FINE ‘25 ART BA (HONS)
DEGREE SHOW
VISUAL ARTS
FINE ART BA (HONS)
GRADUATES OF 2025
Every year, students (and staff) come together to create a temporary community, individuals whose paths intersect often just for a time on their different trajectories. This coming together is also a shared leap of faith in ourselves and in one another, a gesture thrown forward out of sight, not knowing where it will make landfall. On the one hand, there is an abstract entity called “The Fine Art Course”, which exists formally in documents and titles, but you as a community of students help remake that course anew very year. You (along with staff) help shape the course both through your individual journeys and the work that you produce, but also through the community you create together. These relationships, this community remade every year, is also in a very real sense, The Fine Art Course. It is not a static entity but what the poet, Philip Larkin eloquently described as a ‘frail travelling coincidence’.
It is a journey, of course. Let’s call it a voyage into uncharted oceans: you rig the sails, cast off and raise the anchor. Along the way, anything can happen. There are perils and storms, you may have found yourselves becalmed or lost at times, but there are new worlds to be found and treasure too, and of course at the end of the year, the prospect of a collective destination, in the form of your Degree Show, and there is much treasure in This Degree Show.
It has not only been a pleasure and a privilege to have worked with you and to have shared some small part of your individual journeys, it is fascinating to encounter your completed works in the show, and to be able to see what you have conjured out of conversations and experiments, moments of revelation and in many cases hours of hard graft and reflection; to see rough ideas that might once only have existed as a phrase or a rough sketch come to fruition.
Of course, your Degree Show is by no means a final destination, but only really, a temporary point of stasis, before you set off again on what we hope will be other exciting journeys. You leave with our thanks for sharing your aspirations and your ideas with us and our admiration for the hard work, determination and imagination we see reflected in your work.
As we always say, please do keep in touch!
Bon Voyage! The Fine Art Team
@art_aine_lock_
AINE LOCK
aine.lockie7@gmail.com
These artworks are not meant to represent anything concrete or follow a defined narrative. They exist as a visual expression of emotion, movement, and impulse, free from the restrictions of reason or realism. Each brushstroke, each drip of paint is a reaction to the moment, not a plan. I have done this as I want you, the viewer of my work, to read these freely, to form your own connections with the piece through using your own thoughts.
What does it make you think of? How does it make you feel? Does it remind you of anything? My work challenges the need for structure or explanation; it embraces improbability and subjectivity. In this way, it becomes a mirror, reflecting not what I intend, but what each viewer brings to it.
@abitheeartist_
abigaiel.ace@outlook.com
ABIGAIÉL LIWANDA
Echoes of Kinshasa explores inherited memory and fragmented family histories. Inspired by a story shared during a family reunion, the paintings revisit a party from 1980s Congo, retold through joy, gaps, and faded faces. Some figures are faceless, reflecting the artist’s personal distance from that memory and the way time alters our recollections.
Using oil paint, visible pencil marks, and rough edges, the work evokes the texture of remembering where clarity and emotion blur. This series honours Black joy, community, and the quiet power of family stories passed on. In resisting the dominant narrative of Black trauma, the artist reclaims space for celebration, unity, and cultural presence.
ECHOES OF KINSHASA
@alice_toddart
ALICE TODD
alicetodd79@gmail.com
The paintings I have produced involve the deconstruction of photographs, and they show a two-dimensional depiction of fragments of the world around us. I am interested in using a small selection of shapes that I take from the photographs in paintings. When the shapes are used in the same composition, the painting can be related to places with similar characteristics to the places I am basing them on.
The selection enables the paintings to become somewhere people viewing the work could be familiar with, even though they are derived from pictures of a specific place. The pieces are from photographs of Looe and Polperro in Cornwall. Places are important to me as specific places give me the space to refresh after being carried along at the fast speed of life.
LOOE
@alijamesart
ALICIA JAMES
alijamesart@gmail.com
My work visualises the darkness that exists at the lower end of mental health. I use frenetic, expressive gestures as a therapeutic way of navigating these feelings-capturing the unpredictable and uncontrolled nature of mental health struggles. Through abstraction, I aim to communicate these experiences without prescribing how they should be interpreted, allowing each viewer to connect in their own way.
My goal is to raise awareness and give a voice to those who face these challenges, creating a safe space for empathy and understanding through visual expression.
ALICIA JAMES
@amelia_sketche
amelia.ryskaartist@gmail.com
AMELIA W. RYSKA
My work highlights memories of mundane, everyday moments that I experience when I used public transportation. This triptych narrates the story of waiting, riding, and leaving the underground tube. The prints are made from the linocut method because it creates lines that are childlike. I am highlighting simple moments so that life-changing events become even more significant. I was born in Lipno, Poland in 2002, but have been based in Leicester for most of my life.
THE UNDERGROUND TUBE
@anouke_dog
ANOUKE
ANOUKE (b. 2003) currently based in the UK, is a non-binary interdisciplinary artist who primarily uses oil paints. The focus of their work is mental health and related problems. They take inspiration from themselves, as they are a chronically ill artist with multiple disabilities. They want to spread awareness for disabilities that are hidden or unknown to the majority. They are interested in spreading awareness through different platforms. anouke2003art@gmail.com
MALADAPTIVE DAYDREAMING
@archieburrowsart
archieburrows.art@gmail.com
www.archieburrows.co.uk
ARCHIE BURROWS
My portraits are a showcase of nuanced human behaviours, following a deep scrutiny of my subject’s body language in order to capture a particular moment which best describes their character. I use oil paint for its tactile, chalky qualities, allowing me to morph my subjects in a sculptural capacity and exaggerate their key defining human traits arising from posture, eye contact and the way they carry themselves.
