ACROSS & OVER

Across Over

Alastair Kwan, Emilie Darlet, Qingshan Han, Lynus Woo, Sihan Wang, Taro Qureshi, Alessandra Vargas, Jiaxin Zeng, Weixiang Huang, Iain Christopher McLellan Bastidas, Johann Spindler, Thomas Craig, Meirav Piekarski, Hoon Sim, Evgenia Slyusarenko, Xiaomeng DU, Yashika Goel, Garibli Gunash, Deng Jiao, Jung Jin, Sun Jingjing, Yeuk Claire Poisson, Yanxuan Wang, Wu Chen, Mowen Li, Lu Li, Daniela Rivera, Christina Heng Lee, Linfeng Li, Polina Nochka, Alessandra Vargas, Zihan Zeng, Yuantao Liang, Zhang Pindiga Ranjith Kumar, Mung Yu Fung, Siohbán Palin, Hyejin Ko, Li Xinyi, Zeng Xilong, : Hyun-young Chang, Scarlett Budden, Katie Poon, Miranda Pranoto, Alexandra Jiyeon Kim, Siqi Fang, Shuyuan Gong, Xue Yumeng Yu Leng, Shuyi Zhou, Polina Douvartzidis, Iqra Shafiq Butt, Spring Li, Qiuxia Cui, Hongcheng Pan, Zhiyi Zhou, Fong-Yau Lam, Filippova, Zisu Meng, Jae Lim Chung, Liqiao Zeng, Noora Al Tannak, Priyal Bose, Poorvi Jhaveri, Samantha Joseph, Hyebin Seok, Chiedu Okonta, Rosalie Valentiny, Calvin Calica, Patricia Cazenove, Purvi Dugar, Danyan Xiong, Yan Yu Lee, Longting Li : Nami Rhea Srikanth, Kalyan Srivatsava Thupili, Jaewon Park, Shigeki Yamauchi, Sera Naz Yanik, Yatagai, Tian Gao, Natasha Nadia BinteKamarun Zaman, Yihe Zhang, Yushan Ekaterina Adelskaya, Georgina Davenport, Bissy Riva, Yanjun Liu, Sofia Hidalgo, Natalia Liu, Xinchen Wu, Siddhant Bothra Jasper Garvida, Albeiro Rojas Tomedes, Zein Baranowska, Constance Nie, Fei Wu, Buthaina Bin Beyat, Anna-Belén Meyer, Antonella Romano, Majali, Maximilian Schuch, Putri Taufik, Narae Min, Isabel Law, JungEunYang, Emma Jane Pierce, Yuanjun Huang, Shiqi Tan, Joana Costa, Angelina Kusi Hori, Surah Fayed, Risako Oya Chen-I Niu, Jinwen Sun, Haotian Guan, Zihan Su, Dijia Du, Helena Maria Cristina Carbonell, Riccardo Ennio, Nidhi Deshmukh, Sooyoung Oh, Bolin Chen, Matthew Elston, Ummi Khaltoum Abdullah, Mashal Chaudhri Yang ShanErh, von Wang, Tracy McBride, Youna Kim, Yuheng Sha, Sarunas Berinas, Ashwini Krishnan, Jiaying Shen, Pik Schoenebeck Johannes, Jiang Daniel, Yune Hiai, Khakpour Dara, Removille Luen Cheng, Easten Pessin, Xiangru Wang, Zhicheng Fei, Georgia Larkins, Kenneth Matthew Greiner, Jade, Zhang Yiru, Yao Yao, Eseosa Osayande, Valentina Barengo, Lorenzo Ece Batur, Qiuxiang Liu, Soojeong Yim, Jihye Seo, Zina Karaman, Yeji Lim, Eunjung Kim, Anastasiia Piazza, Doyeon Sung, Marius Pfennigdorff, Meenakshi Koya, Yi Zhou, Elodie Burduzha, Shuyu Yao, Emma Black, Zaineb Lassoued, Yoolim Ham, Tong Hua, Haoqing Zhou, Emma Catherine Carrel, Sarah Cloonan, Yashaswi Dugar, Kangni Guo, Zoe Wilkinson, Amy Kaluzhny, Aviva Mittal, Charles Mendelson, Stephen Fagan, Emily Claringbull, Nikolaos Kapa Karintzaidis, Marie-Claudine Llamas, Jessica Mardon, Hanna, Yuehan Jiang, Junghun Lee, Weilan Huang, Adriette Myburgh, Maxwell Livesey, Zeng Ya, Chang Margetson-Rushmore Millicent Clare, Luisa Mascaro, Dioeloestanovna Huang, Wenqing Gang, Xiayi Liu, Wenxi Xu, Yihui Zhang, Yejin Lee, Ziye Huang, Yuyan Wu, Permyakova, Saskyyana Tianxiang Shi, Nathan Graves Tuttle, Yan Wang, Wei Bao, Jia Yu, Shivani Netalkar, Yuting Qiu, Tianxin Zhang, Bin Cho, Yikun Ge, Ceirra Lark, Ching-Yu Wang, Wei Wei,, Olivia Wells, Jiachen Zeng, Xieni Zhou, Zijian Zhou, Dahkota Varela, Arsenius Adogamhe, Khwaja Sadiq, Aishwarya Geetharani, Chia Chen Lee, Lili Weng, Woo Li Jo, Katherine Bratzke, Aoran Cai, Sisi Cai, Shiyu Huang, Ramneek Ahluwalia, Ran Ju, Neha Reddy, Wael Alkaydi, Madeline Carpentiere, Yuki Abe, Yinan Li, Biwei Li, Liu Liu, Lu Lyu, Keelan O’Neill, Xianzi Qiu, Jiahui Shi, Nayanika Bin Gao, Can Sun, Zuhal Ozbolat, Victor Alhadeff, Jingyi Li, Kerui Zhou, Mary Palencar, Singh, Pei-fen Tai, Yinhan, Wei, Shuya Xiao, Mengdi Zhao, Shiqi Zhou, Jiang Keze Zheng, Frederick Anthony, Marian Minarro Limon, Eduardo Paz, Iat Hei Ng, Feng, Alexander Jacob Kushner, Qing Lu, Francesca Barbara Morris, Surabhi Carolina Tavares, Yuval Sara Komem, Jennifer Mina, Cecile Fountain Jardim, Sahgal, Cloe Skodnek, Qiwen Zheng, Nedas, Jakimavicius, Summer Chen, Cheng Emma Doyle, Yuen Yee Wong, Kaiwen Li, Yiwei Jiang, Ralph Sheridan, Lin Qian, Roberto Caldas, Caio Costa, Pei-Yao Chang, Ruo Hong Chen, Zhongping Li, Jianheng Jiang, Haifei Yuan, Linjie Chang, Ying Hu, Wanrui Ren, WeiChen, Wattanasak Chirathivat, Maria da Silva Santos Teresa, Victoria Kashuba, Fan Wang, Maria Garsa, Ata Berk Aycan, Tianzhi Zheng, Yukiko Yingwen Wang, Zhenjun Xu, Sheng Ye, Liangxu Zhang, Nan Zhang, Qianqi Zhou, Shinkai, Ceren Cengiz, Youree Choi, Ahra Ko, Navya Sethi, Ann Bourgeois Brooke, Yumeng Wang, Qiao Chu, Yanting Huang, Kaori Jones, Joyce Alina Mufti, Tsz Ching Ng, Sarai Nolasco, Jihyun Kim, Chow, Patrick Jones, Asa Karen Jonsdottir, Joseph Aina, Miso Lee, Yashu Lei, Qianqian Jane Park, Seyoon Kim, Awande Mnkandla,, Li, Meghan Murphy, Margaret Shafran, Xueyi, Yang, Lingli Yin, Ke Fan, Yuqing Wu, Chen Ta Adiva Zafira Hsieh, Liyan Kuang, Sofia Beatrice, Malatesta, Wei Yan, Yao Pan, Tsui-Mou Hsiao, Yuhan Du, Luisa Hemmerling, RuoYi Li, Tingxia Mei, Yeeun Rhee, Ashley Schumacher, Wenfei Yin, Pablo De Miguel, Yahan Zhang, Alice May Dawson, Dora Lam, Gema Sainz Valderrama, Kerri McEvoy, Mary, Richardson, Matvei Matveev, Megumi Ohata, Rabiya Sultana Nagi, Tay Wui Kean, Zhenzhen Ma, Anurati Tandon, Haesol Kim, Jiayi Zhao, Jinjin Chen, Lihuaxiao Yu, Xiaoying Cao, Yu, Xia, Yuan Chen, Zhaoyue Pan, Amy Chen, Anusha Balakrishnan, Caroline Alexandra Sykes, Claudio Quintana, Colby Ying Qi Wong, Jiaqi Wang, Junlan Cai, Preethi Jayakumar, Shizuka Kitani, Tianyi Zhou, Tianyi Wang, William Hodges Harris, Yuesong Li, Yujin Lee, Zhengxiong Rong, Zili Yang, Anthony James Flores, Anupama Subramaniam Iyer, Bevan Watt, Chongyu Zhu, Crysta Jewel Dela Cuesta, Giulia Cataldi, Jayoon Lee, Jialin Wu, Liwei Yin, Malvika Bhardwaj, Peter Agyeman-Duah, Seenyoung Kang, Vasundhara Singh Yadav, Wenjing Liu, Zhaocheng Xiong, Alice Harry, Emma Jane Pierce, Hermine Weerdmeester, Jean Huang, Jiaxin Li, Leo Kremer, Linqing Liu, Madeleine Jane Bender, Matthew Chung, Maya Ammar, Nicole Helene Burnay, Orla Jackson, Rand Masadeh, Regina De con Cossio, Rohit Sapra, Ruiqi Liu, Shafina Jaffer, Wen Lu, Xinyu Xu, Yi Xuan Ren, Zhixuan Liu, Stacia Angela, Blu-Mathilde Bonan, Anurita Chandola, Yingqian Chen, Xuan Feng, Yangshiqi Jiang,Gabriela Jin, Xinni Kong, Minmin Meng, Xiao Wang, Di Yi, Yuan Yuan, Zifan Zhang, Kuan Zhu, Artem Poliichuk, Chang Wang, Daun Jung, Gabriela Flores Morales, Guohao Wang, Hanju Seo, I Han Hsieh, Jianing Li, Julia Briere, Lin Man, Zhuo Chen, Linhan Cao, Wanjing Luo, Xianglou Li, Xiaoyi He, Xinwei Tang, Yubing Chen, Zhengxin Li, Zixin Wang, Tin Wai Chan, David Alejandro De Lima Millán, Aliénor De Rothschild, Shan He, Hae Won Jeon, Jingyi Kuah, Yongsan Li, Zafirah Mudasiru, Yikun Tang, Weichen Ye, XinningYu, Baoxian Zhong, Wenjing Lui, Susanne Baumann, Sangyoon Chung, Jae Yoon Lee, So Hyub Lee, William Li, Tiffany Mak, CarrieAnn Stein, Deyi Alyce Wang, Haiyi Wang, Mahsa Zargar, Yizhen Zhang, Yui Lam Lau, Elsa Santacruz, Raghavi Chinnadurai, Ieva Daujotaite, Xinyi Bai, Jie Chen, Jindi Chen, Zhaolin Chen, Zihan Gao, Ning He, Ziting Huo, Feifei Ji, Lu Jin, Yeon Joo Lee, Yajie Lu, Jiangning Tan, Huan Wang, Jingyao Wang, Kexin Wu, Han Zang, Ningning Zhang, Jing Zhao, Ivana Dimitrova, Shai Baharav, Joseane Cabral, Ming-Chieh Chang, Elizabeth Dobbs, Hanna Fricke, Wenjia Gao, Nirbhay Jain, Barbora Kejvalova, Anna Makarova, Lin Mao, Weiwei Que, Andrew Shum, Sara Tulloh, Zichun Xu, Congxiao Xiong, Yongyi Yang, Hanxi Yi, Shai Baharav, Meilin Zhang, Leni Piech, Wenjia Gao, Linnea Fricke, Tanya Chaturvedi, Cosette Dela Merced, Ziyu Fang, Mo Feng, Zhangyi Peng, Shujing Shen, Ria Yukta Shyamsundar, Dimitar Spasov, Helena Spicer, Xuehui Yang, Yijing Yang, Bassey Henshaw, Jinjoo Kim, Abigail Clark, Allison Gretchko, Hui Li, Inam Zimbalista, James Nepaulsingh, Joud Fahmy, Kai Lok Wong, Kaipeng Tang, Manoj Singrakhia, Nadja Stamselberg, Natalia Mesa Echavarria, Saeid Zabeti Targhi, Tina Hatton-Gore, Tiya-Renee Jones, Joey El Haddad, Ling Zhong, Suzanne Smith, Mariam Satrap, Emily Trenton, Marlee Weill, Miaoyi Shu, Qianyang Kong, Xiao Tan, Xiaojie Zhang, Xuanyu Yang, Shiheng Wang, Yuting Yang, Aamod Gupte, Jake Foster, Jiva Krakower-Riley, Reema Turki, Shaden Almutlaq, Shivani Yadav, Theodoros Vasiloudes, Sejal Jain, Brittany Min, Stone Stewart, Timothy Whiting, Zhihao Fang, Ana Garre Debies, Blanche Malet Le Lay Salvi, Elena Munro, Arthur Jensen, Siying Cui, Jingyi Ye, Camille Meisner, Ashraf Magdy Victor Malek, Choi Ying Wong, Janneth Catherine Amara, Ashutosh Mittal, Jaehee Kim, Xianghe Meng, Youngsuk Oh, Sinae Song, Maria Joseph, Takahiro Anno, Yuan Tao, Yiling Tang, Demian Ross Shipley-Marshall, Yuantao Liang, Yingxin Liu, Christova Sara, Oluwarotimi Oluchi Shogbola, Miao Tan, Maria Helena Toscano, Athena Wang, Margot Wilson, Li Zhuoran, Hassan Arshad, Stuckey Natalie, Kim Seiko, Dillman Connor, Nahoko Otani, Hye Rim Yoon, Seung Eun Jung, Vladimir Nedkov, Ziyang Chen, Amanda Cornish, Yoonyoung Jeong, Xueyi Ma, Zhiqi Liu, Javiera Decap, Yihua He, Ziyuan Jin, Taro Krasienapibal, KyuLee, Deniz Rosenberger, Jisoo Shin , Xuanyu Yang, Dagyeong You, HaiTao Yu, Bae Kamul, Yue Wang, Ruochen Li, Eunjae Chun, Jian Gao, Zhang Ningning, Jeanne Bonneville, Yiqiong Zhang, ZaiNuo Liu, Yonghun Kim, Yin-chi Lin, Joseph Maria, Lee Mathew, Ann Viola Tempest, Sheik Abir, Leesha Chaurasia, Proud Eamveerawong, Sloan Kiriluk, Flynn Moeskops, Chen Yizhao, Tinchak Kuong, Emile Meunier, Yenny Torres Styzens, Naoko Matsuda, Jha Sumit Kumar, Man-Ling Chang, Yuning Zhang, Pei Yue, Shriwastava Richa, Qing Xu, Ah Young Shin,

12 14 16 18 20 22 25 26 28 30

Connor Dillman Sam Joseph Surabhi Sahgal Ziyang Chen Saeid Zabeti Targhi Haesol Kim Anusha Balakrishnan Sara Emil Christova Chiedu Okonta Hanju Seo

32 34 36 38 41 42 44 46 48

Margot Wilson Yenny Fernanda T. Styzens Siying Cui Nicole Burnay Ekaterina Adelskaya Caio Caldas Brittany Min Jing Yi Kuah Katie Poon

82 50 52 54 57 58 60 62 64 66 68 70 73

Yiru Zhang Maria Helena Toscano Iain Christopher McLellan Bastidas Wen Fei Yin I-Han Hsieh Joud Fahmy Susanne Baumann Rabiya Nagi Kerri McEvoy Polina Nochka Anurita Chandola Alexandra Douvartzidis

74 76 78 80

84

Yashaswi Dugar Stella Lam & Sam Joseph

86

Ana Garre Debiès

89 90 92

Bolin Chen Spring Li Christina Tai

94

Anna-Belén Meyer Ariel Hacohen

96 William Harris Maria Joseph Anupama Subramaniam Iyer Camille Meisner

106 98

Bissy Riva 100 Anoushka Anand 103 Jaewon Park 104 Wui Kean TAY (ZEARO)

Chiao Chu 108 Antonella Romano 110 Elinor Martha Henry 112 Megumi Ohata 114 Gema Sainz 116 Helen (Man-Ling) Chang 119 Natalia Katarzyna Baranowska 120 Jean Huang 122 Jingyi Ye 124 Kamul Bae 126 luisa Mascaró Pons 128 Miao Tan 130 Sarah Chalkie Cloonan 132 SiNae Song

140

Sungja Kim Vlado Nedkov Yashika Goel Yonghun Kim Yoon Young Jeong 150 Shaden Almutlaq 142 145 146 148

135

Sooyoung Oh 136 Ria Yukta Shyamsundar 138 Stone Stewart

Design Team Credits

FOREWORD FOREWORD

gged me me and just hu de si be ht rig made it t sa e between us lencRoyal e and Mariana in si or he om T . ph es up In keeping so education at the College of Through the Across and Over exhibition tArt. ut y go for a few m uent during m and when she a edCollege e freq h er ss tc w pa ca d ’t es ha dn tim with the Royal of Art’s focus on widening publication we recognise and celebrate students s ul h ur Toug feel like ho e for me. d I felt like I co ther ol an as ho s, w le sc e gg sh gh ru hi at st participation, the Graduate Diploma provides an and alumni from the Royal College of Art’s Graduate th of al e year es, financi she told m f thArtissu el al ys he m ily e y os am cl m F inclusive and diverse community, uniquely situated Diploma in and Design.

The Graduate Diploma is el to k. brea used me d I could fe ping grades caprogramme, creeping up an artt and e that no within design; learning a ip multidisciplinary in 2018 and arted multidisciplinary itablstarted I st irr and my sl ilt so gu e m he T ca W be ain. ha was s.a Iteam ag l nd el ie ly fr sw al sh y to fin m pu I g and research.

The programme attracts students staffed by of multidisciplinary academics, d in as om w fr off eyes beginn y company an and all I did me of in m I ve ”. be lo ny to s d pa nd te m ie fr an from a broad range prior learning backgrounds, co researchers, and practitioners.

Together they w y s one thinking? M “misery love em most. yingstudent’s eded thof t their od the sa n I neoutside many traditional education, or from each potential, theirthem away abousupporting whefrom g in understodevelop go as w yone e thmaster’s everand en at ev th t ith se w ndcommerce, fields such as science, medicine, law, aspirations, preparing them for study at up le ofou was d to strugg ness had a pr kind while I ha of es t liv ac l ay al of engineering, or professional sports.

It is this unique level or careers within industry.

The programme is yd er sm er ev Mariana’s e of the pow ded m s. developing proficiency in the discursive in sk m ta t it re of d t , bu an diversity that drives and fuels staff and students alike es focused on lly e pl si sim on m ay seem up of effect to nrealise ship. It m nd ed ie ul ow fr ef d sh at an and achieve such a standard of outcomes languages and independent learning methods gr he r S compassio epped up. d I am foreve ariana st my life an n Mdesign, cream to the w fatastic whe exhibited the generous support e icestudents and and on introducing angedthrough g. I noand rit ch vo y That’s art fa ul y tr s m ha of cream and hu a pint r– e ice headquarters. ith ea at w ol I e ng oc ni re us te ch he ho lis venue of the HSBC of role and influence of art and design in the world y yw a m nt d at ever for that pi se) and offere ssion with me cour pa r of m , ei co te th e la m he ow today.Over the last five years the Graduate Diploma co T sa kn ho (c n’t that d in months. ing 48 carry Gary ne, even if I do dn’t hamore w yo ha flo I an s to ng ar it hi te Clough has supported than 580 graduates, from et d ow m so release ha go and sh T) ing, feeling of talk (CHECK FON y. Programme helmingnations, do orof aged between 23ne and 65.

