Fine Art BA (Hons) Brochure 2020

Foreword

02

This impressive catalogue celebrates the graduation of our 2020 BA Fine Art cohort. Those of you who collect these annual publications, which extend back over many years, will notice a revision to our usual opening: this year the book does not accompany a physical show – at least not in 2020. The impact of the COVID-19 pandemic meant an early lockdown of studios was necessary this spring, and a postponement of our usual celebrations at Degree Show became inevitable. Despite this, the students have risen to this unique challenge with tremendous spirit and flair, and have assembled a record of practice and achievement that makes this catalogue second to none. When they look back in years to come at this moment, they will no doubt have poignant feelings about projects that did not culminate as planned, work that had to be completed by other means; but overwhelming there will be a sense of excitement at the raw potential and energy on display – something that will have carried them so much farther than the dull conventions of closure and professional polish.

So on behalf of all the staff that contribute to Fine Art at DMU, I would like to wish our 2020 alumni the very best of luck in their future endeavours. A huge thank you to the academic staff, technicians and support staff whose dedication and encouragement has made this achievement possible; a special thank you to all the students and friends who donated to our principal fundraiser, the Fine Art Auction and to Dickon Dearman of Churchgate Auctions, our master of ceremonies; thank you to the team at Moving for their generosity and expert guidance in assembling this catalogue; to Karishma Berry and the DMU Art and Design Instagram Degree Show team; to Kate Wilkes, our Art Collections Officer, for her support and encouragement; and to all the members of the public and alumni for their contributions.

Finally, to our dedicated and determined student Catalogue Committee for their fantastic effort in bringing this publication to completion under such challenging and unusual circumstances – well done and thank you for this tribute to a very special year.

Andy Price Programme Leader: BA Fine Art

Contents Charlotte Barker Emily Batten Evie Beasley Fern Beasley Lewis Bridge Jarvis Brookfield Maxine Clay Tyla Crowley Kiera Dawkins Saffron Deer Ruby-May Dexter Phoebe Mae Ellis Lauren Emily R. Isla Fannon Bethany Fletcher Yushan Guo Karine Haggag Lauren Hart Katherine Hernon-Johnson Shaun Hogan Maddie Holliday Kristy Hughes Shannon Iero Meg Ignate

06 08 10 12 14 16 18 20 22 24 26 28 30 32 34 36 38 40 42 44 46 48 50 52

Amber Jesson Antonia Jolley Caitlin Kennedy Martha Kingslayer Georgia Kinsella Rachel Lin Sophie Lissaman Dora Lit Alexandra Loizidou Nikoletta Loizidou David Manns Khalil Mayinar Phoebe Millin Jess Oakley Veronika Pagacova Emma Peers Connor Roughton Ollie Scoble Matty Smyth Brydie Teggart Alex Turner Simone Williams Katarzyna Zak Artist Statements

54 56 58 60 62 64 66 68 70 72 74 76 78 80 82 84 86 88 90 92 94 96 98 100–112

Charlotte Barker

06

07

Distorted Generics, Glass and Photographic Paper

Emily Batten

New View, Print on Laser Cut Perspex

08

Evie Beasley

A Force to be Reckoned With Oil on Board

10

11

Fern Beasley

Watching and Waiting Oil on Board

12

13

Lewis Bridge

14

15

Untitled, Plaster and Powder Paint

Jarvis Brookfield

Above — Harbouring Delights, Acrylic on Wood Opposite — Toy Maker, Acrylic on Wood

17

Maxine Clay

Neglect, Cellotape and Spray Paint

18

19

Tyla Crowley

Green Flatlands, Mixed Media

20

21

Kiera Dawkins

22

23

Aalto, Photography

Saffron Deer

Pink Decadence Mixed Media Collage

24

25

Ruby-May Dexter

Catching Rays, Not Corona Acrylic on Plastic

26

27

Phoebe Mae Ellis

CONsume, Moving Image

28

29

Lauren Emily R.