Additionally, my process involves the layering and overlapping of thick passages of paint to create purposeful chaos that I can later resolve, helping to construct an expressive painting that compliments the subject. The selected portraits of Chris and Toni reveal two opposing temperaments; one of comfort and ease, and the other exhibiting more awkward, tense behaviour, synonymous with his stiff movements and fleeting stares.
TONI
@handcraftedbyasha
handcraftedbyasha@gmail.com
ASHA ODEDRA
My work is a celebration of culture and identity. I create realistic oil paintings on canvas that depict figures dressed in traditional Indian attire and jewellery, set against western backgrounds to show the cultural divide. Each piece reflects a deep, personal connection to my heritage, where the figure embraces her culture in an environment where it feels unusual to. I explore themes of a longing to return home and celebrating cultural traditions in a world where it feels like home.
Painting allows me to express the beauty I see in the world through the lens of my culture. I aim to evoke emotion in the viewer; perhaps a sense of longing, recognition, or curiosity. Through my art I hope to preserve and share the emotional beauty of my culture, connecting with viewers through stories painted in light, colour and form.
PEHCHAAN
@one_hundred_hues
temp-blregvquavkdhiurhhls.webadorsite.com
ASMA FARAZ
My work focuses on preserving flowers and their ephemeral beauty. I visualise this by using various methods of preservation, my focus being on clay imprints. Using ceramic clay, I am able to capture flowers’ intricate details and highlight them using acrylic paint. Other methods of preservation I have experimented with are resin and lino prints. By carving a lino print, I was able to create an infinite number of prints.
I am interested in exploring more methods of preservation on a larger scale as I continue my journey as an artist. One method I would explore is to create a sculpture/mould of flowers and fill the mould with cement. As cliché as it sounds, I hope my work sends this message to the audience: to appreciate nature as it is, especially in this time of climate crisis.
EPHEMERALITY
@beehiveofart
BEE DEACON
This project unfolds through intricate pen-based illustrations that explore a surreal narrative set in the vast stillness of space. At its heart is an astronaut adrift encountering jellyfish and stingrays that float with an uncanny grace through the cosmos. Each drawing is densely detailed, using fine lines and layered mark-making to create immersive, otherworldly scenes. The use of pen is intentional: its permanence reflects the fragility and precision of navigating both the physical and emotional unknown.
As a neurodivergent artist, my process is deeply intuitive and obsessive; I follow hyperfixation as a compass, allowing ideas to grow organically through the act of drawing. The astronaut becomes a vessel for themes of isolation, curiosity, and resilience, while marine life serves as metaphor for memory, vulnerability, and survival. These works invite viewers to pause, examine, and drift with the imagery finding meaning in the slow, meditative accumulation of line and narrative. whitetailbee@gmail.com
NEBULA’S LIGHT
@bridgethyland
bridget3hyland@gmail.com
BRIDGET HYLAND
While it is inherent in humans to present themselves as cosmopolitan and aspire to a perceived superior status, I explore how this tendency causes the loss of cultural identity within non-Western communities. Each work highlights different events driving the loss of language and culture, including the fetishisation of objects
at the expense of genuine human relationships, deterritorialisation, the destruction of sacred land vital to indigenous culture caused by the development of unsustainable and politically biased infrastructures, and the complex impacts of migration.
BRIDGET HYLAND
@blimbert.art
brookelimbert24@icloud.com
BROOKE LIMBERT
My name is Brooke Limbert. Based in Derby, I work in oil and acrylic and sometimes use textile techniques within my work. My practice reflects on the slippery nature of memory, especially in relation to childhood and personal history. Through painting and layered fabric, I explore how memories are fragmented, reconstructed, and sometimes distorted over time. Drawing from personal photographs, I reimagine everyday scenes and moments once vivid, now blurred or incomplete.
BROOKE LIMBERT
@caitlinbrayart
caitlinbrayart.mobirisesite.com
CAITLIN BRAY
In our contemporary world where hustle culture is rife and technology has rapidly infiltrated our lives with a bombardment of constant overstimulation, I craft spaces which evoke both comfort and contemplation. Weaving together otherworldly soundscapes and ethereal layered visuals, I encourage viewers to delve into their imaginations, lean into play and radically enjoy life. Radical Dance uses screen-dance as a love letter to self-empowerment. Inspired by pioneers of expressionist
dance Isadora Duncan and Mary Wigman, as well as performance art by Andrew Logan and Yayoi Kusama - it uses movement, costume and melody to create a space of solace and freedom. If an image is enlarged and projected, it creates an intimacy by allowing the viewer to be submerged in its pixels. This intimacy is all the more important amidst the chaos of the digital age as we feel a tension between the virtual and the material world.
@avalanti
caseyleighatkinson.wixsite.com/avalanti
CASEY LEIGH ATKINSON
Act One: Capture - The tranquility and comfort you once knew, locked away forever. You are scarred, stained by the loss.
Act Two: Growth - The fear, anger, sadness - it swells within you and fractures. You feel the splinters digging into your flesh.
Act Three: Cloak - You go about daily life, your darkness following you in a shadowy trail. Endless. It snags on rocks.
Act Four: Veil - Entirely consumed. You no longer feel... it’s odd. I think I’ll sleep a while.
Act Five: Swamp - Total. Coverage.
Swamp (2025) is a film which explores grief, depression and fatigue through the lens of a monstrous transformation. Inspired by 1920s expressionist film, this piece dedicates itself to portraying raw inner emotions into a visual work.
