Fine Art Degree Show Catalogue, Manchester School of Art, 2016

Fine Art Degree Catalogue Manchester School of Art 2016

P u bli s h e d o n t h e o c c a si on of Ma nche ste r S ch o o l of A r t ’s F i n e A r t De g re e show 1 0 t h — 2 2 n d J u n e 2 01 6.

Th is c at a lo g u e h a s b e e n f u nde d throu g h stu d e nt i n i t i ate d fu n d ra i si ng eve nts.

Cata lo g u e d e s i g n e d by Meg C h e r r y w w w. me g c h e r r yd e s i g n.com P rinte d i n E n g la n d by Th e Pr i nt i n g H o u s e w w w.t h e pr i nt i n g h o u s e u k .com Wit h t h a n ks to a ll t h e staff, stu de nts, a nd a l um n i wh o h ave c o nt r i b u te d to thi s pu b l i c ati on a n d ma d e i t p o s s i b le.

I S BN: 978 -1 -9 1 0 02 9 -1 9- 0

Order of Appearance 5

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12

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Fo r ward

M ore Th a n A Pla c e

N ot E n di n gs ,

D e a r G ra du ate

Jo Lansl ey

Kel l i e C rai g

B u t B e gi n n i n gs

D o n a l M a lo n ey

M ic h a e l H owa rd

22

56

90

124

A.M Harris

Em i l y Ki ns ey

Laura Anne Taylor

Samantha Goulbourne

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58

92

126

A lex M a n n i n g

Em m a Lou i s e Si m ps on

Leesha Iirw in

Samantha Louis e Evans

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60

94

128

A mb e r H a n s o n

Este l l e C hu ng Fat

Leo Robins on

Sam R yd ing

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62

96

130

A my F i e ld

Fa rha na B e g u m

Lew is Toumazou

Samuel Whitham

30

64

98

132

A n n a G li n k i n a

Fol u s o G u ntoye

Luc y Wood s

Sara Cutler

32

66

100

134

A n n a li s e H e rd

G e org i a H a rri s

Luke Coombe

Sarah T homas

34

68

1 02

136

Ao i fe Tay lo r

G e org i a Ma rkha m

Mollie Milton

Sarah Wakefield

36

70

104

138

B e n Wa lke r

Hol l i e Pa rke r

NĂşria Prat

Sc arlett Allmark

38

72

106

140

B ex I ls ley

Is a b e l l a Jone s

O liver Williams on

Sian Halfp enny

40

74

1 08

142

C a m e ro n B rown

Ja m e s Mathews - H i skett

Phoebe Phillip s

Siân Leyshon

42

76

1 10

14 4

C e li n e Sto n ex

Ja ni ne Ma nsb ri dg e

R ac hel Fergus on

Sinead Moakes

44

78

1 12

146

C e r ys T h o r n e

Je ss G i l by

R ac hel Wils on

Sume Leyd en

46

80

1 14

14 8

C h a r lotte H e n s h aw

Ji ayi ng C he n

Rebec c a Haliwell- Sutton

T imothy Hod kins on

48

82

1 16

150

C h r i s Powe r

Joa nna Haworth

Rebec c a Hignett

WB M

50

84

1 18

152

C h r i s T h o r pe

Ka su m i De a n

Ros anna Wils on

William B ac on

52

86

1 20

C la re So u tte r

KIEKIE

R uss ell Smith

54

88

122

Da n i e l G o o d wi n

Ki m b e rl ey Rob i ns on

R uth Wils on

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‘Get in, get out. Don’t linger. Go on’. Raymond Carver Your work in the School of Art is now complete, you may feel a great sense of excitement, some anticipation, a tweak of fear, as well as relief that you have actually managed it…

Three years ago, as you settled into the Fine Art studios to begin to your degree, the level of challenge that you would face to produce, think about, make and exhibit your work, would have been impossible to predict. The Fine Art landscape is enigmatic and complex to navigate; it often slips from view, rapidly changes shape, and thoroughly confounds ones sense of direction.

Grappling such demanding terrain has offered each of you a unique set of challenges, and your initial forays into the unknown may have felt like a clumsy stumble. However, over the course of the degree you have each developed an extraordinary sense of resolve, you have nurtured the ability to think independently, taken risks, you have invented and problem-solved. You have also persisted, to follow your ideas and projects through to completion. The knowledge, skills and experience that you have acquired to sustain your journey have ensured a confident stride and the spirit of the most determined explorer.

What next…. The Art School has given you a sense of identity, community and an environment in which to test yourself. Life after will offer changed circumstances, and a new set of challenges you will all have very different desires and expectations about how you hope to test and shape it.

Whatever you choose to pursue, carry your achievements with you, and locate yourself in the best place possible to seize your personal vision – persistence and determination will be required.