Over whole lifHead st as e w overwdifferent I e tim e by th y and have didn’t salevel my fa RCA Graduate Diploma Art and Design hemaster’s ofce whom progressed down300 y vision. Sto m in d re ur bl as w na ia ar M one word.

CURATOR’S NOTE Across and Over is a concept that was developed and drawn from one of the key questions that students engage with on the Graduate Diploma programme: as artists and designers, how do they navigate across and over contemporary practice to position themselves within the complex landscape of the world we inhabit? To do this they must develop strategies to generate and construct their own conceptual and ethical lens. This allows them to engage as both specialist and interdisciplinary creatives across fields as diverse as fine art, communication design, interactive design, interior architecture, product design, fashion, textiles, and applied arts.

The collected and curated works showcased through Across and Over operate in both individual and collective terms, not just through geography or association. Identifying shared and concurrent themes and concepts; such as discourses around the nature of self, our relationships to the spaces we engage with, and our impacts upon them,the selected practitioners represent a much larger community, whose work and engagement with the programme is evidenced through each of their individual journeys. The breadth of the community is embodied through the inclusive online catalogue, which echoes the sophisticated creative work in the exhibition. All of which highlights the importance of a multidisciplinary, multiplatorm, and cross experiential approach, establishing a position that is vital for artists and designers of today to navigate, reflect upon and situate themselves in complex, shared and multifaceted environs. It has been a great privilege to have had the opportunity to have co-curated such an exciting body of work and practice.

Dr Kyung Hwa Shon Gary Clough

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In 2018 as Associate Dean of Learning and Teaching at Camberwell, Chelsea, Wimbledon Colleges of Arts (part of UAL) I was asked to be External Examiner for the Graduate Diploma in Art and Design at the RCA. I had a strong interest in Graduate Diploma’s as I was already involved in specialist provision. My first impressions when I was sent the programme specification and met the Head of Programme was how brilliantly the programme had been written with learning outcomes that met very clear intentions and ambitions. Over the next four years as External Examiner I saw a dynamic and exciting provision go from strength to strength.

The student focused team of academics, technicians and professional services staff made every visit a pleasure and I saw student work, learning and assessment of a very high standard. Additionally, the way in which the programme supported and celebrated the diversity of student backgrounds and their personal approaches was something I commended on every visit. What was and is remarkable about the Programme is the way it enables students to gain knowledge of the disciplines available at the RCA whilst clearly recognising and valuing the importance of interdisciplinary learning. The wonderful Graduate Diploma in Art and Design at the RCA has like all of us gone through a period of challenges, such as the global pandemic, but the programme has responded in a highly flexible way to meet the needs of students and even develop to create even more opportunities and study modes for students. The Graduate Diploma in Art and Design at the RCA is an exemplary educational provision which in the end is down to all the excellent work of all the staff and students!

Dr Dave Webster Assistant Dean (Education) School of Design Royal College of Art

CONNOR DILLMAN More work from this Artist

Connor Dillman is an American artist living and working in London, where I am pursuing my MA in Painting at the Royal College of Art. Prior to the RCA, I earned my Bachelor of Arts in English Literature and served as captain of the baseball team at Emory University in Atlanta.

I then worked as a journalist, scout, creative producer, and manager in the music industry before turning my focus towards developing a dedicated art practice. My current work is exploring the nuances of intrapersonal communication in contemporary urban contexts; as an artist whose studio practice germinated directly from a period of widespread self-isolation at the outset of the Covid-19 pandemic, I’m fascinated by how private

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experience is affected by modern modes of information consumption. Considering the overlap between inner dialogue and socialized behavior, my work also attempts to reconcile the construction of self-image with how human bodies inhabit everyday environments, paying particular attention to how body language reflects the subconscious effects of modern attention economies. Furthering a lineage of painters who have worked at the fringes of realism, I build my images using firsthand documentation of my daily social interactions to base my work in embodied presence, ultimately calling attention to the mundane as a catalyst for meditative introspection.

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Lo r Lo em I

Sam Joseph is a multidisciplinary spatial designer, working in photographic and digital realms. My practice investigates ethical and sustainable adaptive reuse, deconstructing the hidden properties of what is abandoned, unseen and forgotten, questioning the temporary issue of design, materiality and what we deem as of value. Using digital media techniques, leveraging light, shadow and illusionary methodologies to create new spatial atmospheric realms. A graduate of Central Saint Martins, Fashion (BA Hons), with over 20 years experience in art and design projects including, community art installations, restoration, heritage, and previously creating educational opportunities and high profile projects (exhibited Saatchi Gallery, 2016), for young people to have a voice heard through the arts.

Past industry experience includes Paul Smith (UK, NY), V&A Publications and Exhibitions, Lady Linda Wong Davis events, collaborations and projects with organisations, i.e.

RHS, North Yorkshire Society of Architects, National TrustFountains Abbey, Artizan, Mercer Art Gallery, Northern 14

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FOREWORD

h ssendnik fo tca llams s’anairaM ,yllis mees yam tI .pihsdneirf dna n I .guh dna maerc eci etalocohc rieht wonk t’nod I fi neve ,enoyna

dna pu gnipeerc detrats tliug ehT saw did I lla dna em evol sdneirf

pu deppets anairaM nehw s’tahT ereffo dna )esruoc fo ,etalocohc( niwofl sraet dah esaeler fo gnileef w eno yas t’ndid ehS .noisiv ym ni f ti edam su neewteb ecnelis ehT .em rof ereht

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Sam Joseph

Mariana sophomore y m g rin du for a few uent IVE (Bridge Organisation, School ofhContemporary Dance, ere freq dn’t catch a ul co I e Toug times w lik lt I fe feel like Arts Council).

I am currently for the MA interior hool andapplying les, rugg st al ci an year of high sc fin , es she told design and MA photography atclos thee RCA. health issuprogrammes myself to e m break. Family ed us caUnseen Photographic The Abandoned, Forgotten and no ng grades and my slippi i so irritable that meDesign, ca& be I s.

Series, Graduate Diploma in Art RCA, White City, The gu nd ie ly fr al y fin m I d an off from ny be pa m es ey my co in abandoned, 2023 is anwnvestigation unseen, forgotten ”. I be of ves company one anted to y lo erIn is thinking “m ng yi and reimagined discarded spaces. my research, an sa r e about thei g in understood th go as w them a eryoneon the Graduate independently initiatedev project Diploma even the with le gg was upset that ru st to I had of spaces within program, I yd photographed a range while ever ay lives Marian buildings, behind art exhibits, corners, stairwells and car s. sk simplest of ta effect parks. I spent time finding the beauty of the he materiality up showedand S . up d pe compa epsurfaces. Through overspill of t’s light and shadows mym ariana ston ice crea e rit vo Tha when M fa y m has tr nt ofthrough and past observationsyon how people these ith a piwalk ear – listening a d at m house w re fe of d for tha se) an still appreciating the areas, I was co the only one courstanding he T s. (cho late, of th on m carry ’t had in exquisite qualities of thednundervalued.

Turning from wing ars flo d teaway ha something I ha e as le re go an g of objects of our world, the directly illuminated and bright feelin ne talkIing, do as w overwhelming I e tim whole the deemed invisible by areas am refocusing appreciation and to didn’torsay he S . down my face on si vi y m red inthrough discarded asiatomorrow’s illusionary digital blurlandfill Mar na was techniques.e word. on

SURABHI SAHGAL More work from this Artist Surabhi Sahgal is an Indian jewellery artist, primarily involved in experimental electroforming and patination processes in copper. She uses the versatile metal to explore cultural paradoxes and issues of the environment through tangible narratives of growth and decay. Surabhi trained in Architecture at the Chandigarh College of architecture, and thereafter studied art and design at the Royal College of Art, London. Post her education at the RCA, Surabhi was chosen to intern with visionaries in European contemporary jewellery education at MASieraad Foundation, where she uncovered the latent scope for ‘Challenging Jewellery’ in India. Using the human body as the most expressive site for artistic intervention, she makes jewellery and objects as stimuli for socio-cultural expression, inquiry, and intrigue. The pieces evolving from the electroforming craft process are akin to formless tangible figments of the imagination, echoing themes around nature, mythology and make believe. She has exhibited her work at the NGMA Delhi Spring Fiesta 2023, 16

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there for me.

The silence between us made it feel like hours had passed and when she got up she told me that she was in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes. feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream

Chandigarh Lalit Kala Akademi’s Annual Art Exhibition, Budapest Jewellery Week, Eco Commune Chandigarh, struggle with even the simplest of tasks.

I was upset that everyone was going about their everyday lives 105“misery Arts’loves Artcompany”.

Mela, Nrtya Culture Showcase, Panchkula, in while I had to friends. I became so irritable that no one wanted to be in my company and I finally understood the saying 2022; Cluster Contemporary Jewellery Fair, London 2021, Family health issues, financial struggles, and my slipping grades caused me to close myself off from my Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break.

Gioelli in Fermento: Milan 2021 and Padua 2022, Galeria MielLOREM Mexico’sIPSUM Permanent collection since 2021, Precious Collective’s Online Jewellery week 2021, as well as Artificial Intelligems’ Virtual Exhibition 2020. In 2021, Surabhi set up a commercial studio practice, Figmenterie™, which was incubated as part of the Indian Institute of Craft and Design’s Craft Business Incubator Programme 2023, mentored and funded by IIM Udaipur and the Kalhath Foundation respectively. Having pushed for the premise of jewellery as an art form over the last three years, she is keen on establishing a new position for art jewellery practice in India - extending the discipline beyond the realms of adornment and perceived preciousness toward expression and cultural discovery.

Ziyang Chen More work from this Artist

Dr Ziyang Chen (b. 1992) is a Chinese artist based in Hampstead, London and currently studying in Royal College of Art. He studied a Masters and PhD in Telecommunications at King’s College London. Having lived in the London for 10 years, he has a unique and integral insight into the likenesses and contradictions of both Chinese and British culture. He collects discarded materials from local construction sites and work primarily in sculpture: His sculpture discusses our relationship with human-made environment. Living indoors, however our space and movement are restricted by the walls. This acts as a metaphor for the norms that has been given from the society; His sculpture speaks for the Chinese

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male who cannot express their personal feelings due to the emotional oppression and toxic masculinity in Chinese culture; His sculpture indicates the suffering of Asian male gays in Western society. This is because of the vulnerable, submissive and softer stereotyping, Asian gays are more likely to suffer sexual harassment, be less confident and victim of domestic abuse in a same-sex relationship; His sculpture challenges the contemporary masculinity and femininity from a queer perspective.

Furthermore, it explores the opposing and contrasting materials and force, the chaos and order, deconstruction and construction of social structure.

Saeid Zabeti Targhi Mariana’s small act of kindness had a profound effect on me and reminded me of the power of compassion and friendship. It may seem silly, but it has truly changed my life and I am forever grateful for that pint of chocolate ice cream and hug. I now carry that same compassion with me everywhere I go and show it to anyone, even if I don’t know their whole life story. (CHECK FONT)

stigmatized section of society. This narrative can have multiple representations in a single piece. Discarded items are often deconstructed further, providing symbolic references for the viewer. Found mirrors contain the memories and history of their past life once broken and scoured the materiality and emotional experience of deconstruction moves to the forefront of my work.

The understanding of mental health problems including addiction is still at an embryonic stage. The vocabulary of this experience is slowly becoming part of our lexicon. I hope to add a further layer of understanding by creating pieces that portray the emotional experience at the heart of these labels. In doing so I wish to bridge the gap between the sufferer and society. I am currently studying Contemporary Art Practice at the Royal College of Art and hope to graduate this summer.

Mariana sat right beside me and just hugged me for a few minutes. The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

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FOREWORD

The guilt started creeping up and I could feel my eyes beginning to swell again. What was I thinking? My friends love me and all I did was push them away when I needed them most.

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Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break. Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

My interdisciplinary practice encompasses paintings, sculptures, poetry, and performance, often travelling between different artistic mediums within a single piece of work. My personal experience of mental health problems and recovery from addiction together with years of volunteering alongside addicts have provided me with an authentic foundation to explore and communicate the complexities of the human experience that lies at its core. I see materials as having emotions and I use this to guide the vocabulary of my work. Combined with my use of discarded items I create the metaphorical story of reconstruction and new meaning through the rehabilitation of the discarded. I aim to capture the forgotten history of discarded artefacts that once had purpose and identity.

By reimagining the function and meaning of these objects I hope to evoke an emotion of hope and empathy for a

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

More work from this Artist

Haesol Kim Lorem Ipsum Lorem Ipsum Lorem Ipsum Lorem Ipsum

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a playful story with textile work that provides audiences with a synesthetic experience.Haesol has a Bachelor’s degree in textile design and she has explored various textile handicrafts and digital techniques. She earned a Graduate Diploma at the RCA while developing her colour, pattern, and making product design. She is working towards an MA in textile mixed media at the RCA to investigate interactive textiles to build communication with the audience through her textile design.

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Haesol Kim is a textile designer who focuses on contemplation on the lives of contemporaries and how her colour and design work can have a positive and psychological effect on people in a specific form of voice.

She wants to find a balance between abstract concepts and emotional impulses using everyday materials and wants to express pleasant memories, experiences, and emotions through colour, form, and material exploration.

She wants to deliver a positive emotion to people by telling

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

eromohpos ym gnirud tn a hctac t’ndluoc I ekil tlef ,selggurts laicnanfi ,se flesym esolc ot em desua on taht elbatirri os ema yllanfi I dna ynapmo I .”ynapmoc sevol yresi rieht tuoba gniog saw eht neve htiw elggurts ot d

Mariana’s small act of kindness had a profound effect on me and reminded me of the power of compassion and friendship. It may seem silly, but it has truly changed my life and I am forever grateful for that pint of chocolate ice cream and hug. I now carry that same compassion with me everywhere I go and show it to anyone, even if I don’t know their whole life story. (CHECK FONT)

products, and nature to foster physical, emotional, and social well-being through tangible human-product interactions while critiquing and reflecting on the role and significance of design. To imagine things, environments, and functions, and in the due course of time see them come to life and be real is fascinating, as I focus on design for longevity and emotional value.I firmly believe that design has the power to positively influence and enhance the lives of individuals on multiple levels. I am dedicated to creating products that not only fulfill functional requirements but also evoke meaningful and transformative experiences while delving into our internal worlds, the intricate nuances of human behaviour, emotions, and social dynamics. Whether it is through the aesthetics, materials, or functionality of a product, design has the power to evoke joy, serenity, comfort, or even a sense of awe, allowing individuals to navigate their emotional landscapes more effectively.

Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break. Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

FOREWORD

pu dewohs ehS .pu depp maerc eci etirovaf ym f – rae gninetsil a dereffo d ehT .shtnom gniwofl sraet dah esaeler ,gniklat enod saw I emit yas t’ndid ehS .noisiv y

I am a designer-maker from Mumbai, India, having completed my Bachelor’s in industrial design at the DJ Academy of Design, Coimbatore (2020). Post that I worked as a Design Research Associate at the IDC School of Design, Indian Institute of Technology, IIT Bombay, India.

During the COVID pandemic, I got the opportunity to reflect and position my practice at the Graduate Diploma program at the Royal College of Art, London (School of Arts & Humanities , July 2020 Cohort). I am currently at the Royal College of Art, London exploring my design practice further through the MA Design Products program (School of Design). My past work includes design for manufacturing, form-based product design, behavioural, research-based products, and humanitarian aid in India (deployment of handwashing stations in rural India and empowering through sustainable livelihood generation). Currently, my creative work explores the intrinsic link between humans,

ir tas anairaM unim wef a rof sruoh ekil leef ht em dlot ehs

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trats tliug ehT ninnigeb seye f yM ?gnikniht hw yawa meht

ams s’anairaM a em no tceffe a noissapmoc nahc ylurt sah fo tnip taht rof mas taht yrrac ti wohs dna og rots efil elohw

Anusha Balakrishnan

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The guilt started creeping up and I could feel my eyes beginning to swell again. What was I thinking? My friends love me and all I did was push them away when I needed them most.

Mariana sat right beside me and just hugged me for a few minutes. The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

Sara Emil Christova

s he wa that s ld me w minutes. to e h s r a fe rred ot up she g gged me fo ana was blu g u when ri d and e and just h talking, Ma verwhelmin e s s a had p ide m done nths. The o ream hours at right bes time I was c in mo te ice s el like by the I hadn’t had f my favori e it fe . Mariana d d a n . a m e rd g m to ce us o r in in fa w n p fo e th y e e e a n there nce betw own m say o – som ouse with ad to ile h didn’t rs flowing d tening ear hile I h The s ing at my . She s lives w od the say vision ase had tea offered a li howed up y y a d m ry s in my ve rsto of rele e) and p. She their e finally unde elf off from reak. t u o feeling te, of cours stepped u b s my nd I ing a hab na ola close as go company a ’t catc (choc hen Maria me to one w tasks. y couldn w lest of t that every to be in m des caused I felt like I p That’s im s e d d s te p gra the an even ny”. I was u no one wan y slipping chool m t le with high s pa strugg loves com irritable tha uggles, and ore year of o tr m ry s s “mise I became ncial sopho s, fina s. ng my friend ealth issue quent duri fre yh il re m e a w F times Tough

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Sara Emil Christova (b. 1994, Sofia, Bulgaria) is a M Bulgarian multidisciplinary artist basedIPinSU London.

In 2016 M LOREat Cardiff School of Art she completed a BA in Illustration & Design (Cardiff, Wales) and since then has worked in a variety of roles within the Welsh and Bulgarian creative industries, including scenography (Welsh National Opera, Wales), stage design (SŴN Fest, Wales) and art direction (Truefest, Wales). She has had three solo exhibitions, has curated and participated in a number of group shows and residencies (Shift, Curad), and continues to collaborate with various artists, galleries, and collectives (Little Big Art, Cardiff M.A.D.E, Pallet, tactileBOSCH, Quintesenti). Sara has recently completed a Graduate Diploma in Fine Art at the Royal College of Art, and will be progressing onto the college’s Contemporary Art Practice MA this September.

Driven by practical observation and visual research, my 26

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work fuses and builds upon the relationships between painting, writing, photography, and video.

Light as an elemental material permeates our daily experience, merging nature, science and technology in the form of an affective digital neo-mythology which puts under question the very nature of organic vision and the nature of ‘seeing’. My recent works explore these ideas through mixed media installations which reconstruct and reconfigure visual experience. This approach inspires new conceptual relationships between sensory information and imagination, between the material and ephemeral.

My ultimate aim is the exploration of unique and uncharted territories of contemporary philosophical speculation: macroscopic and microcosmic movements in the realm of subjective curiosity, collective experience, and radical possibility.

Chiedu Okonta

I am Nigerian born and raised British Citizen. I turned 44 So, I became a Civil Engineer. I was a good Civil Engineer years but spent the first 31 years of my life in Nigeria. I also, focusing mainly on Structures, science of construction was born in Lagos and at the age of 12 moved to portmaterials and project life cycles. However, the tug and pull Harcourt, Rivers State, nationally known as the garden to be a creative was intense all my life. In 2022 I decided IPSUM city of Nigeria and also the Oil and Gas capital of the LOREM it was finally time. Nothing else was satisfying and topics Country. Stating this is important as it looms into my I had an interest in and was passionate about, I found Tough times were frequent during my sophomore year of high school I felt like I couldn’t interest in the issues surrounding Crude Oil exploration, Family health myself expressing through drawings andandpaintings.