30

31

Opposite — Bird II, Digital Drawing Above — Bird I, Digital Drawing

Isla Fannon

Dysmorphia Silicone, Plaster, Gloss and Paint

32

33

Bethany Fletcher

Glass, Photography

34

35

Yushan Guo

36

37

Opposite — Kirkjufell, Photography Above — Gullfoss Waterfall, Golden Circle, Photography

Karine Haggag

With or Without U, 3D Installation

38

39

Lauren Hart

Uncivilized, Pencil and Charcoal

41

Katherine Hernon-Johnson

Squiggle Meister Digital Edit, Print and Ink

43

Shaun Hogan

45

Just Missed It… Mixed Media Installation

Maddie Holliday

46

47

Still Life II, Photography

Kristy Hughes

Trapped Inside Myself Wire and Rope

49

Shannon Iero

Looking Down Upon Myself Photography

50

51

Meg Ignate

52

53

System Analysis, Moving Image

Amber Jesson

True Things Come to Those Who Wait Pinhole Photography

55

Antonia Jolley

Introspection Watercolour on Paper

56

57

Caitlin Kennedy

Above — Untitled, Fabric sculpture Opposite — Viruses, Fabric sculpture

58

59

Martha Kingslayer

60

61

Opposite — I’m Having So Much Fun, Mixed Media Photography Above — Growing From Shit, Mixed Media Photography

Georgia Kinsella

62

63

Opposite — Blue Square Above — Jellybean, Installation

Rachel Lin

Interactive Abstraction Oil based Relief Inks, Paper and Embroidery Threads

64

65

Sophie Lissaman

66

67

Opposite — Veg Man and Sea Scene, Animation Above — Lemon Sky, Animation

Dora Lit

Taste Good, Carrie Lam Paper, Transfer Print on Cotton, Plaster

68

69

Alexandra Loizidou

Untitled Watercolour on Paper

70

71

Nikoletta Loizidou

72

73

Vertebrae, X-Rays

David Manns

Sentimentality Trap, Mixed Media Diorama

74

75

Khalil Mayinar

Untitled, Analogue Photography

76

77

Phoebe Millin

Huxley’s World Fine Liners on Bristol Paper

78

Jess Oakley

Painting a Performance Acrylic on Canvas

80

81

Veronika Pagacova

82

83

Untitled #1, Digital Collage

Emma Peers

The Pause, Photography

84

85

Connor Roughton

Objectification in the Digital Age Moving Image

86

87

Ollie Scoble

Blinded by Rage, Moving Image

88

89

Matty Smyth

90

91

Opposite — Amber, Oil on Board Above — Portrait at Dusk, Oil on Board

Brydie Teggart

Me, Myself and I, Photography

93

Alex Turner

94

95

Opposite —Dysmorphia, Gouache on Paper Above —On Their Knees, Gouache on Paper

Simone Williams

96

97

Rootz, Collage

Katarzyna Zak

Prison of Mind, Installation

98

99

Artist Statements

Charlotte Barker

06—07

The way in which cameras are used to capture events, which afterwards will only exist as memories as such, is fascinating to me. Previous projects I have created, therefore featured the essence of time displayed through both the past and living in the moment.

My ongoing project is made up of a collection of images, featuring the distortion of my own generic family photos. To accompany my photography means, I used a glass in front of the lens in various ways; many being within the dark room or in the early photographic stages. The images (presented in black and white) are printed using a large format printer, varying in size. » photography_ceb@outlook.com » IG: photography_ceb Emily Batten

08—09

I am a print installation artist, making innovative work by incorporating modern technology such as laser-cut.

My practice looks at the strong correlation between the state of the earth and society, visualising how humans are impacting the natural world. ​The effects of global warming are ever present in the press and media. Within my work, I invite comparison with genres such as journalism; we both share the aim of highlighting the urgency to protect our planet.

I tie together the science and art by creating pieces that motivate activism; my work has the power to make environmentalism visual and a priority in people’s lives. » emilybatten2@gmail.com » IG: emilybattenart_

Evie Beasley Despite advances in science, our earth still has the power to surprise us with unexplainable events. It seems likely we will never know all there is to know about this world, allowing our imaginations to flourish. Working predominantly with oil paint, my work explores the oftenfraught relationship between humans and nature. My paintings contain subtle narratives that serve to highlight the strangeness we sometimes feel when confronting natural phenomena or landscapes. We experience feelings that cannot be explained as if we have become aware of some sublime force that is secretly present. My work also explores how historical events influence the atmosphere of a location, even many years since they occurred. Energy from dramatic situations seems to be absorbed by the materials of a landscape, forever influencing how the area is perceived. Within my paintings, I aim to capture this sense of history and atmosphere in order to highlight the mystery and beauty of our planet while juxtaposing it with this unnerving context. » https://eviebeasley97.wixsite.com/artportfolio