You are well trained for this.

When in doubt, take a moment to remind yourself that, like all explorers, no matter how unfamiliar the territory, you are fully equipped to walk confidently toward it. Remember what you are good at -

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Initiating and making Conducting independent research Collaborating with peers and others Managing large and complex projects Challenging your own expectations Increasing your manual and intellectual skills Applying your skills to diverse situations Appropriating words and inventing new ones Thinking, discussing and writing about art Critiquing current practice Organizing and curating exhibitions Networking, fundraising, marketing Wrestling with concepts Presenting ideas Defending your position Honing knowledge Drafting new concepts Shaping the invisible Don’t always ask for permission.

We are all looking forward to receiving news from you.

All the best for the next step.

Jo Lansley Programme Leader Manchester School of Art

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Kell ie is a re cent g radu ate of Man c h ester Sc h o o l of Art , studying BA Ho n s C o ntemp o rar y A r t Hi sto r y b et ween 2012-2015 . As o n e of t h e fo u n di n g m embe rs of s chool j o u r n al A r t Sc h o o l Il l u st rated, s he has g one on to p u r su e h er p er s o n al i nterest s i n both food and craft . Kel l i e n ow wo r ks as a C onfe ctioner for B ett ys C afe Tea Ro o ms at t h ei r C raft Bake ry in Nor t h Yo r ksh i re.

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More Than Just A Place While it may come as a surprise to many that Manchester is home to the second-oldest design school in Britain, what comes as no surprise is the consistently overwhelming abundance of new creative and academic talent emerging from Manchester School of Art. The reputation of the school has been built not only by those who sought to deliver the finest art education in Britain, but also by those graduates who have used their talents to become masters in their own right. Manchester School of Art has risen from humble beginnings; founded in 1838 in the basement of the Royal Manchester Institution (today, Manchester City Art Gallery), the school has evolved into one of the leading art schools in the country.

Once a training school for the design industry, Manchester School of Art exists today as a thriving cultural hub providing a twenty-first century approach to arts education. Its rich historical narrative provides young artists and thinkers with great inspiration; a sense of pride in becoming part of an institution well known for celebrating the innovative and thought-provoking work of its staff and students. From the year 1880, the first intake of female students were admitted into the school. One of the first female students, Sylvia Pankhurst -the daughter of 9

Emmeline Pankhurst, British activist and leader of the Suffragette movement- pursued her desire to study at Manchester School of Art and later won a scholarship to train at the Royal College of Art. The history of the school can be observed through its architectural flux, from the original purpose-built premises today known as the Grosvenor Building, flowing through to the twenty-first century Benzie building via The Link Gallery and Chatham Tower. Built in 1880, the Grosvenor Building has elements designed purely around fine art practice; two basement rooms with glazed skylights were deliberately constructed on the basis of providing pure natural light for painting, modelling and sculpture.

The motto “Many Arts Many Skills� encompasses the school’s mission of demonstrating respect for -and facilitating collaboration between- all creative practices and disciplines evolving within the arts community. Not only is this evident at the school, but within the wider creative surroundings of the city of Manchester itself. Since 1898 the school has incorporated a public museum and exhibition spaces into its premises, which can today be found in the Grosvenor Building. The Holden Gallery dates back to the early days of the school where this space would be used to exhibit artefacts and objects from which students could make artistic studies and technical drawings.

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With the school’s bicentenary in sight, the importance of giving the next generation of creative thinkers the tools to succeed at their practice is now more important than ever.

Young artists today are continually forced to become more innovative, to challenge out-dated perceptions and refuse to easily accept everyday social norms like never before. It is through encouraging creative, academic discussion and debate that young artists emerging from Manchester School of Art are driven to succeed in all that they do.

Kellie Craig BA Hons Graduate Contemporary Art History

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Mi c hael taug ht at M an c h ester Sc h o o l of A r t fo r m a ny ye ars ‘re l ishin g t h e exc i tement of teac h i n g a rt history to both ac ademi c an d ar t an d desi g n stu de nts’ - his words! T h o u g h h e l eft fu l l -t i me tea ching in 2014 to wo r k as a freel an c e w r i ter, lect urer and curator, h e c o nt i n u es h i s l i n k wi t h t h e School of Art throug h a weekl y l i fe draw i n g c l ass.

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To walk into this building during the heady days of the Final Show is like being propelled into a gigantic pinball machine. We ricochet from room to room, from space to space, hitting each piece and bouncing back only to hit another - and on each hit, perhaps, a bell might ring, lights flash.

An art school, [indeed any school] should be a centre of creative thought and play. Although we call ourselves wise beings (homo sapiens), a more accurate term might be homo ludens - a species that plays. For if anything is going to allow us to sustain our place on this planet, then surely it will be our capacity for imaginative and creative thinking - thinking that, in the case of an art school, is then set into palpable and accessible form the mind, body and eye acting in concert.