@catherineuff_art
catherineuff.my.canva.site
CATHERINE UFF
Domestic spaces function as supposedly private environments. Private from external observation, but at what point does the home become a stage for performing femininity? Scrutiny, expectations, rituals, and routine are themes explored within my practice, and I engage with these concepts through textile-based installations. I explore the layering of domestic imagery, particularly self-portraiture, windows, and curtains, which function as symbols of the external gaze and the internal masquerade. Using dye sublimation to print these images directly onto the lace forms a binding of layers; image and material become one, and the physicality of the home and its scrutiny become blurred.
My work revisits the commodification of femininity through a contemporary lens of mass production and embedded social norms. While postfeminism acknowledges the importance of autonomy, this sense of freedom occurs under a capitalist framework of consumerism, self-improvement, and beauty standards - not only within social media, but also within the home. My practice aims to critique how contemporary society has overlooked these domestic sites as key elements to continued misogyny. Women are simultaneously crafting the textiles which maintain the domestic space as a site of surveillance, adorning the home while subjecting it to scrutiny and suppression.
TENDING
@celia.read.artist
CELIA READ
celiaread@mac.com
The fragile rice paper dances on the breeze, its delicate fibres wafting and twisting in a poignant metaphor for the fading memories of my father’s mind. Stitched together with gossamer threads, the paper panels flutter and sway, each a testament to the gradual unraveling of his once-vibrant identity. Printed upon the paper are fragments of pianola rolls, their perforated patterns a coded record of melodies long since silenced. These musical remnants, hanging from slender copper rods, echo the diminishing soundtrack of my father’s life, the familiar tunes and rhythms becoming increasingly elusive.
Yet, in the moments when the breeze subsides and the paper stills, I glimpse flashes of my father’s essence in a faint melody, a ghostly impression, a fleeting connection to the person he once was. These ephemeral fragments, stitched together with delicate threads, serve as a poignant reminder of the preciousness and fragility of the human mind.
A FAINT MELODY
@ebonysky_art
EBONY WATT
ebonysky4.wixsite.com/my-site-3
My installation examines the nuanced ways in which scent and touch connect us to memory, place, and the body. Working with concrete, terracotta, and essential oils, I construct sensory sculptures that invite slow, intimate encounters. These hand-formed objects activate senses that are often overlooked in gallery spaces.
In Hard Enough to Smell , I interrogate the tension between permanence and sensory ephemerality, considering how something seemingly enduring can simultaneously evoke fleeting, transient experiences.
Concrete and terracotta suggest solidity, while scent fades, shifts, and eventually disappears. I welcome the natural decay of my work: cracks, crumbling surfaces, and dissipating fragrance- as a reflection of how memory itself is fragile, fragmentary, and shaped by time. Rather than preserving an ideal form, I allow each piece to change and deteriorate. This transformation is part of the work. Through these sensory sculptures, memory is made tangible; fragile, and shifting, present even as it fades.
HARD ENOUGH TO SMELL
@emilys_art2025
EMILY PATERSON
Whispered Traces is a series of abstract paintings on raw canvas in which singular acrylic gestures dance across the open space. The minimal marks represent the quiet yet persistent presence of restrained female emotion within a society that limits this expression. The works aim to open a space for conversations and reflection about this emotional suppression.
WHISPERED TRACES
@erinmvisuals
erinmvisuals.co.uk
ERIN MCDOUGALL
My practice revolves around an intrigue to create characters, using exaggerated features and theatrical narratives as the avenues to expressing this. Sketching without the constraints of realism, I aim for an amplified ideal of anatomy and colour palettes of figures to display my fascination with an abstracted figurative view. Subconsciously, I have discovered that the materiality and colour arrangements I am drawn to during projects act as metaphor for the story or figures I am trying to portray, using the physical properties of each medium to highlight this intersection.
These characters have come to fruition in both 3D and 2D expressions, with my passion for ceramics and drawing acting as the primary points of exploration in my work. Thematically, I am often inspired by environments and spaces and how the figures, objects, and design choices within them create an emotional response for audiences, whether that be consciously or unknowingly.
ERIN MCDOUGALL
@xfreya.artx
freyaj19@aol.com
FREYA BROUGHTON
The pieces of work in my collection Distant Yet Familiar all aim to explore feelings of calm and nostalgia through memories and how they inevitably distort over time, transforming into something new. Using pixelation as my main technique, I emphasize the way memories change, becoming less recognizable.
By using the pixelation technique on my own personal imagery I am inviting viewers to connect with their own memories. My approach to this project is inspired by Dan Hays, whose use of colour and distortion works well with the ideas I want to portray.
DISTANT YET FAMILIAR
@gk_gatheca_fineart
gkgatheca69@gmail.com
GEORGE KAMAU GATHECA
Stream of Rebirth & The Masquerade Dance. Kamau’s work pulsates with the vibrancy of multiculturalism of a kaleidoscope of colour, rhythm, and spirit. Stream of Rebirth rises gently from transparent plastic and Dutch wax cloth of a nurturing maternal figure carrying not just a child, but the hope of a future woven from many stories and cultures. The Masquerade Dance is a frontierfree celebration of movement.
Open-formed figure sway to Kikuyu Ngemi (ululation), ancestral drums, and cosmic rhythms of no confines, no labels, only shared joy and connection. Kamau’s art extends an open invitation to all, urging us to step forward, move together, and envision a world united by harmony and strength.
STREAM OF REBIRTH AND THE MASQUERADE DANCE
@georgiaduv_art
georgiaduv03@gmail.com
GEORGIA GROCOCK
Bradgate Park is an installation of works that explores the emotional, historical, and environmental resonance of Bradgate Park in Leicestershire through a large-scale monochromatic painting and 16 plein air ink drawings created with stream water. Combining studio-based painting and on-site drawing, Georgia investigates how landscapes holds memory, transformation, and the persistent power of nature. The ruins of Bradgate House, once a site of human presence, are rendered small within the vastness of nature, symbolising decay, endurance, and nature’s quiet dominance in contemporary times.