10—11

Fern Beasley Living in England, I have always been fascinated by the history of the British Isles and the myths and legends which guided our ancestors and shaped our culture. Whilst we believe most of these myths to be works of fiction, some continue to influence us, mainly because science has yet to present any alternative and satisfactory solutions to the questions these myths attempted to answer. Because of this, many people continue to believe in the possibility of life after death and, using mythology as a guide, will look for evidence to support this belief. Within my work, I explore the symbolism of birds and how the mythology surrounding them influences our perception of them today. I focus on birds which we tend to view negatively including ravens, crows, and magpies, questioning why we consider them to be sinister and what impact they have on the narratives within my work. » https://fernbeasley97.wixsite.com/artistportfolio

12—13

Lewis Bridge

14—15

My artistic practise intends to explore the abstraction of life. Through the disciplines of drawing and sculpture, I aim to interpret how we respond to and interpret the world around us. The emphasis on naturalism within my work is influenced by the complex interconnections between man and nature and how this particular relationship has been altered within contemporary history. This is a personal response towards the digital age we currently inhabit and how this affects our individual views of the world. The element of abstraction that I apply to my work is purposeful in visualising this disconnection. » https://lfrancisb19.wixsite.com/lbridgeartist » lfrancisb19@gmail.com / IG: lewisbridgeart Jarvis Brookfield

16—17

At the heart of these paintings, there runs a continuous stream of investigating the mystery of the internal world of being human. I find myself drawn to the mythological stories and artefacts of ancient societies which has largely informed my aesthetical sensibility in these new paintings.

In my description of the work, I say “the paintings are like worlds which explore the varying subtle energies of the subconscious mind, that are populated by faceless figures who are at the mercy, wheel of or bearing witness to these enigmatic spaces.” » jarvisbrookfieldart@gmail.com » IG: jarvisbrookfieldartE7 Maxine Clay

18—19

My work is usually made with fragile materials to create sculptural installations based on personal experiences.

The objects are an attempt to show the emotional response to events, such as anxiety and fear. I am particularly interested in the aftermath of an encounter, either natural disasters or manmade events such as domestic violence.

Working mostly with urban sites, the installations are site-specific. Once the works are sited, I create a series of observational drawings in pencil or charcoal from the installations I make. » https://maxifineart.com

Tyla Crowley My practice explores the connection between painting and collage. I appropriated images sourced from high fashion advertisements, investigating into the artificial and paradoxical relationship with the natural and the manmade. I create subtle transitions between the fluidity of paint and enlarged magazine cut outs, using homogenous forms, colours and motifs. I offer a refreshing perspective by recomposing the images; exposing subliminal message which exist beneath their lustre appeal. The multi-layered and ‘pretty’ compositions, fluctuate between pop, designs, abstraction and figuration, leaving enough room for ambiguous interpretations. » IG: ty.crowleyart

20—21

Kiera Dawkins My practice is film and photography based. My current body of work focuses on sounds within water. Sound and water possess similar properties and characteristics such as: waves, vibrations, and their uncontrollable nature.

The use of water gave the work the ability to become visual, and to further highlight, and compliment the audio recordings. Although, both sound and water are difficult to control there are methods of manipulating them. For example, controlling variables such as flow of water, lighting materials, equipment used and background sounds. I have taken inspiration from artists such as Susan Phillpsz, Bill Fontana and Lala Meredith-Vula. Composers Pauline Oliveros and John Cage also heavily influenced my practice. » kieradart@gmail.com / IG: kieradawkinsart

22—23

Saffron Deer My work is about immersing people in colour. I use complimentary shades and a variety of surface textures to create interesting visuals to draw people towards my art and surround them with colour. The imagery created is often intuitive and is inspired by my subconscious associations with the colours I work with. The base colours of my work are chosen spontaneously, whilst the subsequent shades are picked using colour theory. I am drawn to using contrasting colours in my work to create eye catching pieces. » saffrondeersouth@outlook.com / IG: saffrondeer

24—25

Ruby-May Dexter

26—27

I’m a multi-media artist specialising in painting. My work explores the human form and how it is perceived by others in relation to aspects such as emotions, environment and socially. I reference figures from life drawing and my photography looking at the everyday.

In my practice I experiment with lots of media, exploring the properties of different paints and which interact best with alternative background materials as I use translucent materials. In my recent projects I have been investigating the everyday, making my practice more engaging and interactive with the audience employing aspects of traditional and modern techniques and materials.