My catch a break. issues, financial struggles, and my slipping grades caused me to close myself off from my friends. became sopractice irritable that looks no one wanted which my current practice and research focus is situated in.

I Icurrent at interrogating theand socio-political to be in my company I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to am from a humble working class family of 4 siblings, which struggle issues with even in theNigeria simplest ofand tasks.Africa in relation to the past, present, I am the last. My Father was a Customs and ImmigrationThat’s when and future of commodity trade. I aim to explore Nigeria Mariana stepped up. She showed up at my house with a pint of my favorite ice cream officer and my mother an English school teacher. My (chocolate and Africa’s histories, speculative futures , of course) and experiences, offered a listening ear – somethingand I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I current was done talking, parents were very strict on only investing in an Engineering in relation to the rest of the world.

My research Mariana was blurred in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes.

The silence between career for me even after showing creative abilities very early focus is using multi-disciplinary in confronting us made a it feel like hours had passed approach and when she got up she told me that she was there for me. in life. Our culture meant your parents took care of you Nigeria’s self-detrimental over reliance on Crude Oil financially until it became your turn to take care of them exploration/ exploitation. and there are no excuses to that.

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a dah ssendnik fo tca llams s’anairaM i tub ,yllis mees yam tI .pihsdneirf dna c won I .guh dna maerc eci etalocohc ohw rieht wonk t’nod I fi neve ,enoyna

oc I dna pu gnipeerc detrats tliug ehT hsup saw did I lla dna em evol sdneirf

ehS .pu deppets anairaM nehw s’tahT il a dereffo dna )esruoc fo ,etalocohc( od gniwofl sraet dah esaeler fo gnileef drow eno yas t’ndid ehS .noisiv ym ni l leef ti edam su neewteb ecnelis ehT .em rof ereht

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potential to envision alternative futures and challenge the status quo. I believe that design should not only solve problems but also provoke thoughts and engage users on a deeper level. By employing design fiction and critical thinking, I aim to create meaningful experiences that prompt reflection and dialogue about the impact of technology on society. In addition, I am fascinated by IPSUM the conceptLOREM of “digital gleaning” and its application in sustainable design practices. I strive to incorporate ecoTough times were frequent during my sophomore year of high school and I felt like I couldn’t ca friendly materials andissues, manufacturing my Family health financial struggles, methods and my slippinginto grades caused me to close myself of friends. I became so irritable that no one wanted to be in my company and I finally understood projects, considering the environmental implications of “misery loves company”. I was upset that everyone was going about their everyday lives while struggle with even the simplest of tasks. I aspire to shape a design decisions.

Through my work, future whereThat’s technology is human-centric, inclusive, when Mariana stepped up. She showed up at my house withand a pint of my favorite ice cre (chocolate, of course) andnature. offered a listening ear – something Ithe hadn’t had in months. The over harmoniously coexists with I am driven by feeling of release had tears flowing down my face and by the time I was done talking, Mariana in my vision.

Shethe didn’tpower say one word. belief that design has to Mariana improve lives, sat right besideevoke me and just hugged me for a fe The silence between us made it feel like hours had passed and when she got up she told me th emotions, and inspire positive change.

As I continue there for me. to develop my practice and research, I am excited to collaborate with like-minded individuals and organizations that share a commitment to innovation, sustainability, and creating impactful experiences.

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I am a multidisciplinary designer with a passion for pushing the boundaries of creativity and technology.

Prior to my Graduate Diploma program, I completed a Bachelor’s degree in industrial design engineering from Korea Polytechnic University. This foundational education provided me with a strong understanding of design principles and engineering concepts. Throughout my academic journey, I have been fortunate to study and work in diverse cultural settings, including Seoul and London.

These experiences have shaped my design approach and allowed me to develop a global perspective on design and innovation. I have had the opportunity to collaborate with talented individuals and engage in projects that bridge the gap between art, technology, and human experiences.

Currently, my practice revolves around the intersection of physical user interfaces (PUI) and physical user experiences (PUX). I am deeply interested in exploring how digital and natural elements can be seamlessly integrated to create interactive and emotionally resonant designs.

My research focus lies in speculative design and its

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tespu saw I .”ynapmoc sevol yresim“ ksat fo tselpmis eht neve htiw elggurts

HANJU SEO

atch a break. ff from my the saying I had to

eam rwhelming was blurred ew minutes. hat she was

Margot Wilson More work from this Artist

I am a London-based Scottish multidisciplinary artist interested in breath as agency in expanded drawing, video, and performance art. My present practice is primarily auto critical and speaks directly to refuge as my recovery from addiction in the 1980s mediated by the sanctuary of bed, lucid dreaming, and meditation. Breath, light, and intuition navigate my works as material emergence and entangled human agency and I experiment with spiral forms across all media. My bi-handed drawing and painting practice draws upon tantric and occult trance practices to argue against material dualism. Drawing with both hands simultaneously produces an ‘opening’ sensation in the head/brain that almost shivers. The lines that appear on the paper are experienced (by me) as ‘out of time’, ‘shaking’, ‘shivering’, ‘stretched’, ‘not of me’. I taught myself sculpture in the 1980s whilst lodging in Cambridge. It was there I met Cambridge University philosopher John Wisdom and

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dreamed of being both an artist and philosopher, however with 4 Scottish O’Grades and a spiralling eating disorder I knew that was very much a fantasy. It was then I sought help for my bulimia nervosa. It was during my 1-year hospitalisation in Atkinson Morley neurosurgery hospital, London in 1985 whilst using the communal typewriter that discovered automatic writing and advanced my bi-handed drawing practice. I owe my life and capacity for happiness to that incredible hospital treatment and almost 40-years later (and for the first time during the Graduate Diploma – Fine Art specialism at the RCA) I bring this subject to my art. I have been an astrologer and tarot consultant for over 35 years and upon completion of the MA Contemporary Art Practice (RCA) in 2024 I will hold 4 Masters Degrees in Philosophy, Art, Writing, and Theatre/Poetry. I graduated from the Graduate Diploma program in 2023.

Yenny Fernanda T. Styzens More work from this Artist

intends to generate speculative scenarios where real natural elements surpass the digital world but also coexist together. Additionally, I’m building a stronger foundation conducting a balanced decision-making design perspective between the synergy of biophilia and technophilia in my practice. Moving forward, I want to continue developing interactive mediums that facilitate a cultural shift with more context to space, scale and audiences.

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Although my background encompasses architectural space layout, interiors and digital environments, ephemeral installations, interiors, product-design, 3D animation and film-making during the last 15 years, I have always been taken a keen interest in things related with mechanics and the way things are constructed.

Recently I’ve been interested in creating ‘things in motion’ and I’ve been expanding my creative process to lifecentered design. Guided by hands-on experiments with organic and engineered objects, my work approach

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Siying Cui More work from this Artist

I studied Environmental Design as an undergraduate, researching the relevance of space and human consciousness. After graduating, I worked for two years as a brand designer, thinking about the impact of advertising media on people in space. I worked on the Fine Art pathway in GradDip at RCA, investigating how material sensory experiences change in digital development. As a multi-disciplinary artist, I am concerned with how material sensory experiences change in digital development. My works include analogue and digital printmaking, handmade craft, performance and moving images. In my practice, an approach emerges that combines the digital and the handmade to produce images. I am recapitulating a post-digital self-perceptibility

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against the backdrop of rapid technological development, questioning the existence of digital traces and the role of digital technology in contemporary life. With technological development carrying out a massacre of unique histories.

I am almost losing my memories, fleeing to the ‘past’. This anxiety makes me explore materialising the invisible traces of my daily life, and discover the relationship between humans and technology and what humanity is. My work is not a rejection of digital, but an exploration of how I am personally rematerialised by it through materialising the digital logic. My practice raises the possibility of blurring the boundaries between visible and invisible matters, and questions the speed and direction of the digital world.

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domestic space where the kitchen becomes a lab, the bathroom a dark room and the bedroom a workspace. I use materials that are to hand, from my cupboards, and make my own plant based developer from food waste.

This is a practice very much engaged with materiality and sustainability. The images are abstract and intentionally nonrepresentational. They resist more conventional or traditional forms of representation particularly within the discipline of photography they are a material manifestation of the ‘inbetween’, both celebrating free expression and a refusal to be defined either by gender or medium.

LOREM IPSUM

I am a London based visual artist who works mainly with experimental photographic processes. Prior to studying on the Graduate Diploma course, I had a 30 year career in construction project management. This year I have recently completed an MA in photography also at the Royal College of Art and am next planning to do a PGCE in art & design.

My practice is difficult to define sitting somewhere between painting (gestural mark making), printmaking (use of resists) and photography (chemistry). In my work the process of making is as important as the final outcome. My practice takes place in my home, a

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes.

The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

More work from this Artist

Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break.

Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

Nicole Burnay

Ekaterina Adelskaya More work from this Artist

Ekaterina Adelskaya (b.1988, Moscow) is a Russian artist with Ukrainian roots, living and working in London. She is currently undertaking a Graduate Diploma in Fine Art at the Royal College of Art. She holds a BA (Hons) Fine Art with distinction from University of Hertfordshire & BHSAD, as well as a BA (Hons) in Film Production from Russian State University of Cinematography. Throughout her career, Ekaterina has participated in numerous exhibitions.

Notable shows include the 5th London Art Biennale, 252 Summer Exhibition at Royal Academy of Arts (London, UK); Fragments of intimacy at Glavnyy Prospekt Museum (Yekaterinburg, Russia); Perspectives at Czong Institute for Contemporary Art (Gyeonggi-do, South Korea); and 168 Annual Open Exhibition at Royal West of England Academy (Bristol, UK), where she won the Watercolour

2nd Prize for her painting ‘Letting Go’.My research revolves around the themes of materiality, destruction and transformation. I frequently incorporate textiles, minerals/ pigments and found objects, subjecting them to damage, burning and other forms of deterioration. The method of “deconstruction” plays a significant role in my practice as it often leads to the creation of something new, opening doors to uncharted territories in my investigation and experimentations. By embracing the transformative nature of materials and examining the boundaries of sculpture, I reflect on the impermanence, imperfectness and fragility of life.I believe that transformation of matter is part of our existence, it’s life itself. We adapt, thrive and decay in a constant flow of change.

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Caio Caldas More work from this Artist

Caio Caldas is a Brazilian artist, illustrator and graphic designer based in London. After graduating in Communication and Advertising from the University of Brasília, Caldas moved to the UK to pursue a Graduate Diploma in Art and Design at the Royal College of Art and later a Master’s Degree in Graphic Communication Design at Central Saint Martins, UAL.With a multidisciplinary approach to image making that ranges across different media encompassing drawing, publication and moving image. Caldas investigates the aesthetics of pop culture in the internet age to create comic and often satirical cartoonish illustrations.Stemming from research that ranges from memes and internet culture to automatism

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and unconscious drawing, Caldas playfully embodies states of “making without thinking”, adopting methods that favour quantity over quality to produce large numbers of quick digital drawings reinterpreting everyday sights and reflections. In this way, Caldas aims to both portray and parody a generation whose worldview and sense of perception were, in many ways, shaped by mass media.

He uses bold, bright colors and simple flat shapes, and doesn’t shy away from the industrial look of thick computer-emulated pen strokes and vector formats.

Additionally, Caldas enjoys using humour and satire to address big topics in a lighthearted, joyful way.

a dah ssendnik fo tca llams s’anairaM i tub ,yllis mees yam tI .pihsdneirf dna c won I .guh dna maerc eci etalocohc ohw rieht wonk t’nod I fi neve ,enoyna

oc I dna pu gnipeerc detrats tliug ehT hsup saw did I lla dna em evol sdneirf

ehS .pu deppets anairaM nehw s’tahT il a dereffo dna )esruoc fo ,etalocohc( od gniwofl sraet dah esaeler fo gnileef drow eno yas t’ndid ehS .noisiv ym ni l leef ti edam su neewteb ecnelis ehT .em rof ereht

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cities and collaborates with musicians to help their artist projects through her artwork. She enjoys exploring the nuances of LOREM differentIPSUM music and sounds to create designs.

Fascinated by psychology and human experience, she Tough times were frequent during my sophomore year of high school and I felt like I couldn’t ca travels between different citiesstruggles, and creates solo pieces Family health issues, financial and my slipping grades caused me to close myself of friends. I became so irritable that no one wanted to be in my company and I finally understood that explore“misery these themes as well as research on different loves company”. I was upset that everyone was going about their everyday lives while struggle with evenher the simplest locations. She wants workoftotasks. embody a time, feeling, or place. Scope of Mariana work stepped / Graphic Design, That’s when up. She showed up at Animation, my house with a pint of my favorite ice cre (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The over Illustration, feeling Music Composition and Spatial Design. of release had tears flowing down my face and by the time I was done talking, Mariana

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Brittany Min is a Korean-American visual designer.

Prior to receiving her Graduate Diploma at the RCA, she graduated with a dual Bachelor’s in Music Industry and Cognitive Science from the University of Southern California. Inspired by years of studying music theory and composition, she pursued work in the music industry with the intent to incorporate her own voice as a visual artist. In 2022, she took her practice to London to see what the city’s music scene had to offer while studying at the Royal College of Art. She now works out of different

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tespu saw I .”ynapmoc sevol yresim“ ksat fo tselpmis eht neve htiw elggurts

Brittany Min

in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a fe The silence between us made it feel like hours had passed and when she got up she told me th there for me.

atch a break. ff from my the saying I had to

eam rwhelming was blurred ew minutes. hat she was

Jing Yi Kuah More work from this Artist

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to present a narrative to the audience. The ceramic bowl was made using clay extracted from the soil in Singapore, which allows for the various colours and textures of the soil components to be seen on the final piece of clay.

Featuring excerpts of conversations she had with her grandmother about her religious practices, the book features a personal narrative of her journey of discovering, understanding and eventually practising her grandmother’s faith. She aims to tell a personal narrative through illustrations and ceramic art, showing how grief and loss can be confronted through craft-making. The book incorporates elements of the ceramic bowl, such as its textures, into its illustrations. Additionally, the process of crafting the ceramic bowl is intertwined within the story.

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Jing Yi is an illustrator from Singapore who seeks to capture and preserve tiny stories from everyday life through her creations. These often take the form of digital and printed illustrations and zines. Her recent projects include a collaboration with Uniqlo Singapore, where she created original illustrations printed on T-shirts and tote bags, featuring local Singaporean delights.In her free time, she also runs an online shop selling stationery items like prints, stickers and planners, featuring original illustrations and characters. Her recent project, “Come and Eat”consists of two parts, a ceramic bowl and an illustrated book, which draws inspiration from the relationship between craft and emotion to tell a personal narrative. The bowl and the book are presented together, complementing each other

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Katie Poon

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erc detrats tliug ehT dna em evol sdneirf

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Katie has been practising traditional Chinese forms of painting since she was small. She has rich work experience because she has worked in different sectors over the last 20 years in both the UK and China, as a nurse, journalist, production editor, event manager, investment advisor, sales manager, marketer, and policewoman. Katie found her passion and the purpose of her life again during Covid when she turned the pain of losing her mother into painting. She found herself becoming stronger and happier in art making. She hopes her experience could help more people like her, thirsting for connection, to find fulfilment. As an interdisciplinary artist who works across sculpture, painting, and interactive installation, Katie’s artistic mediums of choice

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include Jesmonite, plaster, metal, watercolours, oil paints, and traditional Chinese pigments. By incorporating lighting and sound effects, she creates immersive installations that fulfil all the senses. In the post-pandemic age of digitalisation, people communicate less and less, but this drought in communication has only led to more conflict.

Katie sees her practice as water dripping into a parched stream, whose thirst will not be satisfied until it reaches the ocean. A person can be most powerful only when one integrates oneself with the collective cause, and the cause for Katie is to explore, reflect, and promote different means of conversation and connection. She upholds the concept of the unity of all things and advocates equality and dialogue.

Yiru Zhang More work from this Artist

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drawing attention to their inherent beauty.

Currently, Yiru is the owner of Alsolike, a jewellery boutique in Shoreditch, East London. Alsolike features a carefully curated collection of handpicked pieces that showcase quality, aesthetics, and unique features. Yiru’s expertise, which stems from her academic background in gemmology, informs her meticulous selection process.

Yiru’s practice and research focus revolves around the structural aspects of everyday objects, exploring their aesthetics and mechanics. Through her jewellery designs, she aims to create a deeper appreciation for the unnoticed beauty surrounding us. Yiru’s passion for jewellery as a means of self-expression and her ability to blend engineering principles with artistic sensibilities make her an innovative and captivating jewellery artist.

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Yiru, a jewellery artist based in London, has a unique background that combines engineering and jewellery design. After her Graduate Diploma programme, she completed her master’s degree in jewellery and Metal at the Royal College of Art in 2021. Yiru’s academic studies and professional experiences have influenced her artistic approach and allowed her to explore the intersection of aesthetics and functionality.Coming from an engineering background, Yiru’s previous work focused on multifunctional and modular jewellery. She approached her designs with an emphasis on the structural characteristics of objects, infusing her creations with a touch of mechanical aesthetics. This exploration led her to view jewellery not only as an accessory but also as an object that carries emotions and metaphors. Yiru strives to challenge the perception of everyday objects by altering their context and

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Maria Helena Toscano More work from this Artist

Maria Helena Toscano (b. 1987, Bogota, Colombia) is a Venezuelan- Colombian contemporary artist and multidisciplinary award-winning designer, based in Berlin & London. She holds a BA in communication design and a Master of Arts degree in media and audiovisual production.

For the past decade she’s been working in design studios as art director and creative director and collaborating with a wide range of artists. Maria is currently running the project space White Rectangle in Berlin, while completing the Graduate Diploma in Fine Art at the Royal College of Art. As a contemporary artist, I aim to challenge existing models and ideas around citizenship, identity, borders, privilege, and restrictions. Using various mediums, such as video, performance, installation, sound, sculpture, and

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mixed media, my work questions the impact of border policies and highlights the interconnectedness of people and cultures. I draw inspiration from ideas such as Carl Jung’s concepts of “the spirit of the times and the spirits of the depths,” as well as Mestiza double consciousness from Gloria Anzaldúa. As an immigrant, I relate to multiple cultures and reject assimilation in favor of hybridization. I use art as a healing mechanism. My projects emphasize experimental processes that are activated and deeply influenced by certain sites. In the future I will strive to create art that is participatory and emphasizes collectivity. My goal is to use my art to promote social change, challenge existing power structures, and deepen our understanding of the contemporary era.

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Iain Christopher McLellan Bastidas More work from this Artist

I am a Colombian-Scottish interdisciplinary photographic artist, who grew up in Southeast & East Asia. After completing a first-class honours BA in photography in 2018 I went on to work as a freelance photographer and worked in social media management. Following this I completed a printmaking course at Leith School of Art in while experimenting with letterpress at VelosetPress in Edinburgh before moving onto the Graduate Diploma at RCA. After a successful and very eye-opening experience at the Graduate Diploma I will be moving onto the MA Print program with future intentions of creating a magazine/collective with the goal of promoting artists and creatives that exemplify my personal critical position.My Lore m Ipsum multidisciplinary practice focuses using photomontage,

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Lorem Ipsum printing, photography and book arts as mediums of 22 Lore expression and reflection. Materiality is m at Ipsum the core of my 23 and Loreexperimenting m Ipsum research; I have been researching with the concepts of ink bleed, photomontage and overprint.

