stories and people are connected, physically representing a community that previously only digitally existed. Finally the woven sculpture is suspended in a Perspex box to ensure its survival, on top of a small wooden table. The ethereal effect the sculpture creates, subverting the expected 2D nature of a book page, offers a moment of reflection for the viewer. Having these lives and stories from this one minute in time frozen opens a vulnerability to the words within and, hopefully, heightens the awareness of the viewer's own usage of social media, in the context of the wider world.”

Paper, Fabric, Wood, Perspex 40x150x40 cm £2500



About this piece: “The piece consists of six mixed media sculptures that I made for my graduate collection. They were made by hand-sculpting coloured wax and working into the surface by spray painting and scratching into it. The individual pieces also have variations of areas of stitched thin monofilament, inspired by the textures from my biro pen drawings for this project. The monofilament was stitched onto dissolvable fabric which can then be washed away, leaving just the stitching. The project was based on the change in mood people can get when walking at night, and how the context of the journey and how the individual feels can be affected by the change in light.”

Wax, Monofilament, Spray Paint 23 x 15 x 7cm (x 6) £1500



About this piece: “This piece is part of a series of flower sculptures. It is a piece that incorporates a mish-mash of cheap, kitsch material with industrial material, commenting on the status of material and skill within a practice. Bold colour is used to invite the viewer into a dystopian, fantasy world. Displayed on a painted washing basket, it incorporates domestic objects to juxtapose the use of the ready made with the handmade. It is my signature piece as it challenges conventional sculptural methods of display and comments on the cheap mass produced material in western culture.”

Plaster, PVC, Artificial Flowers, Mesh, Spray Paint, Gloss Paint 100 x 50 x 0 cm £400

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Signature Art Prize 2015 Sculpture Category Catalogue


Signature Art Prize 2015 Sculpture Category Catalogue

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