Phoebe Mae Ellis

28—29

CONsume is a short film, using second-hand footage to highlight humanity’s obsession with consumption. We as the consumer have been coerced into consuming, to buying. It has become our societal norm. We do not buy the products, but we buy capitalism. Footage of landfills discreetly sit as the background, because all what we buy now, that is where it will land. Waste is impacting our environment, as a young artist, I felt this needed be addressed. Wake up to the influence that has a grasp on yourself. » IG: bibi_the_artist Lauren Emily R

30—31

My work employs both physical and digital ways of drawing and painting to create works that encompass a subject matter that is significant to me — such as the conflicting connection between life and death. The way I portray exploration into this subject matter is through morbid imagery of flora and fauna as well as through symbolism or metaphor. » http://laurenemilyartist.com » IG: laurenemily_artist

Isla Fannon As an artist, I am fascinated by the physical fabrication process and methodologies of making. The approach I take when creating my pieces is often extremely methodical and habitual. My drawings and research act as an initial framework for my abstracted sculptural pieces, which often revolve around humanity and its varying complexities. I am primarily fascinated by the amalgamation of science and art, and I use my practice to further connect the two subjects.

My pieces are multifaceted, as I introduce both natural and raw materials juxtaposed with man-made resources, ultimately producing pieces that relate to the fragile and transient nature of the subject matter. My work often has a sense of theatricality, and my assemblages in situ are purposefully commanding within the space to encourage inspection from an audience. The pieces evolve organically, focusing on the often invisible and intangible microfibers of our beings, depicting an imitation of human life in its rawest form. » https://islafannon.wixsite.com/mysite

32—33

Bethany Fletcher I am a photographer specialising in narrative photography.

My staged photographs investigate imagery of glassware, exploring the viewer’s perspective through distortion.

I have explored the idea of subject matter triggering memories and nostalgia, also the representations of place and questioned the relationship between the image and the subjective experience to reconstruct the narrative of the individual history which is depicted. I portray the absence of people; the viewer becomes the missing figure by envisioning their own role in the scene, exaggerating the drama of what the objects could entail.

Taking inspiration from artists like Mary Maclean, Jane Clark, Peter Greenaway and Andreas Gursky — I use staging within my photography for the purpose of visual appearance. » https://bethany19076.wixsite.com/mysite

34—35

Yushan Guo

36—37

Aviation and exploring has been a passion of mine for as long as I remember, and photography came in as a close second. Flying provides a unique point of view. That is something pilots know so well. Having a camera alongside and being able to capture the scenery from above is the ultimate dream for me.

I have always dreamed about places to visit and faces to meet. If I had enough time and money I would travel to every corner of every country and get lost in their culture and traditions. There is just so much for us to learn and see in this beautiful world.

Being an explorer is about having the courage to start a journey that will unveil the most beautiful part of the world, truths and lies about the world as you know it and knowing that if you choose this path you will be faced with so many uncertainties and difficult decisions and challenging days, but you still choose it anyway. » IG: _dannyguo Karine Haggag

38—39

The practice that I have developed during my time at DMU explores themes of cultural identity, belongingness, travel, and place attachment. In earlier work I looked at the realities of being a ‘third culture kid’ and the challenges that come with not having a single place or culture to completely identify with, instead, having an identity built on a collection of different influences, norms, lifestyles, and traditions. I then went further by speaking out on this topic in a more political tone and through looking at what it meant to be a foreign student in the UK and the strict immigration rules and regulations that one can be faced with. Most recently I’ve been exploring the theory of place attachment and looking at the perceived connections and bonds that we create with certain places in our minds and how it can greatly it can affect us when faced with an unwanted move or relocation. » https://karinehaggag3.wixsite.com/mysite-1

Lauren Hart My work is inspired by the ability to document and challenge the idea of perceptions. Using studies of my friends and myself, I am able to examine portraiture exploring form, shape and character with different tones and techniques. Analysing what happens when a face becomes so contorted, we cannot recognize what is going on or who it is. Using materials such as willow charcoal and acrylic paint to capture portraiture within mark making. Every portrait I draw is inspired by an enduring interest in people and the ability to document the notion of temporality before their features return to normal. » laurenharttt@gmail.com » IG: renjpeg

40—41

Katherine Hernon-Johnson I am a sculptress who uses the versatile material, metal, to explore drawing in a 3D and 2D format. My work is influenced by the movement and shapes of birds that have been taken from long exposure photography and direct observation of flight paths. With these shapes, I intuitively explore the relationship between mixed materials and the space they inhabit. The mix of linear lines and organic forms transforms the sculpture into something else. It also defines the individual components, making the chaotic appear ordered for example.