The use of these techniques that represent the taking back of control through materiality24 andLore technique. My latest m Ipsum project and research focus Control (2023) has been a 25 Lorem Ipsum project focusing on collective trauma.

It is centred around 26 Lorem Ipsum the concept that as a planet and society we all experience 27 trauma Loremthe forms of trauma collectively. The project focuses Ipsum on is centred around my own personal trauma linked to my personal anxiety and health issues, and the collective trauma the Colombian side of my family collectively hold due to the protracted civil war in Colombia.

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Wen Fei Yin More work from this Artist

I am a visual artist practicing in drawing and investigating everydayness in artistic practice. Prior to the journey at Graduate Diploma in 2020 (communication specialism), I have worked in commercial graphic design over 20 years in Shanghai. I recently just completed my master’s study at Luca School of Arts in Brussels Belgium. My two mid-career studies transformed what I do and led me find meaning through making. I regard my current practice is

endotic which I generated a situated practice from my aloneness and my everydayness, and this dynamic enabled me to reflect how to look at my everydayness and give a speculation on making something interesting out of the least interesting quotidian life. My research is situated at post-Duchampian art making, I investigated how artist transform material through medium like self-imposed repetition, time and the negative space in everyday life.

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I-Han Hsieh

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a coordinator that opens up dialogues between different values and perspectives, so that alternative futures could possibly be discussed. Now, as a master’s student in Media Design at Keio University and a visiting student in Global Innovation Design at the RCA and ICL, her recent focus is interactions and relationships among humans, artefacts and environments from the aspect of humancomputer interaction and science and technology studies, by fusing traditional craftsmanship and technology.

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I-Han Samantha Hsieh is a Taiwanese thinker and designer that questions society and the necessity of design.

She majored in Graphic Arts and Communications as an undergraduate and studied Product Design in the Graduate Diploma programme at RCA. Her previous works have focussed on the critical social issues ofeducation, politics, food, and agriculture, to build up an understanding of how design could intervene in the world so that the boundaries and the forms of design could be tested. Also, she is always observing the interactions of the world, and trying to be

Joud Fahmy

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Joud Fahmy was born in 1994 in Jeddah, Saudi Arabia.

Her practice involves exploring women’s voices and expression through the translation of concepts such as family dynamics and gender roles into tangible works of mixed-media sculptures and audio-visual productions. She is interested in initiating dialogues between the traditional and modern, and her artwork aims to transcend societal barriers and limitations by being a catalyst for shifting meaning and reshaping culture. In 2021, Joud received her Graduate Diploma Art & Design in Fine Art from Royal

M re sophomo y fo m g n ri a nt du atch e c u ’t q n e ld fr u fe es were like I co Tough tim school and I felt ancial struggles, s fin igh e myself s lo year of h ily health issues, c to e am aused m t no break. F grades c e so irritable tha g in p p li s m y a ll m c a e d an I fin y .Ib any and y friends p m ”. I m o m c o fr y off in m company e s b e v to lo d ry te is currentlyg doing ir “miseher MA in College of Art,owhere she ne wan bout the e sayin going a d thShe o s a n the to e w rs v e e e ContemporaryuArt Practice. represented Saudi Arabia n d n veryo le with e g t g a u th tr s t e d to and was as a Judo Olympian De Janeiro (2016) was upins Rio e hile I ha liv s wProgramme y a d ry selected for theeHayy Learning

by Art Jameel e v sks. f ta o up t s le p (2019). Joud has also been the recipient of Maan Grant showed sim She by . p u d e ppContemporarye cream Athr Foundation (2020), a participant the ainste n Marian t of my favorite ic ing ear – heRCA w s t’ a Art Summer School at the in 2021, the ISTIKSHAF in h p T listen se with ina Berlin ffered a o d n a program with theaGoethe Institute in 2022, ) t my hou rse he te, of couLeighton onths. T ing exhibited at Tate Modern House ad in m (chocolaLate hand h tears flow , ’t n d d a a h e I s g a in in le f re talk g Museum in 2023.someth feeling o time I was done g in lm e e ’t say overwh She didn and by th . e n c io fa is y v down m ed in my was blurr Mariana . one word 24 25 26 27

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Susanne Baumann More work from this Artist

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and manifests around ideas of the human body, mental health, and emotions. I dissect traces and fragments of a person who still exists but is not entirely there. Objects and cloth, as beholders of lived life, are so replete with shape, actions and meaning of one’s life that they invoke inherent memories. My inspiration derives from my current environment, home, daily walks or visits to my parents’ house. These places sometimes retain glimpses of these moments you coincidentally came by, and they are speaking inherent of this longing and memory. Other times I actively stage these moments to create a certain feeling.

My objective is to play with these used clothes. I try to dissect, deconstruct, and vanish this former shell of a person in pursuit of catching this melancholic feeling which is a permanent companion of mine while living with a loved one who has dementia.

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I’m a German-born, London-based artist. I’m completing my MA in Painting at the Royal College of Art. I hold a Graduate Diploma in Art & Design from the Royal College of Art London, UK (2022); a BA in ‘Culture and Management’ from the University of Applied Sciences Zittau / Görlitz, Germany (2006); and a Master in ‘Business Administration’ from the University of Applied Sciences: Technology, Business and Design Wismar, Germany (2009). After a decade of working in project management for diverse engineering companies like STILL Gmbh and Repower Systems SE, I decided during COVID to follow my lifelong dream of being an artist. I co-curated, organised, and participated in group exhibitions around London. My practice focuses on painting, drawing, and experimenting with clothing and with these mediums, I want to create a narrative around my personal experience with the disease of dementia in my family. My work evolves

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Rabiya Nagi More work from this Artist Born in Uganda and based in London, I come from a legal background. I was a partner in a corporate law department and later a legal director inhouse. I have a BA (Law) and an LLM. I pursued a fulltime art education from 2019 with an HNC from Kensington and Chelsea College (2019-20), a Graduate Diploma from the Royal College of Art (2020-21) and an MA Fine Art from Central Saint Martins (2021-23). I have maintained a studio in Woodgreen for many years. My painting practice challenges memory and the contemporary cultural fascination with still photography and the moving image, mediated through the materiality of paint. By exploring the tension between real and imagined places, I seek to unravel new realities within disconcerting compositional stagings verging on the surreal that question our perception of what we see. My practice focuses on the figure, with bold, sometimes unnatural, use of colour that weaves together a dynamic visual language. In essence, 64

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my artistic practice is a continuous exploration of the dynamic flow that exists between reality and imagination, and the familiar and the unknown. My expanded painting practice explores other forms of expression on occasion such as sculpture, video, and text. Each is mediated through a strong sensation of colour and poetic uncertainties. My current degree show includes a neon, ‘Meet Me In My Memories’ which exploits our relationship with and desire for the cinematic and questions how we document what we think we remember. I have shown my work in many places including Chancery Lane, Rolls Building, Hoxton 253, Trinity Buoy Wharf, Kopple Piccadilly, and Lethaby Gallery. I am participating in upcoming shows at Koppel Station and Hypha Stratford and have a residency in September. I have won numerous Commendations and the Laura Devine Prize for best 3-D work in 2021.

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Kerri McEvoy

e ged m it e st hug s mad and ju e me between u ot up besid g e t right The silenc when she na sa Maria w minutes. assed and or me. f p RD e e f e d r r a a o e h r h t o s f r s u y a phom o EWO w o h s e e a y h k eel m ing m ldn’t catch that s feel li ould f nt dur u ld me nd I c freque elt like I co truggles, she to was I s push g up a f were lf eepin ain. What ls id wa and I myse times ted cr g ancia l r a e n o a s fi ll o all I d e uilt st h sch lth issues, d me to clo at no to sw e me and st.

The g of hig a se inning lov mo le th g b s e m a ily he d b it e n s cau h eyes k. Fam ing grade ame so irr d I finally My frie I needed t found n ec pp .I king? o n r e in p h h t w my sli friends. I b company a company” had a wer of away y y es ir dness po them t it from m d to be in m “misery lov about the the of the ly, bu t of kin g te en ing all ac inded me y seem sil teful sayin e wan ith ev as go ’s sm a ra m a g e n m od the veryone w struggle w rever I now Maria n me and r ndship. It dersto to am fo at e . ie o I r set th while I had d hug ere I effect sion and f y life and as up s am an s m p e a ywh r u d p r c e e m o ay live ks. c owed chang ocolate ice with me ev now their veryd as he sh k s truly ch am a f ion e st of t h r up. S o s s don’t imple pped vorite ice c ear – t pint ompa , even if I g na ste a for tha e ame c Maria int of my f d a listenin that s it to anyon FONT) p when carry w ere with a That’s HECK d sho g he nd off house course) a months. T ars flowin go an fe story. (C li te at my of in g, whole olate, adn’t had elease had one talkin (choc d Ih fr ’t say I was thing ling o some elming fee y the time n. She didn b h io overw y face and in my vis m red down s blur na wa Maria rd. o one w

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Kerri McEvoy (b. 1983) is an interdisciplinary artist from Monaghan, Ireland. Her work is concerned with societal and institutional conditioning and subsequent prevalence of violence against women. Her interest in theatre, film and television stems from childhood, accompanying her mother’s pursuit in amateur dramatics and the ever present hum of the TV. McEvoy received her Bachelor of Design in printed textiles from NCAD, Dublin. Having worked in the textile, fashion and beauty industries for over fifteen years, she returned to study in 2020, undertaking a Post Graduate Diploma at the Royal College of Art. Graduating in 2021 with a distinction, she continued in pursuit of an MA in Print. She currently lives and works in London.

My practice has taken the shape of a personal examination.

I am attempting to deconstruct and assess my own experiences and create connections to dismantle and dispel feelings of shame. I have been collecting objects and have simultaneously been engaging with processes of erasure. Objects have the potential to evoke thought and emotion, to forge connections. I find myself thinking 66

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through collecting and creating a bricolage of sorts, the construction of a fictional setting embedded with material that once accompanied previous lives. I have predominantly collected objects familiar to me in my formative years, while questioning decisions I have made personally and more broadly, societal conditioning. Collecting additional objects more familiar to previous generations of women has evoked thoughts on indoctrination and subsequent transgenerational trauma.Thinking on how process reveals experience, I have used modes of erasure, in response to my thoughts on violence, specifically violence against women and domestic violence. Erasure has involved sanding my own image a passport photo, etching the same image until the plate becomes paper thin, redacting legal documents and painting over a script. The inclusion of materials removed and traces of what once was may invite thoughts on reduction, transformation and remains.

I am seeking to engage with understandings of girlhood and womanhood. I am questioning the culture of silence surrounding this shared female experience, the circularity of violence and shame. What happens when we decline to conform to societal expectations or when we are liberated to ask ourselves who we are?

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year times we o r brea f high sc e freque nt k. ho F d a m and ily he ol and I fe uring m m y off fr y slippin alth issu lt like I c sophom o m my fr g grades es, finan ouldn’t c ore one ie c a c M i w t a a n c a r iana unde anted to ds. I bec used me l struggle h a sa f o r t s o r t a o c od t be in m ame so lose s, few t right be wa y h i s f u e p e set th e saying compan rritable th myself l like minutes. side me ev y a e r s y h d e told hours ha The silen and just h ay liv at everyo “misery l and I fin t no sim o d a c n e m p p a e l e s that st of s while I e was go ves comp lly sed a e betwee sh ta n h a i n a e s T d k w s h t . as th d when o str ng about ny”. I e gu Tha ug sh ilt er th e s g t e ’ l s f e y o e r me with eir s beg tarted cr at m when M . ev e i e t y h n i h n t ouse ariana s king? nning to eping up he cho s te w a w M t c h e o e l l l a m again nd I cou te, o ith a pint pped up. awa y friend om ld f y e t w h hen s love me . What w f ing I course) of my fav She sho In we as an ha e o a r r e M n w i d d d t e d e n h a o u d ’ e r a i t f p ed t c ian ll I d I h wn m lming fee had in m fered a li e cream e m effec a’s sma most id w ste on lin y ll t . iana face and g of relea ths. The ning ear comp on me an act of kin – w by s dn d as h word as blurre the time e had tea as tr sion and reminded ess had d in . rs uly a Iw fr m fl m f o y r tha change iendship e of the profoun visio as done owing tp d .I p n t .

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I am an interdisciplinary artist and designer who obtained a Graduate Diploma in Art&Design at the RCA in 2023 and will proceed to MA Visual Communication. I explore the interaction between people and places under the impact of social and political contexts. Based on research and experimentation my works take the form of installations or experiences, in which I incorporate such techniques as collage, drawing, embroidery and printmaking. My background in Mathematics aids me to base my works on statistical insights, however, I also find inspiration in scholarly articles and conversations with people.

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Lorem Ipsum I am interested in raising awareness and 22 Lore mencouraging Ipsum the audience’s reflection on the problematic questions 23 Lorem Ipsum of places, particularly homes. My aim is to address the controversiality of home as a place which can be seen differently from public and personal perspectives, Loremand Ipsum which can be a place of great24 happiness fear, which impacts the development of 25 personal identity Lorem Ipsumbut is also often not chosen by us. 26 My practice is drawn upon Lorem Ipsum creating emotional installations, that lead to the feeling of 27 Lorem Ipsum community and reevaluating things which are mistakenly taken for granted.

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Anurita Chandola More work from this Artist

space travel, I decided to create a collection for ‘Astro Anurita’ who sets on an adventurous journey into space.

I attempted to juxtapose technology and traditional Indian materials which are of emotional value to me to create my latest work. ‘Astro Anurita’s’ Diwali outfit changes shape with a change in the pulse rate of the wearer so that the same outfit can be worn for different occasions. This innovative and impactful design satisfies the need of buying new clothes for special occasions everytime. Post RCA, I was recently leading the textiles and clothing for Building a Martian House project as a Spacewear and textiles artist.

This community and artist centred art project is about making a real working prototype of Martian house. I am now working on creating textiles and clothing that work in microgravity using minimum and simple resources to create an off-planet colony.

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As a fashion and textiles artist and a Royal College of Art alumni, my practice is an accumulative and oblique biography of a portrait of my Indian heritage. My bachelor’s degree in design, developed my passion for working with a variety of materials, techniques and textures. Applying hard work and discipline, I became the youngest design manager for United Colours of Benetton. After 5 years, I accepted the opportunity to relocate and work in the U.K. as Womenwear Designer for Weird Fish. Having worked in the fashion industry for over nine years, I began to challenge fast fashion and artisanal work which is diminishing due to commercialisation. I set up ‘Eesh’ a Himalayan-product brand with the purpose of empowering women artisans by promoting their traditional skills in a socially responsible way. Technology and space travel has always intrigued me and with the soon arrival of commercial

Alexandra Douvartzidis RD

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Maria e e in s m m s r D a o f p e e d r r a a few e h r h t o s f r WOR s homo u y a y sop ke ho that she wa eel m FORE ing m ldn’t catch feel li ould f nt dur u ld me nd I c freque elt like I co truggles, she to g up a hat was I s push s f were lf eepin W r . wa c times hool and I s, financial lose myse arted swell again nd all I did e sc Tough oc uilt st a f high health issu used me t le that no The g ginning to e me st. year o ca m mo ab ily ds lov be e n h t y ll eyes . Fam so irrit rades My frie d eded e ? n g break slipping g I became y and I fina y”. I I ofoun n y thinkin an s. when d a pr r of and m my friend my compa ves comp eir away e ss ha them m in th indne of the pow ly, bu y lo to be off fro about il miser ct of k the anted ying “ ed me going with even eem s mall a one w ood the sa yone was na’s s and remind ip. It may s ever grate r ruggle r Maria st t e h s under set that ev on me nd friends and I am fo d hug. I n ad to p effect ile I h fe na m an h a was u y lives wh w p e assio nged my li every ice cr comp wed u da a o every t of tasks. ow ith me colate uly ch he sh ream s has tr pint of cho passion w if I don’t kn up. S c – pped t m simple e ice n na ste my favorit tening ear for tha at same co yone, eve s Maria f h li t T) an pint o when carry w it to HECK FON ered a with a That’s d sho g he nd off house course) a months. T ars flowin go an fe story. (C f li te at my , o in g whole olate, adn’t had elease had one talkin h (choc r d I f y thing g feeling o time I was n’t sa some he did by the helmin ion. S overw y face and in my vis m red down s blur na wa Maria rd. o one w

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gged me me and just hu de si be ht rig t n us made it Mariana sa silence betwee ore he om T . ph es so ut y in m she got up ring for a few m ed and when e frequent du ha er ss tc w pa ca d ’t es ha dn tim s ul h ur co Toug like I feel like ho there for me. hool and I felt struggles, that she was al e ci m an year of high sc ld fin to , e es sh health issu ose myself break. Family uld feel my used me to cl ca es ad gr ng up and I co no pi ng at ee pi th ip cr sl e d y bl te m ar ita and so irr was I The guilt st l again. What nds. I became el ie ly fr sw al y to fin m I g d in om fr an nn off I did was push pany eyes begi ve me and all ”. I be in my com lo ny to s d pa nd te m ie fr an co w y s e M on ery love thinking? them most. e saying “mis about their when I needed g ay in understood th go aw as em w th everyone en the ound was upset that ruggle with ev a prinofwhich st to hadway d ha I le Alexandra Douvartzidis is a multidisciplinary artist subject and examines her own internal hi kindnessthe w of es t liv ac l ay al yd er sm er ev pow of the expeditions ariana’sworld is affected of M e m d concerned with contemporary depictions of the sublime by her solo into natural de s. in sk me and rem simplest of ta em silly, but it ay sethe effect onenvironments. m It . ip through landscape. Prior to completing the Graduate By capturing body, especially her own, up sh nd ed r grateful ion and frie . She show forevepositions mpassamongst pedatupthe am co ep I st d an na ia e Diploma in Art and Design Royal College of Art in granite rock, Alexandra herself within lif m ar y M ea ice cr changed m That’s when d hug. I now s trulythe my favorite study m an ha of ea nt cr pi e – a ic r 2023, she undertook postgraduate in psychology temporality of evolution, highlighting the ephemeral e ith ea at w ol listening ywhere I nt of choc at my house me ever d offered a where for that pi with ionas from the University she also worked nature ofco human opposed to the ancient stones, sslife course)ofanMelbourne, pa of m , eir te th e la m he co T sa kn ho s. (c rry that month if I don’t ow ca in d en ev ha , ’t g in et counselling and research.

Her education in psychology millions of years old. in ne dn w yo ha som hing I e had tears flo d show it to an releasas g ofwork, heavily influences she do takes herself ing, as a go an feelinher CK FONT) lk g ta in lm ne he w as er e story. (CHE w ov I lif e le tim ho e w th and by didn’t say down my face my vision. She in d re ur bl Mariana was one word.

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William Harris More work from this Artist

In 2008 i graduated the California College of the Arts with a BFA in Glassmaking. I then developed, illustrated and wrote a novel( in process of being typed). In 2020 I was accepted into the Graduate Diploma Program where I learned a nifty new power, Xray vision for waste materials and what those materials could become! It was perfect, taking on the challenge of using waste materials and figuring out how to transform them completely into illusions of things that are expensive and desirable was the next thing that was going to satiate me. The mad

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there for me.