Her gestural brushstrokes suggest movement and change, while the warm black-and-white palette evokes stillness and reflection. Influenced by artists such as Emma Stibbon, Anselm Kiefer, John Virtue, and Tacita Dean, her work engages with post-landscape theory and eco-materialist approaches. By drawing directly from the land, Georgia seeks to create a reflective space where memory, material, and landscape intersect, encouraging viewers to reconsider their own relationship with place and time.
BRADGATE PARK
@goldys_creations
GOLDY
A rave is more than just a party, it is a space for memories, love, healing and community. CAN YOU FEEL IT is an immersive video installation recreating the emotional representation of the rave community through projected visuals and original sound, merging imagery of raves, cemeteries, and light displays. The work explores themes of connection, community, and the ethereal nature of collective experiences within the rave culture. My work bridges the boundaries of sound and video art by drawing from my own personal experiences and rave culture throughout history.
Joy and pain frequently coexist and what interests me is how underground techno spaces hold collective emotional connection and understanding within these communities. This piece a visual tribute and love letter to the often-misinterpreted beauty of rave culture and its function as a safe haven for those looking for movement, community, and expression without judgement.
CAN YOU FEEL IT
@prog__frog
gracegrimmett@outlook.com
GRACE GRIMMETT
Drawing, whether through line work or stippling is the fundamental starting point of everything I create. My work is rooted in nostalgia and memory, acting as both comfort and confrontation. It holds space for reflection on moments of joy as well as trauma. This juxtaposition of a living organism and still imagery embodies the psychological conflict between destruction and resilience in the face of trauma, while simultaneously drawing on the surrealist influences. The pieces are metaphorical representations of the mental and physical battle of psychological recovery on the body.
The oyster mushrooms are a living and enlarging representation of the size of trauma within the body, and what it could look like if it was physically expelled. The largest piece, depicting flowers, rose, lavender and jasmine, holds deep significance. This represents coming out of a dark, traumatic state and stepping into the light of healing. The piece represents the humble yet vulnerable state of recovery and journey towards wholeness.
THE PROCESS OF HEALING
@hunny.bunpress
hunnybunpress.wixsite.com/my-site-1
HANA CALI-CLARKE
This project explores escapism through portals into imagined worlds. A darkened room contains a freestanding door which, when opened, leads the viewer along a lit path to a painting. The act of opening the door and walking towards the image becomes a physical metaphor for crossing into another world. The painting, a warm and surreal interior, represents the destination, a dreamlike, atmospheric space that blurs reality and fiction. This shared, theoretical experience contrasts with my stereoscopic image work, which offers a more solitary encounter.
Viewed through a stereoscope, these images immerse the viewer more fully, creating the illusion of standing within the painted world. While the installation invited movement and collective wonder, the stereoscopic works pull the viewer inward.
Both approaches aim to disrupt the boundaries between real and imagined spaces, offering different forms of escape through light, image, and illusion.
THE ROOM BEYOND
@scrongo.art
HATTIE MORRIS
As an artist, my practice focuses on emotional contradiction, performative identity, and the quiet discomfort of growing up. This project explores the fear of ageing and the unsettling feeling of existing in an ‘inbetween’ space, where we begin to take on roles we aren’t ready for, whilst still clinging to the parts of ourselves we are expected to leave behind. Using staged photography and painting, I constructed scenes that blur the lines between childhood and adulthood.
Costume and setting became tools to explore emotional dissonance, with figures caught between comfort and expectation. My aim was not to resolve these feelings, but to hold space for them, making visible the emotional labour that often goes unnoticed. This work reflects my ongoing interest in how identity is shaped by social roles, and how visual language can be used to express the unspoken tensions of becoming, what we lose, what we perform, and what we carry with us.
MY PITY PARTY
@a.bean.doodles
hmbrooker.wixsite.com/mysite
HEATHER BROOKER
I’m interested in autistic joy, and how that manifests for me within my life and my art. Flowers are the theme of my life, the theme of my art, they adorn my body and there is a part of me in every piece I make, but especially this one. I used acrylic paints and pens to create large, bright, simply drawn flowers. I hope that you, the viewer can feel even a small amount of joy when you see my work, and know that I too, have cultivated an immense amount of joy making it.
HEATHER BROOKER
@hunterlandor
hunterlandor@gmail.com
HUNTER GARRATT
My practice explores the emotional and physical effects of childhood trauma and mental health through the body. This series of self-portraits moves through three phases: the left column shows me with comfort items, grasping for safety; the centre column depicts states such as dissociation, sensory overload, and panic; and the right column shows the aftermath, stillness, tension, and the feeling of being flooded with adrenaline but unable to move.
Each drawing captures a specific emotional experience with clarity and restraint, avoiding distortion in favour of presence. Using pastels and charcoal on toned paper, I’ve created intimate, quiet reflections on survival, vulnerability, and internal regulation.
EXPLORING THE DARKNESS
@paintsofbella
isabellaknader20.wixsite.com/bella-paints
ISABELLA NADER
My work navigates the complexities of hybrid identity, shaped by the intersection of cultures, languages, and memory. I often find myself caught between worlds; never fully belonging to one or the other, which fuels a quiet sadness that echoes through my practice. Through mixed media, found objects, and layered imagery, I revisit the innocence and wonder of childhood. These pieces serve as portals, inviting both myself and the viewer to return to a time unburdened by the weight of adulthood.