I am creating ‘drawings in space’ which define their own parameters through the relationship of materials and linear lines which embody the same ‘weightlessness’ that flight has, even if the material is rather sturdy; creating ‘space’ with each sculpture. » katherine.hernon.j@gmail.com

42—43

Shaun Hogan

44—45

In my practice I attempt to create sporadic and fluid compositions that create a narrative as you walk throughout the space. I make the pieces large and tall so that they loom over the audience and create an experience and environment for them to walk in.

I use different contrasting materials such as masonry materials like bricks and pipes that appose materials like vibrant fabric sheets and colourful paints and plastics.

Each work appears like the residue of a performance – as if something has taken place before the viewer enters the gallery. From these remains the audience must reconstruct that absent event. » IG: shaunhoganart Maddie Holliday

46—47

Using a DSLR camera, the main focus in the photographs is the fruit which was chosen in relation their representations in different parables in the bible. The selection of fruits used in the photographs elevate the delicate and ephemeral qualities we have as human beings. In traditional 18th century still life paintings, ripe fruits were often used to symbolise abundance, fertility, vitality and youth, whereas decaying or used fruit is symbolic of mortality and inevitable change. The compositions are staged and strategically placed based on classical still life painting. The images in the photographs are deliberately ambiguous in relation to their position within the staging — modernising an otherwise classical, popular genre of art. » mholliday.photography@gmail.com » IG: maddieholliday_art

Kristy Hughes Trapped Inside Myself is a series of wire and rope sculptures that are meant to represent the feelings of victims of sexual assault and rape. Taking in my own experiences, I used the wire and rope to represent a sort of restricted and trapped nature of these emotions and how this could be perceived through other people’s eyes. The sculptures remain headless and limbless in order for anyone, victims or not, to relate to them. This makes the pieces anonymous and can allow anyone to step into the shoes of a victim and feel what they are feeling in the moment. The holes in the top, bottom and heart area are left open as this allows you to almost reach inside as if you could insert yourself in. This topic was very important to me as it is not only personal, but it is a topic that is still extremely prevalent in today’s media. I am not claiming that all victims feel this way in particular because everybody experiences things differently, I just want to be able to get my story out there and to raise awareness of a situation that is still a massive problem for both men and women in society today. » IG: krish.art / FB: krishughesart

48—49

Shannon Lero My photographic work explores an individual’s identity and issues relating to body image. I capture dramatic poses with shadows and sharp contrasts created by artificial lighting.

I use costumes and masks to hide the face in various ways, this provides a degree of safety, a disguise and a way I can pretend to be someone else. The mask raises questions of who the true self is, and further complicates self-reflection. » shannoniero97@gmail.com / IG: myscruffyart Meg Ignate I am interested in contemporary philosophical ideas about the nature of existence and reality as well as more marginal theories. In recent works I explore the idea simulation, consciousness, and subconsciousness, as well as dream, time travel, AI and hyper-reality. My work often begins with a stream of consciousness, written while listening to a philosophical talk. Initially I work intuitively to select clips from YouTube. Once the images are collated, they are edited using Premier Pro to layer the video clips and to add sound. » https://megignate.wixsite.com/mysite

50—51

52—53

Amber Jesson

54—55

True Things Come To Those Who Wait is a prolonged engagement with the unknown. Based on a process that relies on the primitive, fundamental nature of my handcrafted pinhole cameras, my photographs are an exploration into the nature of opportunity and unpredictability. I deliberately avoid capturing that which is easily recognisable in an attempt to challenge the proliferation and immediacy of digital images. Organic and analogue threads of light collect into ambiguous forms, suggestively allowing you to absorb allusions of impossible reconstructions. I am fascinated by the process of how a simple entity can yield such a complex reflection of an unquestionable truth. These are not to be understood as memories, but rather as moments impressionistically collected upon a single photograph. The modest nature of the pinhole cameras permits discretion and opens a portal to capture unseen truths. » https://amberjesson.wixsite.com/amberjesson » amberjessonart@gmail.com / IG: amberjessonart_ Antonia Jolley

56—57

I am a watercolour painter who produces work that revolves heavily around social media. My current work is exploring the introduction of social media influencer culture and its effect on advertising and society. Experimenting with scale and composition, I am currently painting self-portraits placed within normal settings, for example in a bedroom, but I have made myself unusually small. Therefore, the objects surrounding me become intimidating and invasive as they take up most of the composition. This is to visualise the effects social media has on individuals, and how we are a small pawn within this large game we think we are in control of, but really; it is controlling us. » antoniajolleyart@gmail.com » IG: antoniajolleyart

Caitlin Kennedy My art practice investigates the human body, by exploring the hidden diseases, conditions and infections that invade and attack our organs. Living with Endometriosis and IBS has influenced my work tremendously as it encourages me to investigate other hidden and invasive conditions.