The silence between us made it feel like hours had passed and when she got up she told me that she was in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes. feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream struggle with even the simplest of tasks. “misery loves company”. I was upset that everyone was going about their everyday lives while I had to friends. I became so irritable that no one wanted to be in my company and I finally understood the saying Family health issues, financial struggles, and my slipping grades caused me to close myself off from my Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break.

scientist, the danger mouse, the magician, and craftsman IPSUM inLOREM me were all happy. Since then I went onto the MA Design Products program where Im currently focusing on bottle glass and how to manipulate and transform the waste material into the most dazzling of forms. The works attached are Manic Botanic and Emerald City Realness.

Both chandeliers are made from glass bottles pulled from the garbage/ found on the street. ECR also incorporates 3d printing with plastic soda bottles that make up the arms and other parts of the traditional style fixture.

Maria Joseph

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I create interventions that facilitate engagement towards the climate crisis- through designing products and the experiences that surround them. My inspiration comes from technology, biomaterials and sustainable indigenous practices, and I often seek interdisciplinary perspectives in my design practice. After attending the Industrial Design course at DSK in Pune, India which focused on market necessities of design, I completed my BA in Product Design at IED Barcelona where I learned about the impactful and disruptive power it has. More recently, graduating from the RCA Graduate Diploma course helped me develop my individual practice and shaped my values as a designer and an artist. Project Air-rise in my portfolio propelled me to work in collaboration for a year with scientists at CERN to help organize their Science Communication Hackathon, where I was present as a member of the jury for their final projects. I am currently in

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Bangalore working as a materials teaching professional for young designers at DQ Labs. Recently I have initiated ‘Growing Materiality’ which is a workshop that promotes democratic design by equipping people with the know-how of growing their own products with mushroom mycelium.

Collaborating with the mushroom cultivation company Nuvedo, the project, as a first in India, has recently made multiple press. Before I move to London for my MDes in Design Futures, I aim to bring engagement in Bangalore on mycelium and its potential through workshops, sculptures and online webinars. For this I am currently working on a project called ‘Bengaluru’s Missing Chair’, which is a monobloc chair repaired with local strains of mycelium, as a statement on mass production vs natural repair, in hopes of putting Bangalore on the ‘mycelium network.’ I am motivated to continue approaching my practice through this collaborative lens in Design Futures.

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Anupama Subramaniam Iyer

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work investigates the narratives that lie in-between, within and around different geographies. Anupama’s work intercepts, fragments, assembles, deconstructs, reconstructs, reframes and reinterprets the narrative of a site stemming from memory, time and imagination.

Her research often begins with reportage drawings and documentary photography. Through collecting, archiving and making, she builds an amalgamation of tools and methodologies that could enable us to investigate, question, map and challenge the dominant narratives of a site. Her experience as a children’s book illustrator deepened her understanding of the power of fiction, world building and play.

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Anupama S Iyer is a communication designer-maker from India currently based in United Kingdom. She studied communication design from DJ Academy of Design, Coimbatore, India before attending Graduate Diploma and is now completing her masters in Visual Communication at the Royal College of Art, London. Iterative and crossdisciplinary in nature, her work considers materiality and stems from tacit knowledge generated by making. Her work seamlessly flows between illustration, experimental animation and film-making and publication design.

Growing up listening to folklore of the land and moving between different cities led her to become a keen listener and observer of her surroundings. Recipient of the Gordon Peter Pickard Drawing Prize in 2022, Anupama’s

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Camille Meisner

Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break.

Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

in society and focuses on reality and how it’s perceived I am a recent graduate from the graduate diploma and andup others.

I explore gaze ice and starting an MA photography at the RCA in September That’s when Mariana stepped by up. myself She showed at my house with athe pintfemale of my favorite cream howa Ilistening can apply to my work in how betterThe represent ear –itsomething I hadn’t 2023. I also studied cinema at UCLA(chocolate, and haveofacourse) BA and offered had into months. overwhelming feeling of release had tears flowing downtheir my face andexperiences, by the time I was done talking, Mariana was blurred women, lives, concerns and anxiety. in photography from UAL. My practice is photography in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes.

My most recent work has been looking at mental health in based, using installation, moving images and audio to The silence between us made it feel like hours had passed and when she got up she told me that she was young women. create my work. My artwork exploresthere the for status of women me.

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Yashaswi Dugar

s he wa that s ld me w minutes. to e h s r a fe rred ot up she g gged me fo ana was blu g u when ri d and e and just h talking, Ma verwhelmin e s s a had p ide m done nths. The o ream hours at right bes time I was c in mo te ice s el like by the I hadn’t had f my favori e it fe . Mariana d d a n . a m e rd g m to ce us o r in in fa w n p fo e th y e e e a n there nce betw own m say o – som ouse with ad to ile h didn’t rs flowing d tening ear hile I h The s ing at my . She s lives w od the say vision ase had tea offered a li howed up y y a d m ry s in my ve rsto of rele e) and p. She their e finally unde elf off from reak. t u o feeling te, of cours stepped u b s my nd I ing a hab na ola close as go company a ’t catc (choc hen Maria me to one w tasks. y couldn w lest of t that every to be in m des caused I felt like I p That’s im s e d d s te p gra the an even ny”. I was u no one wan y slipping chool m t le with high s pa strugg loves com irritable tha uggles, and ore year of o tr m ry s s “mise I became ncial sopho s, fina s. ng my friend ealth issue quent duri fre yh il re m e a w F times Tough

More work from this Artist

Emily Dickinson said, “Hope is the thing with feathers.”

For me, art has always been that hope. I was born in a conservative Indian household and raised in the cultural UM capital of India, Calcutta. Even though I Spursued business EM IP R O L studies due to familial responsibilities, I committed my summers to study art at Oxford, Rhode Island School of Design, and London College of Communication. These experiences developed my theoretical and technical skills while also helping me shape my identity. The RCA Graduate Diploma allowed me to transition from conventional, figurative, and literal interpretations of art to a conceptual perspective. It reshaped my beliefs on art’s purpose and inspired me to create work that explores social issues and human relationships. One of the artists who was pivotal to me during this period was William Kentridge, who bridged his country, his values, and his

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experiences to create captivating pieces that address complex issues. Post graduating during the pandemic, I worked remotely as a brand manager for a plant-based meat company in Dubai and as a business development consultant for conglomerates and NGOs. I also screened and invested in multiple impact start-ups internationally and recently realized a capstone social project in Kenya.

Throughout this journey, I continued to create new pieces of work through expanded paintings and photography, taking part in multiple online and offline group exhibitions in the UK and India. My current practice delves into the relationship between the Inner Self, the Outer Self, and the World. My focus revolves around identity, morality, and social justice. I wish to lead a purposeful life, committed to using my art as a vessel to challenge complex issues and my work to create a positive impact on the planet.

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me for a few minutes.

The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break.

Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

Sam Joseph

Stella Lam, a London based menswear designer, diversifies the meaning of masculinity through ‘feminine’ textiles and crafts. Specialising in delicate techniques such as smocking, tambour, and lace making via industrial embroidery machines, Stella incorporates decorative textures onto voluminous silhouettes that create a sense of both restraint and escape in her designs. She manipulates upholstery, reused, and waste fabric from unwanted garments, exploring a bright and playful colour palette to encourage change and freedom in the perception of masculinity. Amongst many historical influences, reinterpretations of polichinelle, cavalier, and abbé were major elements in her most recent ongoing collection. Along the journey of studying and working in the fashion industry in the fields of design, production, and commerce, Stella has come to believe that masculinity lies on a broad spectrum. In moving beyond stereotypes, can an expanse of colours, shapes and embellishments help us to re-envision what masculinity could be?

Sam Joseph , A multidisciplinary spatial designer, working in photographic and digital realms, my practice investigates ethical and sustainable adaptive reuse, deconstructing the hidden properties of what is abandoned, unseen and forgotten. Questioning the temporary issue of design, materiality and what we deem as of value. Using digital media, leveraging light, shadow and illusionary methodologies to create new spatial atmospheric realms. A graduate of Central Saint Martins, Fashion BA Hons, with over 20 years experience in art and design projects including, community art installations, restoration, heritage, and previously creating educational opportunities and high profile projects (exhibited Saatchi Gallery, 2016), for young people to have a voice heard through the arts. Past industry experience, Paul Smith (UK, NY), V&A Publications and Exhibitions, Lady Linda Wong Davis events, collaborations and projects with organisations, RHS, North Yorkshire Society of Architects, National Trust- Fountains Abbey, Artizan, Mercer Art Gallery, Northern School of Contemporary Dance, IVE (Bridge Organisation, Arts Council). I am currently applying for the MA Interior Design and MA Photography programs at the RCA.

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Stella Lam

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FOREWORD Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break. Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

Mariana sat right beside me and just hugged me for a few minutes. The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

in the observation and analysis of human behavior. I am particularly interested in the link between humans and their possessions. Currently, I am exploring storytelling techniques that make my audience feel emotions and learn about them at the same time - an aim inspired by the Japanese animation directors Hayao Miyazaki and Isao Takahata. Ultimately, I want to create transformative movements that invite change through research, experimentation and most importantly dialogue. My biggest ambition is to build a community of thinkers based on interactions fueled by my creations.

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

Born in Spain and raised in France, I center my creative practice around informative and entertaining comics and animated movies. My aim as a Visual communicator is to create work that heals while it sparks social change in people’s minds. After finishing the Graduate Diploma program in August 2022, I completed my Masters degree in Public Policies at the Paris Dauphine University. I am currently working as an intern in climate change consultancy, while continuing my creative practice through the production of animations and comic strips.

My background in Economics and Sociology initiated me

The guilt started creeping up and I could feel my eyes beginning to swell again. What was I thinking? My friends love me and all I did was push them away when I needed them most.

Mariana’s small act of kindness had a profound effect on me and reminded me of the power of compassion and friendship. It may seem silly, but it has truly changed my life and I am forever grateful for that pint of chocolate ice cream and hug. I now carry that same compassion with me everywhere I go and show it to anyone, even if I don’t know their whole life story. (CHECK FONT)

More work from this Artist

Ana Garre Debiès

BOLIN CHEN

MUSPI MEROL

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I am a student currently studying on the Graduate Beijing Stone Carving Art Museum during the summer of Diploma course, pathway to Curating Contemporary Art .

2018, I very much enjoyed my role as a navigator, taking fo raey eromohpos ym gnirud tneuqerf erew semit hguoT s hgihCentral na loohcfrom I ekil tlef I ddegree luocBachelor a hctac t’ndmy .kaerIbreceived Saint Martin the audiences through an exhibition and introducing the ym morf ffo flesym esolc ot em desuac sedarg gnippils ym dna ,selggurts laicnanfi ,seussi htlaeh ylimaF majored in Ceramic Design in the summer, 2020 .

Then historical sites to them, and due to my interest in viewing gniyas eht dootsrednu yllanfi I dna ynapmoc ym ni eb ot detnaw eno on taht elbatirri os emaceb I .sdneirf intaan I gradually realised that I am sim“ ol yregalleries, napmoc sevand I .”yexhibition ht tespu sawart w enoyreve iog sapractice a gnown reve rieht tuobmy il yadydeveloping lihw sevyears dah I ethree oI tspent lggurts things, I enjoyed talking to artists w ecreate t neve htito ehperson mis a sksat fo tselpnot art studio in Beijing, works that I made during that .time was about the universal pandemic my reflections on it and figuring out the stories behind their paintings, so maerc eci etirovaf ym fo tnip a htiw esuoh ym ta pu dewohs ehS .pu deppets anairaM nehw s’tahT and about the intense atmosphere that circulated around I decided to shift to curation after being admitted to gnimlehwrevo ehT .shtnom ni dah t’ndah I gnihtemos – rae gninetsil a dereffo dna )esruoc fo ,etalocohc( this programme.

My research practise now nileef r fo g aele raet dah eson nwod gniwofl sstudying af ymcraft dna ecand ht yb clay, emit ewith aw Iwork ,gniklat enod smy w anairaMI composed lb sacountry. derruthe v ym ni noisiaesthetics hS .the as t’ndid eon .drow eno yfocused s anairaMwith ir ta thgof edisaeblot a emdid suj dnalso degguh tand f a rof em myself weexpress unimto .setsoil practise of Bauhaus movements and its ehT elis setting ecnthe m su neewtebon kil leef ti edaimplication ruoh ewas ah swork p dmy dessaof g ehs nehw dna pu towatercolour. m dlot ehsand ehs taht edrawing saw canvas Most and layouts of modern galleries .em rof ereht unpublished, and I put them in the portfolio that I applied and exhibitions. to study for this course. I took on an internship with

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Spring Li

Graduated from University of Oxford with a master degree in Finance, I worked as an investment banker in Goldman Sachs prior to RCA Graduate Diploma. Though trained as an investment professional, during my school days and working life, I’ve constantly used art to create a series of work to record my life experience and observations.

Throughout the ups and downs, Art is like a thread that runs through all the reasons for all the other things that make my life. It took lots of courage to transit from finance to art. But I believe the only way to truly live a life is to do what I love. Thus, I started this exciting journey with RCA Graduate Diploma, which helps to navigate my art practice. Drawing on cross-disciplinary connections with a wide range of subjects – mathematics, poem, and philosophy, my practice is led by geometric permutation, abstract expression, and restrictive uncertainty.

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Experiment of colours, and shapes in multiple dimensions drives my creation of mixed media paintings and sculptures. I use Art to build philosophical connections with what I have witnessed, sensed and experienced in my life, be it sufferings or happiness. I use organic forms and mark making to explore the subjective initiative and plausible existence of destiny, the momentum to go with the flow and combat the unexpected, as well as the fear and excitement of riding into the unknown space. My painting and sculpture are driven by my inner-conflict of logic and emotion, convergent and explosive, destruction and rebirth, which make my artworks look curious, sharp, and inexplicable. In the long term, I would like to continue my art practitioner, and uniquely combine my business background to lead the art industry revolution via digitalisation and financialization.

Christina Tai More work from this Artist Her creation is not a solution, but the infinite interrogation of human perception of the material world. Working across physical materials and digital imagery, she manipulates materials to investigate conceptual ideas and employs contextual research to inform her process of making. She explores the possibility of utilising different materials and process to create her unique visual narrative in order to communicate immaterial ideas and emotions through abstraction. Her abstractions scrutinise the potential of visual narrative and material language through the tension of paradoxical dichotomy and the presence of absence. The unsettling ambiguity and enigmatic quietness prompt a closer and slower way of looking. The distressing yet comforting experience of ruminating on the work aims to create sublimity that prompts the audience to stop looking externally but explore internally, to stop dwelling in the known but to rediscover the unknown.

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Christina Tai is a visual artist/designer with a research-led approach. Coming from an interdisciplinary background, she studied her BA in Fashion Marketing with minor in Fashion Design at Savannah College of Art and Design. This was followed by two years working as a visual communicator, marketer and designer in fashion industry. Her sensitivity to details and attention to texture and surface has been evidenced through her work as a communicator. The practice of making motivated the artist to study Graduate Diploma at Royal College of Art, in which elevated her practice to a deeper level of research and contextualisation of ideas. She started to solidify her personal interest and visual language around dystopian urban civilisation and the vulnerability of humankind and our perception. Her passion for fine art and material experimentation has converged throughout her progression to masters specialising in mixed media textiles.

year times we o r brea f high sc e freque nt k. ho F d a m and ily he ol and I fe uring m m y off fr y slippin alth issu lt like I c sophom o m my fr g grades es, finan ouldn’t c ore one ie c a c M i w t a a n c a r iana unde anted to ds. I bec used me l struggle h a sa f o r t s o r t a o c od t be in m ame so lose s, few t right be wa y h i s f u e p e set th e saying compan rritable th myself l like minutes. side me ev y a e r s y h d e told hours ha The silen and just h ay liv at everyo “misery l and I fin t no sim o d a c n e m p p a e l e s that st of s while I e was go ves comp lly sed a e betwee sh ta n h a i n a e s T d k w s h t . as th d when o str ng about ny”. I e gu Tha ug sh ilt er th e s g t e ’ l s f e y o e r me with eir s beg tarted cr at m when M . ev e i e t y h n i h n t ouse ariana s king? nning to eping up he cho s te w a w M t c h e o e l l l a m again nd I cou te, o ith a pint pped up. awa y friend om ld f y e t w h hen s love me . What w f ing I course) of my fav She sho In we as an ha e o a r r e M n w i d d d t e d e n h a o u d ’ e r a i t f p ed t c ian ll I d I h wn m lming fee had in m fered a li e cream e m effec a’s sma most id w ste on lin y ll t . iana face and g of relea ths. The ning ear comp on me an act of kin – w by s dn d as h word as blurre the time e had tea as tr sion and reminded ess had d in . rs uly a Iw fr m fl m f o y r tha change iendship e of the profoun visio as done owing tp d .I p n t .

S c h a e did alking, rry th int of cho my life an t may se ower of e n a d c ’ t t s g s a a o me c olate ice I am for m silly, b y and o e s c m h r e o whol p a m an ver grate e life w it to a assion d w s i t t h o ry. (C nyone, e me e hug. I no ve v H E C K FO n if I don erywhere N ’t T k n ) o w the i

Anna-Belén Meyer More work from this Artist

I am currently pursuing my studies at the Royal College of Arts in London. Drawing technical inspiration from the abstract expressionists Jackson Pollock and Mark Rothko, as well as the contemporary artist Gerhard Richter, my artistic endeavors encompass a captivating array of diverse color compositions. These compositions bear witness to the art of color dripping, structuring, and blurring. One distinctive aspect of my work lies in the treatment of canvases from both the front and back, creating subdivisions that resemble testimonies to the intricate science of cartography. My academic background in psychologie influences how I research and navigate my practice. Through my all-encompassing paintings, I invite viewers into immersive spaces, evoking Lorem the projection of memories and profound emotions onto Ipsum the canvas.

Even figurative impressions seem to emerge Lorem Ipsum within these works, as I delve into a process of selfreflection. typically Lorem Ipsum By making visible what isLorem Ipsumconcealed

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within the mind, I allow the physical eye to witness the unseen. The emergence of my works mirrors a genesislike process, leading to a transcendental realm. It is within this realm that impressions of nature, transformation, infinity, and the perpetual cycle come into being. My paintings offer an opportunity for consciousness to delve into a rich tapestry of time’s colors, mapping the landscape of emotions. “To Lorem truly attain self-awareness, Ipsum one must look beyond the surface of their own mind, 22 Lorem Ipsum emotions, and patterns 23 of thought.

The interplay of Lorem Ipsum front and back in my paintings serves as a stylistic device, reminding us of the value in exploring what lies 24 (Belén, Lorem Ipsum beyond our own façade.”

2022) In terms of my Loremexhibition Ipsum artistic journey, I had my25debut in 2020 at the 26 Gallery.

Lorem Ipsum esteemed Melbye-Konan Additionally, one of Ipsum my works was selected27forLorem presentation at the Institut Français in Hamburg on its 70th anniversary in Germany, further cementing my presence in the art world.

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Ariel Hacohen More work from this Artist

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the male body. His work has been exhibited at renowned venues such as the Israel Museum, the Bible Lands Museum in Jerusalem, and the International Photography Festival in Tel Aviv. Currently, Ariel is preparing for a solo exhibition scheduled for July 2023 at the Koresh 14 gallery in Jerusalem. Since returning from London in late 2022, Ariel has shared his expertise as a guest lecturer at esteemed art institutions in Israel, including the Bezalel Academy of Arts and Design and Shenkar College. In recent months, Ariel has embarked on an ambitious project—a video opera production inspired by an esoteric historical event that occurred in 1938 Austria. Infused with humor and music, he aims to explore and resonate with the dark history surrounding the event. This project exemplifies Ariel’s ability to seamlessly weave together various artistic elements, incorporating visual storytelling, music, and comedic elements to shed light on harsh historical contexts. Through this approach, Ariel seeks to engage audiences and cultivate a deeper understanding of complex historical events and their reverberations in the present.