I cherish the memories, the textures, and the intimate objects that once held profound meaning. In reconstructing these fragments, I attempt to preserve a part of myself that feels increasingly distant. My work is not just a reflection of who I am, but a longing for who I once was, and a hope that in remembering, I can heal.
CHILDHOOD MEMORIES
@irlarkeart
www.izzylarke.com
ISABELLE LARKE
Ethereal. Tactile. Reflective. These are the words that frame my practice as my main creative goal. I primarily focus my practice on serenity and sensory experiences with the belief that art should evoke an emotional response. Experimenting with fabric and glass to produce contrast between hard and soft textures evolved into using fabric, glass and sound to create sensory experiences that bring the audience closer to the work.
This work envisions the emotions of grief and loss and how the pain shrinks and trickles down. The glass highlights the beauty and the clarity of the healing process. Using installation and interactive qualities within contemporary art, I am able to break the barrier between the art and the audience in the gallery space.
LETTING GO
JACK LIVINGSTONE
JACK LIVINGSTONE
@_deysol
jermaine.johnson.0470@gmail.com
JERMAINE JOHNSON
Words have always been on the backfoot for artists. Leading to a reliance on detailed imagery and knowing the artist, so their message is rightfully understood. Without subsequent phrasing there is an evident blank space of interpretation, space that I wanted to be occupied. Unlike a lot of other artists my words aren’t aiming to change the landscape or leave a life-long impression, but to poke fun at the culture I have seen evolve instead.
That culture being the focus of cars and the variation throughout one’s life. This isn’t just about ownership but also admiration and appreciation for some of these machines that we can only dream of seeing. With a side note of credit to the media during our respective times that outwardly influences future colour and livery choices.
JERMAINE JOHNSON
@kai.hassell.sculpture
kaihass17@gmail.com
KAI HASSELL
Sculpture; it has become a very conceptual playground of possibilities. Not all I agree on, but what I trust in is the thrills of creating an object to be perceived. To flourish in the hardships and technicality of creating something with tools and the skill of your own hands. Conceptuality is second to the challenges of the craft. For the last 2 years, my work has specialised in metal. Through fabricating, MiG welding, torching and forging, through blood, sweat, cuts and
burns comes the sculpture Evolution Through the fragility of the human body and its resilience to survive and thrive comes our evolution. Technology has become a backbone to society. Through its advancement comes our dependency. As the human body falls to its fragility, its age, illnesses and injuries, in comes our mind’s solutions. Augmentation. Replace the fragility, with that of technology to up hold the backbone of our evolution.
EVOLUTION
@_m.k.arts_04_
karys.arts004@gmail.com
KARYS MESZAROS
The most important part of my art is all about bringing colour and playfulness to the forefront, highlighting things that often get overlooked. I love using bold colours and patterns because they create lively, positive vibes. My aim is to challenge and redefine traditional beauty standards with bright, diverse subjects.
Inspired by Greek and Roman sculptures, I incorporate a mix of clean lines to create a sense of balance into my work. This blend of classic and modern styles is meant to stir emotions and spark thoughts, helping viewers find beauty in the little details that usually go unnoticed.
KARYS MESZAROS
@ktbevanart_
kabevan15.wixsite.com/katiebevanartist
KATIE WALKER-BEVAN
Dreams are difficult to remember and place - my paintings capture those fading memories in a single composition. Blending vibrant colours and unsettling imagery, I combine digital techniques with traditional oil painting to evoke a realistic yet surreal atmosphere. As a mixed media artist, pushing the boundaries of the media I am working with is a vital part of exploration into the ways we see the world. Themes surrounding the mind reoccur throughout my artwork, inviting the viewer to explore them with me.
Dreaming still appearing in contemporary art poses the question ‘why is surrealism still relevant?’ We, as artists and as people, live in a society where sleep is often seen as an escape from the constant labour; we are drawn to the unknown and fantasy worlds. It’s understandable that so many people, all with unique dreams, turn to this topic to explore and express ourselves.
KATIE WALKER-BEVAN
@lamsartwork_
LAURA SENE
laurasene@hotmail.co.uk
This installation memorializes the sharing of a biscuit and dunking it into tea with no milk. Exploring the themes of play and the physicality of nostalgia momentum that’s inviting, joyful and comforting. My aim is to connect others to the comfort of the little memories which are forgotten in the everyday life. My work is a form of exploring my multicultural background blending aspects from different cultures into one.
The white noise of conversation afuera en el patio, the sun is still out, birds flying, the children playing in the pools, dogs barking, the shower running upstairs, the neighbors’ BBQ smoke in the air, biscuits in hand, the afternoon breeze, the moment I would go back to sit on one of those chairs surrounded by donde naci.
LA HORA DEL TÉ
LAUREN JACKSON
Water remains a central metaphor in Lauren’s practice, symbolizing exhaustion and the weight of fatigue on both body and mind. While realism still plays a role, Jackson embraces elements of abstraction and movement to communicate the emotional and physical toll of chronic illness. Her palette tends to be neutral, often featuring dark greens and turquoise contrasted against the pale skin of a recurring central figure, a representation of herself.
Through her art, Jackson not only conveys her personal experiences but also creates space for collective understanding, aiming to make the invisible more visible and to remind others that they are not alone.
LAUREN JACKSON
@libby.williams.art
libbywilliamsart.co.uk
LIBBY WILLIAMS
My work revolves around memories, particularly fragmented, emotional, and disjointed recollections of childhood, explored through my memories of my family and seashells. Detailed dry points layered with gold mirrored foiling, and manipulated photographic mobiles have allowed me to create an environment in which my viewer can step into, and become surrounded by.