On these walls, in these spaces, we see the results of such activity, evidence of the wonderful diversity of human responsiveness. The actions of a group of dedicated people working independently to envision the future within a supportive community in the heart of a city. However dark our times might be, creative utterance can only be a sign of our incurable optimism for the future - and if not, why not?

As we make our way through this building, or look through this catalogue, our imaginations will be stirred and connections made with other pieces of writing, art, music or film. Such connections may be private to ourselves, but they should be shared, to inspire and to remind us of the ordinary necessity of creative activity.

Allow me to share some of mine with you: 13

Charles Olson’s thoughts on King Lear in his essay on Herman Melville’s novel Moby Dick. Charlotte Bronte beginning Jane Eyre about a hundred yards from the Salutation pub.

Cézanne, talking of his painting, falling into silence and slowly bringing his hands together, entwining his fingers as language fails him. Rilke contemplating an archaic torso of Apollo. Bonnard on his deathbed directing his nephew to place just a little more yellow in the bottom left hand corner of his ‘Flowering Almond Tree’. Sylvia Plath remembering the splendour of Matisse’s colours.

Ben Okri’s ‘The Joys of Story Telling III’. That bit in Bladerunner* Morrissey on the late twentieth century delights of Whalley Range. and for me above all, Samuel Beckett, who, after much effort, finally found exactly the right 58 words to say everything there is to say about the nature and reality of drawing.

Such pieces of writing urge us, each in our own ways, to honour and learn from the past, but also to be a mirror for our time, to reflect and re- invent as necessary - to channel our energies responsibly.

Remember the words of the great nineteenth century politician and reformer, Sir Robert Peel: “What Manchester thinks today, the world does tomorrow.”

And not least, Michelangelo’s exhortation to his idle student/apprentice, who like all of us, had need of the occasional kick up the backside: 14

‘Draw, Antonio; draw, Antonio; draw and don’t waste time’.

It has been an honour and a deep pleasure to have been asked to write something for this great, annual event - thanks.

Michael Howard, May 2016 *This speech was improvised the night before filming by the actor Rutger Hauer who played the role of Roy Batty: ‘I’ve seen things you people wouldn’t believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser Gate. All those moments will be lost in time, like tears in rain. Time to die.’

Brilliant.

NOT ENDINGS . . . BUT BEGINNINGS

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Dear graduate, As a relatively new member of staff at Manchester School of Art it is an honour to be asked to write something to accompany your degree show catalogue. An honour because I have had the opportunity to see you all turn from inquisitive second years to seriously motivated practitioners.

Often, I will wander through your studios to see what’s developing. In the gorgeous light filled spaces you have occupied I often find groups of you engaged in planning meetings, debating the ‘chess moves’ you’re making in your practice as well as those of you ploughing through ever evolving creative processes. What I can clearly see in these spaces is a community forming. The common purpose of the upcoming degree show has charged this communal space. I can notice you all talking differently, holding yourselves with increased assurance combined with a healthy dose of trepidation. It’s an exciting atmosphere to pass through. Deadlines blend with passions fostered over three years - all focusing on one moment in your careers as artists.

The artwork you are all making now is so important. Not only is it important because you are creating strong bodies of work but you are also doing something else, perhaps more important.

You are building your confidence. Confidence in your abilities to make artwork that could be, dare I say it, astonishing. Whether we admit it often or not artists want to make something profound, something awe-inspiring (perhaps even something a friend of mine once termed having a ‘wow-factor’). It’s not really worth our time as artists making something mediocre. Most of us get involved in making art because of particular exceptional experiences in galleries, museums or other such spaces. Now, as you continue on, you are the person tasked with making that profound work for others. You’re going to need that confidence in your abilities to achieve this post art school. Use that self-belief you have built up and put it into action.

My own degree show, nearly ten years ago, filled me with excitement about what I could make as much as what I had made. Two weeks later I was back making art, creating deadlines 17

for myself and working towards several opportunities (mostly fictitious and invented, but undoubtedly necessary). I strongly believe it’s important you keep the ‘ball rolling’ after you reassess the last three years. It’s about sustaining momentum. It sounds simple, the old art school adage ‘just keep making’. However, the longer you leave it the harder it will be to pick up from where you were. Regardless, it will not be easy by any stretch of the imagination. You may not have the same access to facilities. You may not have the same convivial ambience in the studios you had with all your fellow students. Nevertheless, you must furrow ahead especially when it gets difficult, because it will (but you will get better and better with dealing with these challenges).