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Ariel Hacohen is a visual artist based in Jerusalem, primarily working with photography and video. His artistic practice encompasses snapshot and staged photography, image appropriation, and the creation of sculptures using 3D computer-based methods and casting techniques. Ariel holds a BFA (with Honors) from the Bezalel Academy of Arts and Design in Jerusalem.

During his undergraduate studies, he participated in a student exchange programme at the École des BeauxArts de Paris. In 2022, he graduated with distinction from the MA Photography programme at the Royal College of Art, receiving a full tuition scholarship from the Clore Foundation. Notably, Ariel’s graduate show at the RCA was highlighted by art critic Waldemar Januszczak in the Sunday Times, who described it as “the most exciting exhibit within the photography department.” His artistic achievements include the RCA-Metro Imaging Mentorship Award in 2022 and the America-Israel Cultural Foundation Scholarship in 2019. Ariel’s recent artistic focus revolves around memory, archaeology, and the representation of

Bissy Riva More work from this Artist

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textiles to not only pursue an interdisciplinary practice but seek innovative ways of combining and reworking the two mediums. Investigating the definitions of what constitutes a painting as well as a textile allows me to deconstruct their meanings and experiment with fusing and transforming materials and techniques. Utilising this approach to materiality has led me to further consider the notion of duality as a conceptual theme throughout my practice. My specific approach to this subject looks through the lens of mental health concerns and theoretical studies. Through self-examination, my work attempts to unpack the notions of dualism by illustrating the friction that occurs when two entities are brought together.

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I began my career in art and design at the Rhode Island School of Design where I received a BFA in Textiles in 2018. During my undergraduate studies I used painting as a foundation for my approach to textile design and fibre art. Since my undergraduate studies, I have worked in a variety of textile-based fields such as costume design, print design, and apparel design. In 2020 I transitioned my practice towards painting and have worked since as a commissioned oil painter creating large abstract expressionistic pieces. I enrolled in the Royal College of Art Graduate Diploma Programme this past May to further my education in fine art and mature my work as a professional practitioner. In my recent work as a painter, I have been exploring the definitions of paintings and

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Anoushka Anand More work from this Artist Drawing on the rich tapestry of human experience, I Anoushka Anand (b.1997, NOIDA, India) is a seek inspiration from diverse fields, including Jungian contemporary artist from India, specialising in painting, and Freudian psychology, spirituality, Vedic Hindu installation, sculpture and video. She completed her teachings, and quantum physics. Guided by the works BSc Psychology from University of Bristol (2019) and of renowned artists such as Julie Gautier and Alex completed her Graduate Diploma in Fine Art at the Royal GreyIPSUM I strive to develop my own unique aesthetic and College of Art (2023). A self-taught artist, her creative LOREM conceptual language. I see my work as a metaphor for practice explores the experience of navigating her mind Tough times were frequent during my sophomore year of high school the unconscious mind, a vast and mysterious realm that and I felt like and its influence on her perception. She depicts the I couldn’t catch a break.

Family health issues, financial struggles, and my slipping grades caused me to close myself off from my key that to no the psyche’s hidden depths. became the ever-changing fluid, abstract plane of her mind through friends. Iholds so irritable onehuman wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to My work is an exploration of the interconnectedness exploration underwater in performance based video struggle with even the simplest of tasks. between the inner and outer worlds, inviting the viewer on projects, painting and sculpture. Her work is inspired by That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream a, journey of offered self-discovery and a deeper connection with the relationship of the tangible and spiritual body; the (chocolate of course) and a listening ear – something I hadn’t had in months. The overwhelm ing feeling of release had tears flowing downas an and interdisciplinary artist isMariana driven my face work of Dr Joe Dispenza in understanding the relationship the self. My practice by the time I was done talking, was blurred in my vision. She didn’t say one word. Mariana sat right beside me and just hugged me forto a few minutes. bybetween a deep curiosity the human psyche; I seek of the human body with the quantum field , EvolutionaryThe silence us made it feel likeabout hours had passed and when she got up she told me that she was there for me. create art that is visually captivating and conceptually rich.

Psychology along with teachings of Hinduism and Vedic Through my work, I hope to inspire others on their own spirituality inform her practice. As an interdisciplinary journey of self-discovery and deepen their connection artist, my creative practice encompasses a range of with themselves. mediums, including painting, installation, and video.

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eromohpos ym gnirud tn a hctac t’ndluoc I ekil tlef ,selggurts laicnanfi ,se flesym esolc ot em desua on taht elbatirri os ema yllanfi I dna ynapmo I .”ynapmoc sevol yresi rieht tuoba gniog saw eht neve htiw elggurts ot d Back to Index

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FOREWORD

Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break. Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

pu dewohs ehS .pu depp maerc eci etirovaf ym f – rae gninetsil a dereffo d ehT .shtnom gniwofl sraet dah esaeler ,gniklat enod saw I emit yas t’ndid ehS .noisiv y

Mariana sat right beside me and just hugged me for a few minutes. The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

and digital artworks, I bring a sense of physicality into the moving image. Through the use of digital tools and tactile mediums such as painting, linocut, clay, and collected materials, I ponder the meditative liminal space where virtual and physical reality, global and traditional culture, and external and internal worlds collide. My practice remedies the digitally mediated monoculture of the globalised world. Phenomenological encounters with local communities, environments, and traditions are translated into distinct aesthetic languages. Through this iterative process, I hope to foster diverse visual scopes of perceiving and understanding the world.

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

ir tas anairaM unim wef a rof sruoh ekil leef ht em dlot ehs

The guilt started creeping up and I could feel my eyes beginning to swell again. What was I thinking? My friends love me and all I did was push them away when I needed them most.

Mariana’s small act of kindness had a profound effect on me and reminded me of the power of compassion and friendship. It may seem silly, but it has truly changed my life and I am forever grateful for that pint of chocolate ice cream and hug. I now carry that same compassion with me everywhere I go and show it to anyone, even if I don’t know their whole life story. (CHECK FONT)

ams s’anairaM a em no tceffe a noissapmoc nahc ylurt sah fo tnip taht rof mas taht yrrac ti wohs dna og rots efil elohw

trats tliug ehT ninnigeb seye f yM ?gnikniht hw yawa meht

I attained a bachelor’s degree in painting while working as an art history teaching assistant and pursuing my interest in Western literature and philosophy with an English minor.

For the past three years after college, I taught foundation, art competitions, and portfolio preparation courses at an art studio in NYC as an art instructor, where I learned to communicate and develop artistic projects. During those years, I took academic painting, digital art, and animation classes that expanded my realm of artistic practice to creating animation. I create animations as an expanded form of painting to explore the embodied experience of technology. Through experiments of merging analog

Jaewon Park

Wui Kean TAY (ZEARO) More work from this Artist

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Gallery 2022-23; ‘Come One Come All’ The Function Suite 2022; ‘RAW- RCA WIP Show’ Soho Revue 2022, ‘Lingua Franker - A Shiftists Show and HOXTON 253 art project space, 2021. Zearo’s work takes on an autobiographical perspective to explore the relationship and entanglement between same-sex figures. Influenced by his South-East Asian background, he centers on lived experience by exploring ideas of intimacy, male gaze, sense of longing, desire, memory and Southeast Asian aesthetic through the pastels and pigments. Through this direction, he attempts to create a space where same-sex stories are visible and approachable, a space where the tension of care and secrecy are being represented.

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Zearo was born in Kuala Lumpur in 1996. He received his Diploma in Fine Arts from The One Academy of Communication Design in 2017. In 2020, he joined the Graduate Diploma program at the Royal College of Art and proceeded to MA in Painting at the RCA from 2021 to 2023. Zearo was selected by Bloomberg New Contemporaries 2022, showing works at Ferens Art Gallery, Hull, and South London Gallery in Peckham. In the same year, his work was acquired by the Government Art Collection. Recent exhibitions include; ‘Ruth Borchard Self Portrait Prize’ 2023, online exhibition; ‘Present Life’ Plain Gallery 2023; Bloomberg New Contemporaries, 2022 South London Gallery; Ferens Art Gallery & Humber Street

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h ssendnik fo tca llams s’anairaM ,yllis mees yam tI .pihsdneirf dna n I .guh dna maerc eci etalocohc rieht wonk t’nod I fi neve ,enoyna

dna pu gnipeerc detrats tliug ehT saw did I lla dna em evol sdneirf

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pu deppets anairaM nehw s’tahT ereffo dna )esruoc fo ,etalocohc( niwofl sraet dah esaeler fo gnileef w eno yas t’ndid ehS .noisiv ym ni f ti edam su neewteb ecnelis ehT .em rof ereht

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Mariana sophomore y m g rin du for a few ere frequent dn’t catch a ul co I e Tough times w lik lt feel like hool and I fe ruggles, st al ci an year of high sc fin , she told health issues close myself to e m break. Family ed us no ng grades ca and my slippi so irritable that The gui came emotions s. I be nd sources.

Her recent works explore of ie ly fr al y fin m I d an off from ny pa m eyes be my co based on hermpersonal melancholy, missing be andinlonging co pany”. I s ve one wanted to lo y er is thinking “m experiences of separation. symbolic e sayingEmploying their aboutimagery, g in understood th go as w them a everyoneon gains and the paintings carry reflections losses, with even the le gg was upset that ru st to had while I revealing resistance and acceptance, the genuine everyday lives Marian s. emotionsmfaced in our time of uncertainty.

Under Chu’s sk ta of t es si pl effect recent project title, “it will never be the same flower norup showed he S . up d pe compa na step ariaencapsulates the samehamoment,” she therit impermanence ice cream e vo T t’s when M fa y m has tr of paintings harmonize a pintthe of life itself.

Within thisith series, listening ear – a d at my house w re fe of d for tha urse) an and contrast with oneco another, unraveling the process of he T s. (chocolate, of th on m carry d in to organically sconnect g dn’t ha transformation and inviting viewers d tear flowin ha something I ha e as le re go an g of feelintapestry. with her intricate emotional ne talking, do as w overwhelming I e tim whole and by the didn’t say he S . down my face on si vi y blurred in m Mariana was one word.

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Chiao Chu is a Chinese visual artist and painter based in London. She received her BA in Fine Art Drawing at Camberwell College of Art, UAL and is graduating from MA Visual Communication at Royal College of Art. She has recently been selected as one of the winners of the Delphian Open Call 2023. Selected exhibitions include, The British Postal Museum (UK), The Silver Building Gallery (UK), Copeland Gallery (UK), Royee Gallery (China). Chu’s painting practice focuses on selfrepresentations developed from her own experiences, memories and reverie. She draws inspiration from mythology, contemporary life as well as from literary

FOREWORD

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o tselpmis eht neve htiw elggurts

Chiao Chu

Antonella Romano

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As an interdisciplinary artist coming from a background in political studies in Italy, I rely on visual cues to recognise ambiguity in forms, language and ethics of representation.

My attention lies in deconstructing reality perceptions and understanding the dynamics of power through the lens of history, iconic representations and stereotypes. In using archived material, I explore the intricacies of uncertainty in the multi-layered contemporary context by combining different artistic techniques, primarily drawing and painting.

As I prioritise the ethical responsibility of my research, I have come to realise that what truly matters is not the topic I choose but rather how I approach it and the critical language I use to address it. After reflecting on the impact of stereotypes in various contexts, I reconsidered my approach to interpreting them in my work titled “What do

quent were fre I fe s e m ti h Toug ol and igh scho year of h ily health issue am des ca break. F pofping gra beca li s you expect?” The title serves as a symbolicareminder y m nd iends. I the roots of prejudice.Currently, I am enrolled in om my fr e in my c offafrGraduate to b Diploma program where I worked on a project wanted g “m onetitled the sayin e d o to “Against Certainty”. This project involved exploring book rs e und eryon t that ev e s deconstruction through the use of ink drawingswand various p u s a e I ha ves whil li y a visual elements, such as photography, illustrations, maps, d ry eve s. t of task graphic elements, collage, and assemblage. Through simplesthis project, I aimed to challenge the idea of using words and na s en Maria in h w visual symbols in art to convey different ways ofTmapping s t’ a h ap se with visual and conceptual coordinates. Specifically, Iafocused t my hou f course) te, o on incorporating intricacies of perception and ambiguity (chocola I hadn’t ha thing into my work.Through the doing and the undoing memy ng soof ing feeli lm e h perception and therefore, of my subjectivity I am giving rw e ov nd b y face a value to ambiguity as a vital clue to escape from the down m rred lu b s certainty of the all said, all done and all thought. Mariana wa . one word m Ipsum m Ipsum m Ipsum m Ipsum

More work from this Artist

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FOREW

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e ugged m nd just h s made it a e m e besid een u sat right nce betw she got up Mariana inutes. The sile hen omore ed and w me. few m h s p s a o a r s p fo y d m hours ha e was there for t during uldn’t catch a feel like o c I at sh e k li , l my elt ld me th ggles to u e tr h s s ould fee l c ia I c n d lf a n e n a s fi es, e my eping up was I e to clos tarted cre ell again. What o s n t s push t il aused m a u g th I did wa sw The ll to ritable a ir g d o n in s a n e gin me am nally eyes be ds love ost. y and I fi My frien ? d them m g e compan s company”. I in d k e e in n th I n e v ay whe eir und misery lo them aw about th d a profo f g a h in e o s g th s e s n n e wa ith eve power o t it t of kind uggle w small ac inded me of the ’s a ly, bu n ad to str a ri Ma seem sil teful d rem y n a a m e It m . rever gra effect on n and friendship up d I am fo hug. I now io n d s a e s w a fe o p li h m y s co I am and nged m up. She truly cha hocolate ice cre me everywhere stepped e cream s a ic h te ri c o h v ir f – it e o fa r w t th a y in n e p g sio now nt of m for that compas a listenin I don’t k e d if m re n a e e s v ff t e o ) and e carry tha w it to anyone, nths. Th rs flowing ho ONT) a ad in mo go and s tory. (CHECK F had te , e s g s a in le fe lk g of re whole li s done ta ay me I wa s ti ’t e n th id d y b he vision. S d in my 19

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Elinor Martha Henry More work from this Artist

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25 artists. In my current multidisciplinary art practice, I explore parallels between the natural world, womxn, and the body in regard to gender, sexuality, healing, and pain. I comment on related socio-cultural dynamics including religion and spirituality, and am interested in art as activism. A desire for positive social change drives me, as well as wanting to bring a sense of discovery, hope, and belonging to those who need it. My research frameworks draw on intersectional queer feminist ecophilosophies, biology, and psychogeographic research.

The experience of queerness, body politics, trauma, illness, recovery, and love runs through my practice. My work begins conceptually and is investigated through process-driven experiments of movement, embodiment, and the subconscious with physical form and material.

Simultaneously, I write, often narrative-based, and use my voice as performance. This develops into immersive environments of audiovisual installation and performance, soundscapes, video projections, painting, and sculpture.

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I recently completed the Graduate Diploma program specialising in Fine Art in April 2023 and received a Distinction. Before this, I had a ten-year career in design, events and marketing in Australia, Singapore, and London. I gained two diplomas in Marketing, and Design, and spent three years at Google creating programmes in learning and development to build employee culture.

At the end of 2021, I completed an intensive Fine Art Foundation course at London Art Portfolio School and then continued working as a freelance consultant and artist. Post Graduate Diploma, I’ll be taking this next year to generate income, conduct field research and further develop my practice in preparation for the next chapter of my studies. I plan on joining the MA in Contemporary Art Practice at the RCA in 2024. Recently, I curated the immersive visual arts for LGBTQ+ arts and music festival Hedonist in London for over 220 attendees, with

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Megumi OHATA Mariana’s small act of kindness had a profound effect on me and reminded me of the power of compassion and friendship. It may seem silly, but it has truly changed my life and I am forever grateful for that pint of chocolate ice cream and hug. I now carry that same compassion with me everywhere I go and show it to anyone, even if I don’t know their whole life story. (CHECK FONT)

with artists from various nationalities and organise projects that test and expand the boundaries of artistic expression.

Ohata’s practice is deeply intertwined with explorations of gender, identity, and posthuman philosophy. Their work addresses personal traumas, from the impacts of child abuse to the discrimination they have faced due to their Asian heritage. In Ohata’s journey towards resolving these traumatic experiences, they question the role of artists in breaking free from society’s negative cycle, and how they can challenge societal norms and expectations.

Using SFX techniques, they create sculptural installations and wearable art that mimic human bodies in an unsettling and peculiar manner. This reflects their fascination with the body as well as their response to the absurd and often incomprehensible habits of human beings. Ohata’s work poses the question what does a body need to be relatable?

FOREWORD

The guilt started creeping up and I could feel my eyes beginning to swell again. What was I thinking? My friends love me and all I did was push them away when I needed them most.

Mariana sat right beside me and just hugged me for a few minutes. The silence between us made it feel like hours had passed and when she got up she told me that she was there for me.

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Tough times were frequent during my sophomore year of high school and I felt like I couldn’t catch a break. Family health issues, financial struggles, and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

Megumi Ohata is a London-based interdisciplinary artist and special effects makeup artist (SFX MUA) who is of primarily Japanese heritage, with a mixed Korean background. They are renowned for their innovative works marked by the use of SFX techniques and unique artificial skin fabrics imprinted with their own skin textures. This inventive approach has been well-received by collaborators and creatives globally, fostering opportunities in cities such as Tokyo and London. Among their notable achievements, Ohata was a runner-up for the Batsford Prize 2019 in the fashion category and delivered an artist talk Reimagining Human Body at the Tate Modern in 2023. In 2022, they were awarded The Great Britain Sasakawa Foundation Arts & Culture grant for their upcoming 2023 show in Hiroshima, as part of an artist collective. As an expatriate Japanese artist with mixed Korean heritage, Ohata is deeply committed to promoting unique cross-cultural exchanges through their art.They regularly collaborate

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

More work from this Artist

Gema Sainz

tca llams s’anairaM am tI .pihsdneirf dna maerc eci etalocohc od I fi neve ,enoyna

erc detrats tliug ehT dna em evol sdneirf

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Gema Sainz was born in Madrid, and has been living in London for over 20 years. Having a degree in Economics, she worked across different businesses in various roles relating to accountancy and compliance. Gema had always had an interest in visual communication, from being an avid reader of comics in childhood, to a devourer of art exhibitions later on. This interest took Gema to embark in a Foundation course in Art and Design, which led to taking part in an artist residency, working alongside other artists. Gema continued developing her art practice concentrating on the different printmaking processes as an anchor for the development of her visual language. In 2020 Gema entered the RCA Graduate Diploma in Art and Design in the Fine Art specialism. Gema continued the professional development of her art practice by completing the RCA MA in Print 2021/2023. Gema Sainz is a London based visual artist working across multiple disciplines including printmaking, collage and textiles. Her 114 Back to Index

work is rooted in the subjects of memory and time, with an interest in exploring the imperceptible and overlapping layers that make us. Sizing an indeterminate space and time, Gema’s work is underpinned by a desire to reject the societal and administrative impositions on the individual identity. There is latent questioning around the values of the high-performance culture in Gema’s choice of methods and materials, where measurable success, growth and achievement are championed overlooking the singularity of the unpretentious stillness. For the making of her pieces, Gema uses printmaking, paper, collage, embroidery and textiles. She is fascinated by transformation, by reshaping and by mixing images and objects. For her work she often uses what has been left from something that was, drawing upon the parallels between the processes of making and the paradoxes of human temporality.