I want viewers to project their own experiences into these spaces, to reflect on their personal memories and reconnect with them. Through handcrafted detail, immersive structures, and layered material, I invite people to slow down, to feel, and to reflect.
MY SHELL
@louise.vickers.art
louise.vickers200221@gmail.com
LOUISE VICKERS
Growing up with so many siblings meant that to keep track of our belongings we had a colour system for items such as toothbrush bags, lunch boxes and coats. I now associate these colours with each sibling when thinking back on old memories. My portraits use this colour association to explore the importance of childhood relationships and shared comfort.
By capturing single moments in time and stripping them back to isolate my siblings, I am able to highlight the forgotten passages of time and instead focus on their truthful character, encouraging the audience to explore interaction and connection that is the focus of my work.
I REMEMBER YOU IN COLOUR
@phrykephotography
ljs_drawings@outlook.com
LUCA PICCINNO
What happens when recognition becomes a dream? What happens when the darkness at the edge of potential is poked and prodded? What happens when we find the deep things and all their gifts, and let these gifts take us beyond the light? These gifts, this knowledge, these experiences can give birth to beautiful and powerful things; things we should harness and explore,
but things we must understand do not walk in the world of the natural, but things that possess alien yet familiar forms that we will fear and shun. Find this power. Use it. Control it. You have no idea what gifts the feared corners of human possibility can give.
THE DEEP
machakkngart.wordpress.com
MACHA BARNDEN
I am the object. I am an exhibit. My position implies relation. Matter is what matters. I exist within and without. I am shut away and on display. I will enhabit. Endure. Enclosed. Anchored. From Ancrene Contemporanie.
Macha Barnden makes art situated in being together, in space, through time. Conceptually driven, her multidisciplinary approach is practice-based, drawing from diverse academic fields. Inventive, dynamic and reflective, her work explores womanhood and creativity, often invoking imagined selves. She undertakes activist enquiry and
interventions located at the interface of installation, live art, sculpture, and participation. Anchorhold (2025) reimagines a medieval anchorite dwelling constructed and inhabited by the artist. Paradoxically manifesting and challenging ideas of isolation and exclusion, this work explores creativity as resistance in relation to traditional patriarchal structures. The residency is governed by Ancrene Contemporanie , inspired by field research, medieval anchorite guide Ancrene Wisse, and proto-feminists Margery Kempe and Julian of Norwich.
ANCHORHOLD
@mpontifexprice
morgan.price@hotmail.co.uk
MORGAN PONTIFEX-PRICE
Whilst tightly knit into the threads of critical theory, my artwork predominantly takes inspiration from the Surrealists as I explore the archaic portrait of the feminine and its profound duality. In both my writing and artistic practice, I confront, dissect, and deconstruct phallocentrism through a lens embedded in the feminine uncanny to shift cultural discourse, often addressing issues of reproductive health and violence against women.
There is a calculated authority as I toy with art’s innate subjectiveness, and as I unite the disconcerting image with tranquil tones, my manipulation of uncanny strategies enables me to build sculptures that demand a second furtive glance, beckoning towards the intrinsic human desire to know.
REPRODUCING TRUTHS: THE VESSEL
@nicolegoodhewart
nicolegoodhew9.wixsite.com/nicole-goodhew-1
NICOLE GOODHEW
My journey as an artist began with a deep curiosity to express myself in a creative way. From a young age I was always drawn to drawing and painting, finding it a creative way of exploring the world around me and reflecting the emotions I had within me. What started as a personal outlet soon became a lifelong pursuit of creativity. At the heart of my work is a strong commitment to authenticity, animal welfare rights and environmental awareness to shape the pieces that resonate on a deeper level.
I consistently return to the themes of Biodiversity, Extinction and Human impact on the planet using oil paint as a vehicle to engage, challenge, and connect with my audience. What sets my work apart is not just its visual language, but the way it holds space for complexity - balancing softness with strength, stillness with motion, beauty with raw honesty. I don’t just make art to be seen; I make art to be felt.
AFRICAN GREY
@nicoleharrison.art
NICOLE HARRISON
British artist, Nicole Harrison, creates mixed media collages, in combination with burnt willow drawings and photomontages, that are manipulated using photoshop. She explores themes involving suburban environments, by blending the urban and the rural in order to disrupt two different worlds. The goal of the work is to disorient the viewer as a form of escapism, like Deja vu, she tries to capture the essence of both environments and blend them together in order to represent the tension between the two domains. She is passionate about ‘edge lands’, the borders
between both urban and rural landscapes and exploring new realities and amalgamate these within her practice. The photomontage imagery is independently sourced by Harrison, from places within the UK, ranging from North Devon to the Midlands, these locations are of an importance to her and hold cherished memories from childhood to present day. Harrison aligns her work with artists such as, Tobias Løfgren, to evoke feelings like nostalgia and reflecting or yearning for lone gone memories in time.
SPECTRUM
@oliviavictoriaart
oliviavictoriaart00@gmail.com
OLIVIA MULLAR
In this series, my work focuses on human connections and capturing moments of intimacy. I want to illustrate the importance of relationships and the significance of everyday interactions. My work is built from unguarded, unnoticed moments and quiet connections that are not staged. It is the simplicity in these raw and unfiltered moments that highlight genuine affection and relationships. Capturing these fleeting and tender moments is important because they demonstrate the essence of what it means to be human.
We live in an age where so much of our lives are carefully curated with a desire to appear to have the “perfect life”. Images are posed, polished and often filtered; authenticity is scarified in the quest for perfection. I have purposefully celebrated interactions that would often be overlooked by others. It is these unguarded and unfiltered interactions that represent a quieter truth. These paintings represent warmth, kindness, tenderness and effortless unity.