My sculptures capture vulnerability and tension within my work due to recognition of their representation and scale. Texture and lighting are extremely important as it enhances the hidden details and reflects cellular patterns.

The lack of colour within my work is crucial as infections and viruses are normally colourless and cannot be seen with a light microscope, due to its size. In order to see the virus dye is added, such as red and blue.

58—59

Martha Kingslayer I am Martha Kingslayer and I am a visual artist that began existing on planet Earth during December 1995. Through a colourful use of text and fun visuals, such as kitsch imagery, handwritten swear words, nudity, eccentric props and clumsy animation, I have created a playful language that I use to disarm the big topics and themes that surround me. I work in a mix of all media, however I mainly specialise in combining photography, illustration, animation, and collage. My practice makes brash and bold visual comments approaching concepts of physical, social, sexual, and mental issues and experiences that I’ve faced throughout the start of early adulthood — present day. » https://www.mkslaye.co.uk » marthakingslayer@gmail.com / IG: mkslaye

60—61

Georgia Kinsella I am a painter and installation artist working in Leicester and Birmingham. I am primarily concerned with creating immersive environments using a variety of materials including paint, fabric and vinyl. My most recent work, titled Jellybean (2020) is site specific, responding to the available space — Jellybean was created in a bedroom and aims to work with the elements of that domestic space. It allows the viewer to explore colour, texture and surface.

The room entices you to go in and like Hansel and Gretel stumbled upon a house made of sweets, the viewer finds themselves immersed in a room of delicious treats. » gkinsellaart.wixsite.com/website / IG: GeorgiaKinsella

62—63

Rachel Lin

64—65

My focus is on printmaking alongside with technical methods of crafts to discover the meaning of colours and forms beyond what they seem within individuals’ thoughts and perception. By producing prints of paper folding origami presents simple colours and forms uncover more about the viewers and myself of the ways of thinking and behaviour as a way of a self-reflection through the paper object. Creating these a book-like paper sculpture is an alternative to reading into a paper object. The structure in a playful book form and the abstraction give a sense of an idea through the folds of the paper, being like a vessel of thoughts. The minimal structured abstract object is made in a characteristic of a book but by removing words, the aspect of retrieving information is done through colour, light and interaction. The making of these pieces was organically folded without much fixed intention of the outcome, as this allowed my subconscious to be integrated within the folding, leaving the viewer to pick out aspects of these hidden thoughts. This provides the sense of a book but in a visual engaging object form.

Sophie Lissaman

66—67

I’m a multimedia artist based in Leicester, in Lemon Life I focus on creating an alternative universe; a comical, colourful paracosm hosted by strange and eerie characters.

In expressing this I made a video by animating my drawings and manipulating a range of materials digitally. The fourand-a-half-minute video starts in a polluted and desolate city, the protagonist is an anxious, fearful, and fluffy pink creature constantly tearful in search of an escape.

Making other worlds highlights the imperfections in our own, the design reflects the desire for change. I hope to have achieved an entertaining and joyful piece that allows the viewer to be released from logic to frolic in the wonderfulness of imagination. » sophieliss@live.co.uk » IG: lady_boneface

Dora Lit I am an installation artist specializing in sculpture and textile printing. My works always respond to social issues, expressing my emotions towards inequality in the world.

I draw inspiration from various forms of social activism, by observing how people react to what is happening in the world.

My production of artwork is a type of passive activism, about political reactions to social issues in parts of the world. My practice involves unearthing the truth; through contextual research; by exploring new materials; and by expressing the ideas in my work. I am inspired by observations through news, time, and the content of political speech. I aim to highlight inequality in society, to create an impact, and draw public awareness to this through my works. I continue to create work through sculpture, painting and print to reflect people’s suffering. » IG: litup_art

68—69

Alexandra Loizidou The inspiration behind my art is based on the emotions, thoughts and feelings that I had during my life. Hard times that made me feel fragile and good times that made me feel happy. My work is made using mixed media like acrylic paint, watercolour’s and charcoal, preferably working on paper instead of canvas because the texture is different.