Helen (Man-Ling) Chang

process of self-discovery and observing the world around me. I often find myself suspended in moments of time in this fast paced, sensory overloading world. Therefore, I untangle these overloading sensations through my work by inducing a calming, reflective experience. By focusing on a meditative process, often consisting of repetition, I practice to slow down and pay attention to what my mind and senses are experiencing. This relates to social interactions, living the simple day-to-days, or embodying optimistic absurdism while trying not to be swallowed by the nihilism of it. I utilize photography to immortalize time, produce sound to surround space, and design experience to induce empathy, all to contribute to living and being as a collective. Together, perhaps we can refine human interactions that shape our society.

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I am an interdisciplinary artist with a focus on lens-based media. I came from a psychology background and worked as a user research assistant in tech. However, switching paths to art was not a drastic change. Art, aesthetics and creativity has always been a part of my life, but I did not place art-making as my priority. It took courage and wanting to leave behind the mind numbing data collection days to commit to the art world. Despite leaving user research and the tech industry, the scientific spirit stayed with me. I found new methods for artistic research and presentation to connect my interest in psychological themes and art creation while expressing myself. Art has the power to bring people together, induce change and heal people, and I want to contribute to that force. My practice involves exploring human experience (senses, emotions and behaviors) of everyday life through the

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Natalia Katarzyna Baranowska

orp a dah ssendnik fo tca llams s’anairaM sah ti tub ,yllis mees yam tI .pihsdneirf dna yrrac won I .guh dna maerc eci etalocohc fil elohw rieht wonk t’nod I fi neve ,enoyna

FOREWORD

f dluoc I dna pu gnipeerc detrats tliug ehT eht hsup saw did I lla dna em evol sdneirf

ohs ehS .pu deppets anairaM nehw s’tahT netsil a dereffo dna )esruoc fo ,etalocohc( nwod gniwofl sraet dah esaeler fo gnileef aM .drow eno yas t’ndid ehS .noisiv ym ni h ekil leef ti edam su neewteb ecnelis ehT .em rof ereht

pos ym gnirud tneuqerf erew semit hguoT a ,selggurts laicnanfi ,seussi htlaeh ylimaF w eno on taht elbatirri os emaceb I .sdneirf taht tespu saw I .”ynapmoc sevol yresim“ .sksat fo tselpmis eht neve htiw elggurts

e ged m it e st hug and ju en us mad e e me besid got up e betw t right The silenc when she na sa . nd Maria inutes sed a me. m s r D a w fo p more for a fe hours had was there WOR sopho tch a l my at she g my el like ld fee FORE a u in th fe c o nt dur I couldn’t ld me nd I c as I les, e freque she to g up a tw ush in strugg felt lik were lf . Wha was p creep times hool and I s, financial lose myse tarted swell again nd all I did sc Tough to c a guilt s sue o e e h m f high t.

T e s ning to alth is that n ed me v o s in lo m le u g b a s e year o c a ily he yes b friend d them lly e . Fam so irrit rades d g? My en I neede break slipping g I became y and I fina y”. I ofoun n y thinkin an s. wh d a pr r of and m my friend my compa ves comp eir away e ss ha them m in th indne of the pow ly, but it y lo to be off fro about il miser ct of k the e anted ying “ going with even mall a minded m ay seem s rateful one w od the sa yone was g e na’s s m r rever I now Maria n me and r ndship. It sto truggle am fo at eve . d to s under ie o I g a t fr u c d d h e n n ff a d a pset th e n ile I h eI fe n was u y lives wh eam a everywher ir assio nged my li up ice cr comp da a e . owed h te s h c k s la s h me o ly e every ow th it c u h st of ta has tr pint of cho passion w if I don’t kn ream up. S pped vorite ice c ear – t simple n om g na ste for tha e, eve ame c Maria int of my fa d a listenin that s it to anyon FONT) p when re carry a w That’s ouse with e) and offe s. The HECK d sho ing h go an fe story. (C rs nth s flow li at my of cou in mo d tear d a a h lking, h e whole olate, ta hadn’t (choc releas done I f y thing g feeling o time I was n’t sa some he did by the helmin ion. S overw y face and in my vis m red down s blur na wa Maria rd. o one w

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ed me and just hugg ht beside me rig made it t sa us n na ee ia tw ar M e be I am a deeply passionate painter who, prior tow pursuing structures.

Through ore e silenc om Th . ph es so t up my paintings, I delve into the intricate ut y in go m m e g rin for a fe quent duat and when sh between individuals, with a particular frecareer a ed e h er ss tc w pa ca d ’t es my artistic the Royal College of Art, studied relationships ha dn tim ul Tough feel like hours d I felt like I co there for me. les, high school an at Central al strugg e that she was focus on the dynamics between men and women. I am Martins.

However, mmy anciSaint year of architecture ld fin to , e es sh su is f th e mysel mily heal closme feel my break. Fa used me toled passion for artcaultimately to the Royal College eeping also in the topic of body image, with d I couldinterested up andeeply cr slipping grades me so irritable that no d te ar I st as and myof ilt w guartistic t e ha Th ca W be n.

I ai Art, where I hone my skills and expand my relation to breast cancer.

In my art, I strive to capture . ag ds en to swell push and I finally off from my fri es beginning d all I did wasemotions that eventually explode with ey y company an m e m in I ve ”. be lo ny to horizons.

Alongside my artistic pursuits, I possess a keen the suppressed ds d pa s com one wante king? My frien them most. ng “misery love r the artthin tood the sa hen I needed in yithe business world.

I Iwhave heightened intensity. To convey this, I employ strong, dark about theiof gaspects ay in undersinterest go aw as em w th ne en the at everyo evDesa ith set th w le ofound the power behind these feelings. As gg pr was uphad ru the privilege of working for Unicum, the largest colours that evoke a st d I had to ness ha ay lives while all act of kind er of w everydauction po na’s sm e ia th ar of M house in Poland, where I gained valuable insights an artist, I’m committed to addressing social issues more e m sks. and reminded lly, but it e si m simplest of ta em on se ct fe ay ef m It p. hi up into the art sales industry.

Furthermore, I have worked broadly.

Currently, I’m engaged in a project that explores ds ed d frien ateful d up. She show am forever gr compassion an and Idepression, na steppeUnlimited, ia e lif m ar y M ea m n cr w d at Communication a reputable marketing male drawing from my personal experiences e he no ic ge w I rite hug.

That’s has truly chan pint of my favo ice cream and r– ea olatewith I this condition. By delving into this ng oc ni re te ch he house with Iahad an lis of yw a nt opportunity to contribute my artistic individuals battling er d pi at mycompany. re ev for that ion with me urse) and offe r late, of coto same compass (choco ths. The thatalso don’t knI ow expertise various campaigns and projects but sensitive aimthei to shed light on the complexities carry d in mon ha , even if Itopic, ’t g in ne dn w yo ha flo I an s to ar it hing te d ow ha sh somet e d releas go an ideas NT) depression, weaving my own encounters into to sharpen skills in effectively communicating male ing of K FO ing, feelmy ECof talk overwhelming life story. (CH e I was done wholeinterests theatim by d y an sa and concepts to wider audience.

My artistic the narrative.

Through my artwork, I strive to create ’t ce fa dn e di down my my vision. Sh urred inthe bl as w na revolve around concept of womanhood within a empathy and understanding, igniting discussions while ia Mar word. that remains deeply entrenched in patriarchal onesociety destigmatising topics often relegated to societal taboos.

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Jean Huang More work from this Artist

Jean Huang (晶) is a multidisciplinary artist based in Vancouver, Canada. She holds a Bachelor of Science in Pharmacy from the University of Saskatchewan (2018), studied visual arts at Emily Carr University of Art + Design (2020), and obtained a Graduate Diploma of Art and Design (Distinction) from the Royal College of Art (2021).

Huang has exhibited her work in several group shows in Vancouver, painted two public murals commissioned by the Yaletown Business Improvement Association (2020; 2022), and created a large-scale public art installation at Petapalooza—the largest pet festival in North America (2022). Huang recently received a $10,000 grant from TELUS STORYHIVE to produce a film series on her art practice for TELUS Optik TV (airing fall 2023). In fall 2023, Huang will relocate to London, England to pursue her Masters of Arts in Painting at the Royal College of Art.

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Jean Huang’s painting practice investigates the roles of both the artist and the land as historians during the climate crisis, with each site-specific painting documenting rapidly changing ecologies. Her works are created while hiking and use the method of frottage, while inviting the land and the weather to directly contribute textures, colours, and compositions to the canvas. There is a sense of friendship and playfulness in Huang’s intimate collaboration with Nature. Huang’s process mimics the natural processes of the environment, with the elements physically shaping the canvas and eroding Huang’s mark-making.Through the theme of psychogeography, Huang’s research challenges the anthropological gaze and questions what it means to develop a post-colonial relationship with Nature.

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Lo r Lo em I

Jingyi Ye

s he wa that s ld me w minutes. to e h s r a fe rred ot up she g gged me fo ana was blu g u when ri d and e and just h talking, Ma verwhelmin e s s a had p ide m done nths. The o ream hours at right bes time I was c in mo te ice s el like by the I hadn’t had f my favori e it fe . Mariana d d a n . a m e rd g m to ce us o r in in fa w n p fo e th y e e e a n there nce betw own m say o – som ouse with ad to ile h didn’t rs flowing d tening ear hile I h The s ing at my . She s lives w od the say vision ase had tea offered a li howed up y y a d m ry s in my ve rsto of rele e) and p. She their e finally unde elf off from reak. t u o feeling te, of cours stepped u b s my nd I ing a hab na ola close as go company a ’t catc (choc hen Maria me to one w tasks. y couldn w lest of t that every to be in m des caused I felt like I p That’s im s e d d s te p gra the an even ny”. I was u no one wan y slipping chool m t le with high s pa strugg loves com irritable tha uggles, and ore year of o tr m ry s s “mise I became ncial sopho s, fina s. ng my friend ealth issue quent duri fre yh il re m e a w F times Tough

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My name is Jingyi Ye, and I am Chinese Canadian, I studied at the Alberta University of the Arts from 2016 to 2021 and received BFA in Fibre. As an Eastern female living in the west, my research explores S a holistic way IP UM M E R to deconstruct and reconstruct Canadian landscape LO painting through hand weaving. My five years of research on plant dyes, natural fibres, and textile crafts enables me to connect to the ecosystem. For years, I have been exploring how to integrate tactile sensibility to oil painting. Robert Rauschenberg, Gerhard Richter and Anni Albers are my primary influence. In addition to BFA, I hold a bachelor’s degree in Economics and have skillsets in project management. The exploration of fusion leads my study at the RCA Graduate Diploma. The material investigation of rust directs my research toward dwelling, a holistic means to nest my body and mind, and transforming my negative energy into a creative force. I

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FOREWORD

Mariana sophomore y m g rin du for a few ere frequent dn’t catch a ul co I e Tough times w lik lt feel like ol and I fe my research les, schoadvancing ruingginteraction st am passionate about al ci an year of high fin , she told sues health is close myself Familyphysical among the spaces, and cognitive to k. body, e m brea ed us ca grades ipping unconscious after finishing the itable that no and my sl me so irrProgram.

The gui caGradDip be I s. nd ie fr y m I finally d Therefore, I took a two-month cultural exploration an off from ny pa m eyes be my co to beinin2023, pany”. I com project experimenting with wanted City s ve onine Mexico lo y er is thinking ying “m the sa their outwithout understanding locality by lingering ingo a in new abcity g understood as w them a yone at ev ith even the w language anerauthentic seeker of intellectual upset Itham le gg wasability. ru st to I had hile lives wto sophistication, build primary research through everydayhungry Marian s. est of task and willing to question and to be first-hand experiments, simpl effect showed up questioned. I aim to explore theeppossibility of heengaging S . up d pe compa iana st collaboratively m Marworking e crea icwith whenand e art withTthe public, other rit hat’s vo fa y m has tr nt of ng ear – use with aispihighly tenithe lisand artists. at When technology advanced, a my ho d re fe of d for tha se) an courof te, ofmost he those machine(ctakes theinlabour, Is.believe T hocolaover th on m carry d I hadn’t haand tearstoflowing ething artists who humanities understand d how ha somhave e as le re go an g of lking, lming feelinhave ne taand heecosystem do contribute towan vast room to grow as w over I e tim whole d by the didn’t say he bloom. down my face an S . on si vi y blurred in m Mariana was one word.

Kamul Bae More work from this Artist

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

Mariana’s small act of kind effect on me and reminded compassion and friendship. has truly changed my life a for that pint of chocolate ice carry that same compassio go and show it to anyone, e whole life story. (CHECK F

I graduated with a Graduate Diploma in Fashion and Textiles from the Royal College of Art (RCA). I double majored in “Human Environment and Design” and “Clothing and Textiles” for my bachelor’s degree, which allowed me to develop digital and analogue techniques to visualise my philosophy through fashion. I’ll continue my projects further by joining the MA Fashion course.

As a fashion designer, I visualise my philosophical consideration of the interaction between contemporary society and Human beings. My projects are based on the question, ‘How independent can human behaviour be?’ Ipsum I started my process with a philosophical concept Lorem

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The guilt started creeping u eyes beginning to swell ag thinking? My friends love m them away when I needed t 12

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and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

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and visualised intangible ideas into tangible shapes.

Because of this unique process, my fashion resembles the way of approaching conceptual art. My fashion designs aim to inspire wearers to delve into the essence of humanity beyond superficial appearances and adopt Lorem Ipsum a more conscious and meaningful approach to fashion.

22 Lorem Ipsum My design philosophy emphasises the essence between 23 Lorem Ipsum humans and contemporary society, and I express this through interactive, transformable, and performance features in my fashion designs.

24 LoremThese Ipsum designs incorporate Lorem unique mechanisms to 25 create a dynamic and engaging Ipsum 26 Lorem Ipsum movement.

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luisa Mascaró Pons More work from this Artist

For a great part of my life I have been devoted to art education and development of my practice. I started with Ceramic Design studies in Barcelona, continuing with a printmaking course in Florence and in recent years I have completed diplomas in London including MA print at RCA. In my work I am constantly seeking a creative impulse by questioning the current norms of control upon reality and challenging the accidental aspect of it. My practice involves prints, collages and paintings and engages with found imagery and ordinary materials. My work grasps on reality, fiction, physics and our cognitive abilities to showcase a world of duality where everything relates to each other and become one. What I’d like to activate with my pieces is the notion of letting go as a way to escape

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from the confinement of preconceived and normative ideas regarding our perception of the world. my interest is to develop flexible through the theory of the law of correspondence which is my main interest and is how I try to understand our behaviours. As a consequence of understanding them I am free to decide and change them. It is a way of being more conscious and gives space for challenging and questioning the constructed narratives and the normative thinking in our society. I draw inspiration from the works of Aldous Huxley, Dante Alighieri, Gemma Anderson,Carl Jung, and William Kentridge Films such as Matrix, what the bleep, Do you know?, Lucy Scharlett Johansson, amongst others.

Miao Tan More work from this Artist

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to express thoughts, feelings, and experiences in a visual language. She aims to communicate more effectively and evoke stronger emotional responses from her audience.

Drawing serves as both a therapeutic process for herself and a means of connecting with others on a deeper, more universal level.

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Miao Tan (b. 1988, Jiangxi, China) is a contemporary artist from China, currently living in London. Miao completed the Graduate Diploma in Fine Art at the Royal College of Art in 2023 and her BA at the Minzu University of China, majoring in oil painting, in 2017. Her artistic practice explores the intimate relationship between the internal and external realms, using drawing as a versatile medium

Sarah Chalkie Cloonan

s he wa that s ld me w minutes. to e h s r a fe rred ot up she g gged me fo ana was blu g u when ri d and e and just h talking, Ma verwhelmin e s s a had p ide m done nths. The o ream hours at right bes time I was c in mo te ice s el like by the I hadn’t had f my favori e it fe . Mariana d d a n . a m e rd g m to ce us o r in in fa w n p fo e th y e e e a n there nce betw own m say o – som ouse with ad to ile h didn’t rs flowing d tening ear hile I h The s ing at my . She s lives w od the say vision ase had tea offered a li howed up y y a d m ry s in my ve rsto of rele e) and p. She their e finally unde elf off from reak. t u o feeling te, of cours stepped u b s my nd I ing a hab na ola close as go company a ’t catc (choc hen Maria me to one w tasks. y couldn w lest of t that every to be in m des caused I felt like I p That’s im s e d d s te p gra the an even ny”. I was u no one wan y slipping chool m t le with high s pa strugg loves com irritable tha uggles, and ore year of o tr m ry s s “mise I became ncial sopho s, fina s. ng my friend ealth issue quent duri fre yh il re m e a w F times Tough

More work from this Artist

In this current state of global uncertainty, in a world that occasionally has stopped making sense to me, I am creating ‘memento vivere’ as reminders toUM live. It is the IPS M E narratives behind the jars, daughters, lemons, statues, R LO emotions and objects and the questions that emerge from the subjects’ juxtapositions that drive my practice.

Through painting, photographing, tearing, sticking, and pasting, new meanings emerge. This is how I currently untangle my world, perpetuating curiosity and energy around me. I am interested in how art and its processes might inspire and uplift while promoting learning and well-being. I document my research in my writing and exhibit what I create while researching as artworks or assemblages. Each piece is a talisman; they are metaphors. Born in London, I grew up between the city and the countryside. During this time, I visited many farflung places and cultures, resulting in an open and curious 130 Back to Index

mind with a love for maternal lore, ecology, and the urban.

Now a London mother/wife/daughter, my multifaceted art practice reflects upon what the everyday in this city can mean. I capture images and ideas using processes involving phenomenology and chance. I studied drawing, painting and printmaking at the Byam Shaw School of Art and decorative arts at the City and Guilds of London Art School. Inspired by the works from the Omega Workshops and the Artists of the Bloomsbury group, I created my praxis, applying paint in the domestic sphere, blurring the boundaries between art and the everyday.

Recently I completed an MFA in Painting from Camberwell UAL and an MA in Arts & Learning from Goldsmiths. I also hold a distinction for my diploma in portraiture awarded by the Royal Society of Portraits Painters and a Merit for my Graduate Diploma in Fine Art from the Royal College of Art.

SiNae Song More work from this Artist

the ongoing environmental crises of the Anthropocene epoch. With speculative scenarios that spur thinking, engagement and action toward a preferable future where multi-species assemblages flourish together, my practice aims to challenge existing human-centred design approaches and develop alternative design paradigms by incorporating non-human entities into our creative activities.

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SiNae is a London-based product designer currently enrolled in Design Products MA at the Royal College of Art. She has 5+ years of experience as a creative director at global marketing agencies, partnering with Netflix, Twitter and Toyota to conduct user studies, trend analyses, marketing and design strategy developments.

Her research focuses on envisioning a symbiotic collaboration between humans and nature to address

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Sooyoung Oh

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Sooyoung Oh is a passionate service designer, a Sooyoung excels in identifying genuine problems, with dedicated design researcher, and a strategic leader. a particular focus on lifestyle and aging issues. She She consistently strives for a deeper understanding firmly believes that the creation of outstanding humanof humans with self-awareness and actively pursues centered service design solutions relies on insightful growth and change by pushing her boundaries questions, which is why she engages in dedicated through challenging experiences. During her studies in research to better understand people. To achieve a OL R E M I P MUS automotive&transportation design at Kookmin University comprehensive understanding of human needs, she guoT nirud tneuqerf erew semit hundertakes m ghumanromohpos yin fo raey e gihkeen tlef I dna loohcs ha I ekil discovered tac t’ndluocshe .kaerb ainhcKorea, interest dedicated research, prioritizing methodologies ym morf ffo flesym esolc ot em desuac sedarg gnippils ym dna ,selggurts laicnanfi ,seussi htlaeh ylimaF centered design processes.