HUMAN CONNECTION
@originalartistry.x
q.daud.1802@icloud.com
QURATULAIN DAUD
This work explores the fragility and distortion of memory through scanner-based image-making. Using found and personal photographs , objects saturated with emotion and history, I manipulate them physically and digitally, creating scannergrams that blur, stretch, and disrupt the original image. By crumpling, folding, or moving the photo during the scanning process, I introduce visual glitches that echo the way memory distorts over time. Each image becomes a fragment of an unreliable narrativelayered, ambiguous, and incomplete.
These interventions aren’t about destruction but reinterpretation; they serve as acts of remembering, questioning, and reconfiguring. The work sits between photography and installation, using low-tech tools to probe high-concept ideas of identity, momentariness, and emotional resonance. Through these manipulated images, I invite viewers to confront the tension between preservation and loss, surface and depth, what is remembered and what is forgotten.
THE UNFOLDING ARCHIVE
@nuths.art
nuthsart.wixsite.com/nuthsart-2
RACHEL NUTH
Through my practice, I explore hybridity and cultural identity, often using personal narratives to reflect on broader social themes. This work centres on my mother, a firstgeneration immigrant from the Philippines to Britain, using portraiture to navigate complexities of migration, belonging, and dual identity. By placing her in traditional Filipiniana dress, standing between two domestic landscapes. One from a home in the Philippines, the other a British terrace house. The visual contrast highlights cultural duality and the tension between heritage and assimilation.
The subtle inclusion of national symbols, such as the St George’s flag, reframes patriotism from an immigrant’s perspective, challenging stereotypes and celebrating resilience. This project draws from interviews and lived experience, blending photography and painting to present an evolving concept of ‘home’ shaped by love, sacrifice, and culture. My work seeks to question what it means to belong, and how identity can transform yet remain rooted across spaces.
NEITHER HERE NOR THERE
@rajpreets_artgallery
rajpreet.kalsi2002@gmail.com
RAJPREET KALSI
Rajpreet Kalsi is a British-Asian fine artist whose work explores themes of identity, migration and memory through a diasporic lens. Her recent project, Where Are You Really From? (2025) combines oil-painted portraits on MDF board with a lino print wall installation inspired by the traditional Punjabi textile Phulkari. Through the layering of materials, she investigates hybridity, generational disconnection and the complexity of assimilation, drawing from her experience as a second generation immigrant and her heritage across Punjab, Kenya and England.
Kalsi’s practice reflects on how identity is shaped, fragmented and expressed across generations within a family. This is particularly evident in her portrait paintings of her Babaji (grandfather), where differences in appearance among the men reflect the influence of Western culture, even within a Punjabi context.
WHERE ARE YOU REALLY FROM?
@neamah_lyimo
RUTH LYIMO
My art practice reflects the people and places that have shaped me, supported, or passed through my life, often without me realising. Living with ADHD, life has always felt like it was running away from me, making it hard to hold onto people and special moments. This deepened my appreciation for those who stayed. Inspired by ‘sonder’: the realization that everyone lives a life as complex as your own, I explore how relationships are formed, whether predetermined or chosen. My large-scale acrylic and oil painting,
built from layered memories and references, merges familiar places and fleeting expressions to recreate the feeling of growing up undiagnosed and unsure. Influenced by Milton Keynes artists-in-residence Boyd & Evans, I embrace surrealism and challenge traditional perspective. My work is a personal reflection and an open invitation for others to slow down, recognise overlooked relationships, and honour the people and places that have quietly shaped who we are. ruth.lyimo03@gmail.com
BREEDING GROUND
@sachoniart
sachoniart@gmail.com
SACHONI MONTGOMERY
Concerned with the fluid nature of identity, Sachoni Montgomery’s work approaches memory as a living process that reshapes how diasporic identity is carried forward. Montgomery works with its fallibility, reinterpreting the forgotten through her interest in how memory can be handled. Addressing diasporic experiences as constructed and changeable, she blends archived family photographs and direct observations with her own personal recollections.
Working in this hybrid way she creates imagined spaces, encouraging the viewer to consider what is remembered, what is conceptualised and how acknowledging both can propel identity forward. Through the recurring presence of yellow, Montgomery explores the act of remembering as a dynamic experience. Informed by the concept of ‘qualia’, the subjective quality of “yellowness” guides her application of paint, becoming a direct expression of how it feels to remember.
A PLACE IN MIND
Info@studiomewa.com
SAMIRA BOUMECID
Return to Roots is a tufted, threedimensional wall tapestry that portrays the contours of the land alongside abstracted traditional Algerian rug symbols. This piece offers a contemporary interpretation of an ancient craft’s history. The alternating black and neutral stripes and patterns depict the symbols becoming part of the land and the land becoming part of the symbols.
The long threads draping to the floor connect the work to the Earth through its roots, keeping it grounded. These threads then flow into a swirling pool pattern, evoking movement and change. The open space serves as a metaphor for a loss of memory, and consequently, history being lost and erased.
RETURN TO ROOTS
@_sk_portraiture
simratgarcha1@gmail.com
SIMRAT KAUR GARCHA
My creative practice focuses on documenting the often unseen and overlooked intimate moments between people. Through figurative painting, I create compositions by exploring a hybrid cultural identity in various domestic settings as I blend two diverse cultural backgrounds together, creating a new and unique body of work. I relate to this specifically, as I come from a Sikh background, but being born in the UK and celebrating religious
traditions here have had an impact on the development of my cultural identity. I have curated my practice to reflect a fusion of the culmination these distinct aspects represent. My portfolio of work follows a line of enquiry into what it means to capture images of individuals authentically and naturally. We exist in an environment where every event is staged to perfection for the camera, but I choose to capture the moments in between.