The use of charcoal emphasizes the main subject of my work with bold and timid marks creating the lining. The choice of colours in my work is the major subject, where I use intense and vivid shades to create depth. Sometimes I work on watercolours because I like the way they blend and sometimes I use acrylic paint as a background. » https://p17224453.wixsite.com/alexandraloizidou

70—71

Nikoletta Loizidou My study focuses on my own experience of pain with having scoliosis. My work interacts with each other to tell the story of my body’s life and its transformation into art. My installation is made from spray-painted cardboard and they are meant to represent a curved spine from different angles. » https://loizidou-niki.wixsite.com/nikiloixidou 72—73

David Manns

74—75

My work is focused around the creation of miniature dioramas. Which depict scenes from a narrative that accompanies them and ties them together chronologically.

I am interested in creating compelling environments and stories, that provoke imaginative engagement from the viewer.

I have created a series of seven dioramas from scratch. They include a set of miniature characters and monsters, which help to set the tone of their scenes and convey movement. They also situate the dioramas at a chronological point in the story. I have primarily taken inspiration from the works of Tessa Farmer. As well as from the The Chapman Brothers and, more loosely, from Goya’s series of etchings.

The shor t stor y is an account of a character’s exploration into the imaginary world my dioramas reside in. I have taken inspiration for the plot from the various literature that I read, but specifically from books such as Mike Nelson’s A Forgotten Kingdom. As well as a community-based website called the SCP Wiki. Both of which include many short stories. I aim to have viewers of my work follow along with the story and its single character. They will be able to decipher the chronology of the dioramas as they are explored. As well as looking out for objects and signs that mark the character’s passing.

Consequently, the dioramas become interactive pieces with the addition of the story » https://fossilgravemind.wixsite.com/mysite Khalil Mayinar

76—78

Art has always been a passion of mine, as it is a means of expressing one’s vision and understanding of the world.

I was born and raised in Leicester, but constantly moving from house to house and from relative to relative. Paired with my ongoing issues with mental health and ADHD, it seems only natural that I would be drawn to the artistic world. To me, art is more than just an expression of oneself, but instead an extension. Art allows us to express and redefine ourselves in a creative and honest means, and I believe that is what my art captures.

Phoebe Millin Focusing my practice on film and drawing, or utilizing the two together, I animate fictional worlds. I create these pieces to express obscure narratives that invoke emotion, designing certain sounds and music to aid the experience.

Composed using fine liners, the fictional worlds I depict are an expression of socio-philosophical ideas.

I merge figuration and abstraction in a kind of ‘stream of consciousness’ to create mental landscapes, conversing with the notions between utopia and dystopia — where dreams meet reality. Animation allows my drawings to convey narratives that enhance my ideas, engaging the visual and auditory senses. Thereby, immersing the viewer in worlds that do not exist. » phoebe.millin@gmail.com » IG: iamthenumber23

78—79

Jess Oakley I am a portrait painter from Leicester influenced by the concept of expressionism. My primary focus is driven by the idea of looking at who a person is, their identity. The importance of this is vital because of the questions that arise from it — knowing who you are seems desirable but is it really? Is it easier to connect?

Portraiture is my focal point because faces interest me; the way you can tell the identity of a person based on their expression or my choice of colour palette. Hands are something that I like to bring into my pieces quite frequently.

I feel like they tell a story and you can see a lot based on how I paint them — the colours, the pose or the composition. The process of my work is to use a black and white photograph in order to create my own colour range rather than rely on its origins. Creating my palette allows me the freedom to dictate the mood and emotions of my portraits and sitters. » https://jkoakley97.wixsite.com/jessicaoakleyart » IG: jessoakleyart_

80—81

Veronika Pagacova

82—83

An experience of universal language delivered to humanity from nature in general is based on the authenticity of a moment which unlocks the mind’s workings, expanding beyond our senses and understanding. My experience is transformed to a contemplation of the circle of life and acts as the most sacred ritual of our existence.

I create three-dimensional installations which use symbolism and examine the human senses in the relationship between people and nature. The installations also interface with ceramics, photography and video.

Medium and art form are explored through manipulation, but do not change the original purpose of the material. » https://nikapagacova.wixsite.com/artist Emma Peers

84—85

Being influenced by Martin Parr and Harry F Conway in creating this self-documentary series, I have become fascinated by the ordinary and the everyday norms.

Thinking about how everyone has their own ‘normal’ everyday routines. As a household we carry our own routines. For example, every Sunday we sit down and eat breakfast together and on that Sunday Mum and Dad never fail at having egg and soldiers for their breakfast. I wanted to create and reflect my home and invite people into my routine by using expired 35mm film and a flash gun to give a washed-out and tired appearance to the photographs. » https://piecesbypeers.wixsite.com » peersemma@gmail.com / IG: pieces.by.peers

Connor Roughton I’m a visual artist working with a range of digital and traditional media, often exploring personal and/or sociopolitical issues through a queer lens, usually resulting in large-scale installation works.