Working as a designer, she such as interviews, observations, and data analysis. f r i e n d s .

I b e c a m e s o i r r i gniyas eht dootsrednu yllanfi I dna ynapmoc ym ni eb ot detnaw eno on taht elbat esim“ aw I .”ynapmoc sevol yrRecently, spu sdesign oyreve taht tethe oba gniog saw enbetween e rieht tucorrelation dyrevclose ah I elihw sevil yathe ot d recognized she has been critically examining traditional .sksat fo tselpmis eht neve htiw elggurts process and business and completed a pre-master’s design thinking processes and, drawing upon her ’tahT u deppets anairaM nehw sinterdisciplinary s ehS .pprofound ohseek a pu dew m tYork p a htiw esuoh yof fo tniUniversity f ymthe erc eci etirovaat inmabusiness to background, collaborating with others gnimlehwrevo ehT .shtnom ni dah t’ndah I gnihtemos – rae gninetsil a dereffo dna )esruoc fo ,etalocohc( into multidisciplinary work in order to develop a f nileeconduct et dah esaeler fo gto m nwod gniwofl srain ecaf yexperiences I emit eht yb dna her at enod sawLeveraging ,gnikldesign. saw anairaM derrulbinsights m ediseb thgir tas anairaM .drow eno yas t’ndid ehS .noisiv ym ni gguh tsuj dna eshe f em debusiness, im wef a roand .setundesign currently engages in ongoing process that uncovers vital questions. Through her time saw ehs taht em dlot ehs pu tog ehs nehw dna dessap dah sruoh ekil leef ti edam su neewteb ecnelis ehT t ereh .em rofat experimentation at RCA Graduate Diploma, contemplating RCA, she aspires to broaden her perspective on design the relationship between humans, art, and design as part and become a practitioner who benefits humanity through of her professional growth as a design practitioner. design.

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and my slipping grades caused me to close myself off from my friends. I became so irritable that no one wanted to be in my company and I finally understood the saying “misery loves company”. I was upset that everyone was going about their everyday lives while I had to struggle with even the simplest of tasks.

she told me that she was there fo The guilt started creeping up and eyes beginning to swell again. W thinking? My friends love me and them away when I needed them 136 Back to Index

Ria Yukta (she/her), is a trans-media designer based in London. Being an ambivert her work is an embodiment of the unsaid and unspoken. Her practice is a hybrid of analogue and digital mediums of design. Being a staunch believer of process emphasis, her approach is a tribrid of Interior, Product and Experimental Communication, giving precedence to materiality, sensory and hybrid mediums.

Ria is also an Ma(IED) student graduating in ‘23. Being an alumni of the Graduate Diploma July ‘21 and graduating

with a distinction, Ria is also a graduate from Lasalle college of the art, Singapore. Her professional scope spans from freelancing for clients in Paris and London to junior designer at an international school in Chennai, India.

Currently she is collaborating with a Rak’s Pallikkoodam, an International school in India to work on a progressive, comprehensive and multi-dimensional sex-education curriculum.

That’s when Mariana stepped up. She showed up at my house with a pint of my favorite ice cream (chocolate, of course) and offered a listening ear – something I hadn’t had in months. The overwhelming feeling of release had tears flowing down my face and by the time I was done talking, Mariana was blurred in my vision. She didn’t say one word.

Mariana’s small act of kindness h effect on me and reminded me of compassion and friendship. It ma has truly changed my life and I a for that pint of chocolate ice crea carry that same compassion with go and show it to anyone, even if whole life story. (CHECK FONT) More work from this Artist

Ria Yukta Shyamsundar

Stone Stewart

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Born to a Japanese mother and Caribbean-American father, I grew up in rural Williamstown, Massachusetts.

Investigating the dialectical relationship of art and design, I oscillate between a designer who makes art and an artist who designs. The evolving multi-disciplinarity of my practice mirrors the ontological exploration of my ancestry and the transience of mixed-race identity. After graduating from an undergraduate curriculum integrating music, engineering, design, and visual arts, I journeyed abroad to live near my Japanese and Caribbean family.

Stopping in Tokyo, Kyoto, and London, my nearly fiveyear international sabbatical established new trajectories in my practice while affording the experience to weave together my disparate heritages. In Kyoto, working as a studio assistant to artist Kohei Nawa, I first cut my teeth as a practitioner and developed a fascination with the expressive properties of materials. This interest continued into my studies in London, where I studied under

quent were fre I fe s e m ti h Toug hool and f high sc designer-maker Alkesh Parmar within the RCA’s h issue year oGraduate ily healt s ca m a F Diploma. Assisting their research of repurposing waste . k brea grade slipping matured my fascination for materiality established and myunderfriends. I beca my Nawa into a reverence. These concurrent experiences my c off from d to be in g “m te n a have led me to employ a similar material-centric w one the sayin approach, where I seek to center a material’sunintrinsic derstood t everyone set tha properties in equal importance to my interventions. e I ha was upThis ves whil li y a d practice leads me to first assume a designer’sevrole.

I ry e s. t of task begin by pursuing a compelling motif or visual,sim then plesstart an iterative process of capturing and recording it. After na s en Maria in h w s some progress, I transition into the artist. In search of a t’ a Th with a p y house ourse) narrative to situate the work within, I reflect on amy t mprocess te, of c and material choices to find parallels that embody (choorcola I hadn’t ha g recontextualize my life experiences and positionality. somethin ing feeling lm These dialectics, the design informing the art, the erwhe ovart e and b n my fac lurred informing the design, I’ve come to comprehend as the o d w was b central locomotion driving my practice.

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More work from this Artist

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e ugged m nd just h s made it a e m e besid een u sat right nce betw she got up Mariana inutes. The sile hen omore ed and w me. few m h s p s a o a r s p fo y d m hours ha e was there for t during uldn’t catch a feel like o c I at sh e k li , l my elt ld me th ggles to u e tr h s s ould fee l c ia I c n d lf a n e n a s fi es, e my eping up was I e to clos tarted cre ell again. What o s n t s push t il aused m a u g th I did wa sw The ll to ritable a ir g d o n in s a n e gin me am nally eyes be ds love ost. y and I fi My frien ? d them m g e compan s company”. I in d k e e in n th I n e v ay whe eir und misery lo them aw about th d a profo f g a h in e o s g th s e s n n e wa ith eve power o t it t of kind uggle w small ac inded me of the ’s a ly, bu n ad to str a ri Ma seem sil teful d rem y n a a m e It m . rever gra effect on n and friendship up d I am fo hug. I now io n d s a e s w a fe o p li h m y s co I am and nged m up. She truly cha hocolate ice cre me everywhere stepped e cream s a ic h te ri c o h v ir f – it e o fa r w t th a y in n e p g sio now nt of m for that compas a listenin I don’t k e d if m re n a e e s v ff t e o ) and e carry tha w it to anyone, nths. Th rs flowing ho ONT) a ad in mo go and s tory. (CHECK F had te , e s g s a in le fe lk g of re whole li s done ta ay me I wa s ti ’t e n th id d y b he vision. S d in my

Sungja Kim

s he wa that s ld me w minutes. to e h s r a fe rred ot up she g gged me fo ana was blu g u when ri d and e and just h talking, Ma verwhelmin e s s a had p ide m done nths. The o ream hours at right bes time I was c in mo te ice s el like by the I hadn’t had f my favori e it fe . Mariana d d a n . a m e rd g m to ce us o r in in fa w n p fo e th y e e e a n there nce betw own m say o – som ouse with ad to ile h didn’t rs flowing d tening ear hile I h The s ing at my . She s lives w od the say vision ase had tea offered a li howed up y y a d m ry s in my ve rsto of rele e) and p. She their e finally unde elf off from reak. t u o feeling te, of cours stepped u b s my nd I ing a hab na ola close as go company a ’t catc (choc hen Maria me to one w tasks. y couldn w lest of t that every to be in m des caused I felt like I p That’s im s e d d s te p gra the an even ny”. I was u no one wan y slipping chool m t le with high s pa strugg loves com irritable tha uggles, and ore year of o tr m ry s s “mise I became ncial sopho s, fina s. ng my friend ealth issue quent duri fre yh il re m e a w F times Tough

More work from this Artist

Sungja Kim (artist name: Seiko Harima) was born in S. Korea and lives and works in Japan, England, and the United States. Her artistic practice expresses the SUM using beauty of nature, through the powerMofIPcolour, RE O L oils on canvas. Her current paintings are contemporary landscape views, with inspiration from the great masters of the past. She has just completed the Graduate Diploma in Fine Art and Design at the Royal College of Art (RCA), London (May-2023). She will continue to study for the Master of Research (MRes) in Fine Art & Humanities program at the Royal College of Art (RCA), London (Fall-2023). Her current academic research at RCA involves expressing the effects of climate change using Lorem oil onIpsum canvas. She completed her MA in Fine Art at the University Lorem Ipsum of Brighton, England (2021). Her MFA research examined the work of J.M.W. Turner, with an emphasis on

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the study of his colour palette. At Brighton, she developed the “Atmospheres and Mists” series of paintings that express the dynamic nature of the atmosphere. She earned a BA in Fine Art from the Nagoya University of the Arts, Japan (2018). Her artistic experience includes both solo and group exhibitions. Her most recent solo exhibition was held at the Kato Eizo and Toichi Memorial Lorem Ipsum Art Museum (Gifu City Museum), Japan (April-June 2022).

22 Lorem Ipsum On March 3, 2023, she 23 received the prestigious 2022 Lorem Ipsum Art and Culture Engagement Award in Gifu, Japan which is bestowed each year to the top contemporary artist in 24 the Gifu. She is a member of LosIpsum Angeles Art Association Lorem 25 Lorem (LAAA) Gallery 825, Beverly Hills,Ipsum California. She has 26 exhibitions Lorem Ipsum at Gallery 825 since participated in two group 27 Lorem Ipsum she joined in May-2023.

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Vlado Nedkov More work from this Artist

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London. He is pursuing his MA in Painting at the RCA and his work is part of private collections internationally.

My expanded painting practice explores iterations of online queer masculinity and the fluidity of memory and experience through a variety of mediums. I am interested in devising systems and constraints, and making sense of the work through that process. I de- and re-contextualize stories with the aim of shifting the viewer’s perception of what “is”. Rather than focusing on a specific outcome, I am most interested in the no man’s land of following a process wherever it may lead.

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Vlado Nedkov is an American-Bulgarian artist, draftsman, and former marketing and communications professional.

He spent a decade spearheading business development for a leading New York boutique public relations firm before focusing on his art practice. He has consulted for lifestyle and fashion brands, film, architecture, and interior design clients, and currently resides in London. He holds a BA in Economics and French from Williams College, an MBA in International Business from Brandeis University’s International Business School, a Certificate in Architecture and Interior Design from Parsons/The New School, and a Graduate Diploma from the Royal College of Art,

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Yashika Goel More work from this Artist

Yashika Goel (b.1999, India) is an interdisciplinary creative practitioner. She graduated with a BA in English Literature from Delhi University, in 2020. Yashika has worked as Digital Marketing professional with an education based non-profit organisation. Working with visual text and narrative framing, she pursued a Graduate Diploma in Art and Design, specialising in Communication Design.

Yashika will begin her MA studies, this fall 2023, in Information Experience Design at the RCA. In her current work, Yashika explores the intersections between privatepublic, self-other, and individual-community dichotomy.

She creates visual dialogues at the centre of self

expression and public interaction. Her field of research deals with subjects of intergenerational trauma, domestic patriarchal structures, systemic yearning, feminist rights, and new age media. She experiments with multiple mediums of photography, video, sculpture, painting, and installation art to create experiences with an authentic visual language. Her recent works include a research and experiment book studying family album and photographs as translators of memory and transgenerational trauma, and digital collages studying intimate and collective yearning across online and offline spaces.

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year times we o r brea f high sc e freque nt k. ho F d a m and ily he ol and I fe uring m m y off fr y slippin alth issu lt like I c sophom o m my fr g grades es, finan ouldn’t c ore one ie c a c M i w t a a n c a r iana unde anted to ds. I bec used me l struggle h a sa f o r t s o r t a o c od t be in m ame so lose s, few t right be wa y h i s f u e p e set th e saying compan rritable th myself l like minutes. side me ev y a e r s y h d e told hours ha The silen and just h ay liv at everyo “misery l and I fin t no sim o d a c n e m p p a e l e s that st of s while I e was go ves comp lly sed a e betwee sh ta n h a i n a e s T d k w s h t . as th d when o str ng about ny”. I e gu Tha ug sh ilt er th e s g t e ’ l s f e y o e r me with eir s beg tarted cr at m when M . ev e i e t y h n i h n t ouse ariana s king? nning to eping up he cho s te w a w M t c h e o e l l l a m again nd I cou te, o ith a pint pped up. awa y friend om ld f y e t w h hen s love me . What w f ing I course) of my fav She sho In we as an ha e o a r r e M n w i d d d t e d e n h a o u d ’ e r a i t f p ed t c ian ll I d I h wn m lming fee had in m fered a li e cream e m effec a’s sma most id w ste on lin y ll t . iana face and g of relea ths. The ning ear comp on me an act of kin – w by s dn d as h word as blurre the time e had tea as tr sion and reminded ess had d in . rs uly a Iw fr m fl m f o y r tha change iendship e of the profoun visio as done owing tp d .I p n t .

S c h a e did alking, rry th int of cho my life an t may se ower of e n a d c ’ t t s g s a a o me c olate ice I am for m silly, b y and o e s c m h r e o whol p a m an ver grate e life w it to a assion d w s i t t h o ry. (C nyone, e me e hug. I no ve v H E C K FO n if I don erywhere N ’t T k n ) o w the i

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Prior to attending the Graduate Diploma program, artist Yonghun Kim graduated with BFA in Design at the School of Visual Arts in New York, won the Grand Prize in Graphic Design at the 39th Grand Art Exhibition of Korea, and participated in leading exhibition projects such as the Busan International Art Fair, Mumbai Biennale, Hong Kong International Design Exhibition, etc. As a multidisciplinary designer who encompasses art in all fields such as media art, visual design, and fine art, publicity, and popularity exist at the centre of his work practice. After the Graduate Diploma program, his practice has now expanded to

Lorem Ipsum include architecture and urban He draws 22contexts.

Lorem Ipsum inspiration based on problems and phenomena 23 Lorem Ipsum related to cities or citizens that extend from the present to the future. Currently, his practice focuses on contextualizing London’s urban problems arising from contemporary to m Ipsum future for urban sustainability;24for Lore example, the saturation of NHS hospitals and lack of25 green space in Central Lore m Ipsum London that urban development has run.

As an emerging 26 Lore m Ipsum practice, he challenges creating a small public 27 Lorem Ipsum green space in a dense urban environment in Central London.

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Yoon Young Jeong More work from this Artist In the past 4 years, I pursued a BA in Craft Art, focusing on the mastery of metal and textile techniques. During this time, I delved into the application of suitable materials that best represented specific themes and their inherent nature. My projects at school primarily revolved around the expression of violence and social conflicts persisting in our society. These experiences have profoundly influenced my current artistic practice, driving me to adopt a more nuanced approach to exploring the impact of social culture and evolving human characteristics. My artistic journey continued through the RCA Graduation Diploma course, where I had the opportunity to explore diverse approaches and develop critical thinking. I engage in a range of creative practices, including film, photography, object-making, installation, and performance. My projects revolve around the intricate relationship between individuals and society, intertwining personal memories and psychological aspects with broader social issues.

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document the ever-changing socio-cultural environment, and express how these factors shape people’s lives. To unveil these concepts, I meticulously record and archive intriguing topics I encounter in my life, ranging from syndromes to peculiar phenomena. I then delve into extensive research within psychological, political, and artistic contexts to investigate associated principles and theories. Drawing inspiration from ‘Magical Realism’, I aim to construct surreal and metaphorical environments that foster audience engagement. By deliberately blurring the line between reality and unreality, I seek to immerse viewers in the artwork, encouraging them to question their perceptions. In my visual interpretations, I employ a blend of critical humour and satire to offer commentary on the standards and cultural trends imposed by the majority and the ruling classes. Through subtle and thoughtprovoking means, I challenge societal conventions and invite viewers to reflect on their roles within the prevailing power structures.

shaden almutlaq

Shaden Almutlaq is a designer researcher and artist based in London and Riyadh, Saudi Arabia. Her research centres on the interplay of traditional narratives and material culture. Through her practice she places an emphasis on the tangible aspects of design, where tactility and craftsmanship assume pivotal roles in her design and research process. As she navigates intuitively through various iterations, encompassing objects, spaces, and performances in her ongoing research project, she utilises symbolic cultural objects and spaces as vehicles to explore and question traditional narratives. She is also currently part of the Snap Inc. x RCA design lab, along

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with a select group of RCA students to explore and expand ethical and creative applications of augmented reality through Snap’s new AR glasses (Spectacles).

In her previous work, she found inspiration in college workshops and the prevalent issue of waste, coupled with a widespread apathy towards it. Her goal was to use fiber waste to create products that serve as catalysts for reimagining our relationship with waste, textiles, and our responsibility in shaping their lifecycles. She graduated with BA in Media Arts from Simmons University in Boston, and spent five years working in marketing prior coming to the RCA.

TEAM CREDITS

DIMITAR SPASOV

dEMIAN sHIPLEYMarshall

TANYA CHATURVEDI

dR Kyung Hwa Shon

Gary Clough

Designer Graduated from the Grad Dip programme in 2022 and went on to complete an MA in Digital Direction at the RCA.

Designer Graduated from the Grad Dip programme in 2023 and is currently enrolled in MA Digital Direction at the RCA

Designer Graduated from the Grad Dip programme in 2022 and went on to complete an MA in Digital Direction at the RCA.

Tutor (Research) in the Grad Dip programme.

She is a crossdiciplinary artist and researcher that engages with a wide range of media.

Head of Grad Dip programe He has a specialist focus in international and transnational education with over 25 years of experiance.

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Alastair Kwan, Emilie Darlet, Qingshan Han, Lynus Woo, Sihan Wang, Taro Qureshi, Alessandra Vargas, Jiaxin Zeng, Weixiang Huang, Iain Christopher McLellan Bastidas, Johann Spindler, Thomas Craig, Meirav Piekarski, Hoon Sim, Evgenia Slyusarenko, Xiaomeng DU, Yashika Goel, Garibli Gunash, Deng Jiao, Jung Jin, Sun Jingjing, Yeuk Claire Poisson, Yanxuan Wang, Wu Chen, Mowen Li, Lu Li, Daniela Rivera, Christina Heng Lee, Linfeng Li, Polina Nochka, Alessandra Vargas, Zihan Zeng, Yuantao Liang, Zeng Zhang Pindiga Ranjith Kumar, Mung Yu Fung, Siohbán Palin, Hyejin Ko, Li Xinyi, Xilong, : Hyun-young Chang, Scarlett Budden, Katie Poon, Miranda Pranoto, Alexandra Jiyeon Kim, Siqi Fang, Shuyuan Gong, Xue Yumeng Yu Leng, Shuyi Zhou, Polina Douvartzidis, Iqra Shafiq Butt, Spring Li, Qiuxia Cui, Hongcheng Pan, Zhiyi Zhou, Fong-Yau Lam, Filippova, Zisu Meng, Jae Lim Chung, Liqiao Zeng, Noora Al Tannak, Priyal Bose, Poorvi Jhaveri, Samantha Joseph, Hyebin Seok, Chiedu Okonta, Rosalie Valentiny, Calvin 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