(THE MOMENTS IN BETWEEN)
VICHKAARLE PAL
@skt_photo_graphy
sktphotographybusiness@gmail.com
SINÉAD TWIGG
My work explores colour and light, vibrancy, and their intersections. Using multi-media and lens-based media, I aim to create situations in which we are persuaded to stir and dwell on the beauty of the everyday, carving out space for the things that often go unnoticed in the hustle and bustle culture of daily life. Iíve become very interested in how we see, and how we see colour in particular.
I use acrylic and other forms of clear plastic in my work because of the of semitransparent qualities allowing light to carry through my work, showcasing their luminous qualities. I use multiple sheets of acrylic to separate layers of colour to create a sense of depth, giving life to my photographs.
CHROMA
SOPHIE ROTHEROE
This work explores the relationship between trauma, place and recovery; how emotional experiences, especially painful ones, become tied to the spaces we live in, move through, or remember. I work mainly with video, montage, and installation to explore memory, loss, and the quiet weight that trauma leaves behind. In particular, this project explores my personal recovery from addiction.
I am drawn to the idea that trauma isn’t always loud or obvious - it can be silent, hidden, or lingering beneath the surface and places that I left behind. This project highlights the struggles of choosing recovery, the sacrifices that you have to make and how different of a person you have to become. Willing or not.
WHAT’S LEFT
teganwillow@outlook.com
TEGAN FOSTER
I create expressive paintings in oil and acrylic to capture glimmers of the unique human experience. I strive for my work to ignite feelings of vibrancy and wholesomeness. I hope to represent my spirit through painting, as an artist who sees meaning in every little thing. I articulate my intentions of creating this work as an outstretched hand of relatability. I allow the ebb and flow of viewers’ perception to help my work take a true, multifaceted form.
Though, if you asked me, this work is about entering adulthood and emergence. The image of the swan symbolises, wisdom, growth, rebirth, resilience and grace. My expressive mark making painting style allows you to see each colour which makes up the whole image, in reference to how we are all made up of our own lived experiences. Each mark changes us and in turn, our image. I hope viewers see themselves in my swans.
TEGAN FOSTER
thomastredray@gmail.com
TOM TREDRAY
As an artist that explores multiple mediums, I am finding my own ways of combining performance and wearable sculptures, with paint and mark making. I then use photography and video to create a visual experience, that encompasses a feeling of familiarity and discomfort. Having multiple layers to my work creates an uncanny feel, turning myself or others into unidentified liminal beings.
My work focuses on anthrozoology, as I feel that the separation of humans and other living animals around us is growing greater. I take inspiration from the wildlife and nature around me, and artists like Bill Viola who uses performance to spark discussion - Bill Viola - ‘Owl - I Do Not Know What It Is I Am Like’ (1986).
PERCHING
@zcmarz
zcmarz.cargo.site
ZOSIA (SOPHIE) CLARKE-RYMARZ
Driven by epistemological and metaphysical theories, my work investigates the limitations of social constructivism on visual and teleological perceptions and seeks to create alternative representations of function and identity. “Multidimensional vision” is a collection of intermedia, interactive sculptures that, when used together, create an interactive experience exploring speculative string theory. They serve as Pataphysical, absurd, conceptual ‘devices’ that make ironic and satirical comments on the relativism of knowledge. They represent subverting cognitive biases, emphasising that understanding is contingent upon individual viewpoints.
The piece includes a pair of “multi-dimensional goggles” made from found metal and plastic bicycle reflectors used as lenses. These goggles are designed to be worn while observing a movable “kinetic light manipulator,” which is crafted from a scrap satellite dish and wood. Both sculptures are subjective experiences relative to the position of observation With no paint or specific finish, they invite viewers to engage with the materials and recognise each element’s original teleological function. At the same time, the sculptures repurpose these constructed functions into radical multi-dimensional tools, encouraging viewers to reconsider the limitations of perception imposed by social constructivism.
MULTI-DIMENSIONAL VISION
AFTER WORD
SPECIAL THANKS TO:
It is with both honour and great sadness that I draw this catalogue to a close and conclude our time as BA (Hons) Fine Art Degree students. There is no doubt that we have experienced the ambiguities and tensions of education, but let this catalogue be a testament to your hard work and curiosity.
Firstly, I would like to thank the technicians who have not only been our rocks for the last three years but have supported (almost) every crazy idea to walk through their doors. I can speak for everyone when I say that their dedication, patience, and guidance, have been invaluable throughout the degree. They are the foundations of this faculty, ensuring each of us feel seen, heard and safe to develop our technical skills, and without whom, many of this could not have been possible.
I would also like to extend gratitude to the lecturers and module staff, both present and no longer here at DMU. Their professional insight and counsel have been crucial as we hone our crafts, with every tutorial, crit, and unplanned office visit amalgamating into a catalyst for our creative and personal development. Whilst our visions have not always aligned, this final exhibition is evidence of their encouragement and commitment to supporting and championing each of us as we progress towards our goals.
Finally, to the soon to be graduates of 2025 whose work is exhibited between these walls, I thank you.
Thank you for showing up for yourselves and each other, for building a community founded upon creation and resilience, and for continuing to inspire those around you every single day. It has been a privilege to share studio spaces with you all and witness the curiosity as it manifests into boundless potential.
It has truly been an honour.
Congratulations and best wishes for your future.
Morgan Pontifex-Price
3rd Year Student
BA (Hons) Fine Art