The featured images are stills from a digitally rendered film. There is a direct conversation with issues surrounding the objectification and monetization of women by media platforms. I also explore how modern technology could provide a solution by separating the objectification of women in the real world and moving it to actual (or, in this case, digital) objects, creations and representations. The film itself celebrates the feminine curves and aesthetic values of female bodies that are often idolized by young gay men (see: the stereotypical gay kids playing with Barbies) and exaggerated by drag queens, showing the female form through a glorified gay gaze. » IG: roughtonart

86—87

Ollie Scoble I am a multimedia artist with a focus on lens-based work, especially moving image. My style is adaptive and contemporary, working with a mixture of technological and organic elements to generate a unique style. I use various layered textural elements, both physical and digital, to create expressive audio-visual works that connect with the audience on a more abstractly representative level, immersing them in an intense experience of emotion.

My work attempts to communicate feelings from lived experience, looking at subjects from the inside, both in a contextually exploratory and introspective manner.

I believe the best work comes from your own experiences in life, projecting those feelings and experiences into something more abstract yet contextually related. I create authentic artwork that has real connection with myself and my environment, channelling my influences into a unique creative vision. My work also includes elements of fashion design, producing symbolic piece-specific costumes that communicate ideas in a more texturally representative manner whilst relating the issues to a context by playing off the heavily stereotyped nature of personal image. This allows me to both exaggerate characteristic properties of people or environments, and quickly assimilate the audience with the context of the work. » https://www.olliescoble.com / IG: olliescobleart

88—89

Matty Smyth

90—91

I create paintings through which I attempt to portray emotion and narrative as well exploring the language of paint and what can be done with it.

My main subject for painting is the figure, I use people in my paintings because I think that their expressions through their body and face are very relatable and can portray emotion convincingly and powerfully.

I also experiment with colour, scale, texture, light and setting within the painting to change the feeling and emotional value within each individual artwork.

I find that combining the figure or a portrait with an expressive painting and mark making style can generate an exciting and unique outcome. By doing this I am attempting to find a balance between realistic and abstract painting styles. » mattysmyth1@hotmail.co.uk » IG: matty_smyth_art Brydie Teggart

92—93

My images revel in the visual opulence, theatricality, and playfulness of the Baroque — whilst alluding to contemporary social issues such as the representation of women and gender identity. This subject is targeted by blurring the line between the masculine and feminine roles commonly applied in historical artworks through the swapping of overall appearances, including clothing, body language and the theatrical presence of both sexes in the narrative set-up. Additionally, references to progressive ideologies such as modern technology, tattoos, etc., are also incorporated to create a juxtaposition between the historical and the contemporary. » IG: brydie_tegg_art Alex Turner

94—95

I have a handful of interests when it comes to making art, but currently I am interested in the human experience. I try to look at people from the inside — thoughts memories, fears — and express that through their exterior. » IG: ochre_aches

Simone Williams Inspired by black history and the black experience, my work explores ethnic and cultural identity through the realms of portraiture, colour, and historic pattern. From a young age my environment has always been a source of inspiration. Growing up as a black female artist in the UK, now more than ever, my social and political surroundings have become focal to my craft.

Using compositional placement of both the figure and the background, I present a visual response to the imperial gaze, which tells us as viewers that the white western subject is central to the visual arts.

My work aims to reflect how the journey of a hybridculture effects the contemporary life of Black-British artists today, thus investigation how these formalities are received within a contemporary western art world. » http://simonesherelle.wixsite.com/mysite

96—97

Katarzyna Zak I am a mix-media artist that works across disciplines.

Combining elements of found objects with fabrics and paints allows to create patterns. My current body of work mainly focuses on black and white outlooks as that colour symbolises darkness and light, fear and hope. I’m dedicated to building ideas around the transformation of rubbish throughout interactive installations and prints that anyone can enjoy. By trying to relieve the mosaic of broken fragments in the black & white panorama I want to drown the noises that reign outside of the focussed mind.

The illusions created in my work sometimes provocateuse getting lost just by looking. However, the works illusions allow to bring out specific characteristic marks and the three-dimension aesthetics of individual elements against the black wall remain the feeling of camouflage. Those created delusions forces viewers to consider looking into the work in a hunt for unique details. » ayyooitsketch@gmail.com » IG: k.art_photography

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