Your time at Manchester School of Art is the foundation for your future as artists but your degree show is also a standard by which you should always compare yourself to. This soaring feeling you get when putting a body of work together- you must continue to chase this sensation. It’s going to mean sacrifice and strife, but as you now well know it’s worth it without a doubt. Nothing beats it, so insulate your practice well.

As I pondered what I would include in this essay several past experiences arose. Advice from past tutors, successful strategies used by fellow artists as well as less successful ones. I thought what might be useful would be ten tips for a graduating Fine Art student, a manifesto of sorts (perhaps something you could cut out and stick on your studio door!); something to remind you of why you do what you do, and what’s so important to you about art.

Donal Maloney Artist & Senio r Fine Art Lecturer Manchester School of Art

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1 Earn the respect of your peers. They are your best asset. If they admire your attitude and artwork they will pass opportunities your way. Who knows where these chance opportunities may lead you...

2 Take responsibility for what you make. Your work can be about anything, not necessarily about the world or argument and proof but about belief.

3 Your artwork should be the last thing you think about before going to bed at night and the first thing you think about when you wake. If it’s not, see point four below.

4 Fill your practice with the things you love to do. This will get you to the studio even when you’re tired and fed up. Being obsessed, or even haunted, by your practice will hum in the background of your everyday life. As we all know solutions often appear when we are day dreaming outside of the studio.

5 Talk about art, not just to artists but to family and friends. This will teach you a lot about what your artwork is and is not doing. There’s a big difference between what we think we make and what we actually make. It can be energising, for a practice, to know the difference.

6 Stay ambitious to the point of almost being over ambitious. Make the artwork you want to see rather than the artwork you think others would like.

7 Don’t criticise your artwork too harshly but don’t ever toil on ‘autopilot mode’ either. By all means make even when you’re full of doubt. Don’t, however, make art you don’t care for.

8 Your artwork is full of mysteries, and finding its ‘meaning’ could be a long road. The chase for meaning can be propulsion of sorts for making, so don’t chase too much...

9 Read one hour each day (easier said than done!). Fill your head with ideas and opinions to inform and grow your own views.

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Fine Art Graduates

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A. M. Harris

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SLAB THREE: Mourning Song SLABS are a s cul pt u re s er i es of ceramic fl oor pie ces. Hi g h -fi red c l ay wi thout g l aze or l ust re h as been h a ndl e d to cre ate fo r m. T h e fo r ms conve rs e with the fl o o r an d def y t h e n otion of col l aps e.

GN ARL is an artist b o o k c o n c ei ved a nd writte n in the p ast year an d i s a ming l ing of pros e p o et r y, s o u n d a rt and concrete ve r s e. T h e wo rds des cribe thems el ve s an d ot h er t h i n g s.

Li mbswish, birdbrain , Wo r l dh o o d.

Du ring the cours e of t h e ex h i bi t i o n th ere wil l be eig ht readi n g s: 10.0 6.16: 11:35, 18:35 13.0 6.16: 12:35 14 .06.16: 13:35 16.0 6.16: 14:35 20.06.16: 15:35 22.06.16: 16:35 23 .0 6.16: 17:35 The book al s o exist s as a l i mi ted ed i tion of fifty al ong si de fi ve a nnotate d artist pro ofs. Pl eas e contact the artist .

C O N TAC T

M : +44 789 1 42 7 2 97 E : a m h a rris .st ud io @ g mail.com W: a m h a rris studio.co.u k 23

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Alex Manning The current concern of my practice lies in the synergy between sonic and visual information. It has never been my intention to produce a direct interpretation of a particular piece of sound through visual representation (or vice versa). I have been developing a visual language of intuitive mark making that is informed by auditory discoveries. The way we describe the qualities of a visual work of art can be similar to a piece of music; Rhythm, Tone, Mood, Depth, Volume, Texture.

My concern is in finely tuning the treatment of these qualities and understanding how they complement each other within both areas of my practice. When working with sound my practice often crosses over between analogue and digital processes.

I have been exploring the possibilities of modifying circuitry designed to produce sound, usually these circuits are found within children’s toys or electronic instruments (Modified Keyboard Pictured).

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A : s ou nd clou d.com /ju dd erm anning E: j ud d erm anning@ hot mail.co.u k

C O N TA C T

Modified Casi o Keybo ard Modified Casi o Keybo ard

C LA S S O F 2 0 1 6

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Amber Hanson The imagery I use for my work mostly comes from Iceland. The landscape there is always changing and the culture and people are closely linked to it, even if they live in the cities. Imagery from the old stories and legends they have for the landscape are subtly tied in to my work.

The work I make is so the viewer can put their own ideas on to the work with it’s simple lines and forms.

I’ve come to realise that I cannot recreate the perfect landscape, I can only imitate one. Nothing is the same as the real no matter how hard you try. There is always going to be the little things that are impossible to recreate.

C O N TAC T

M : +44 790 8113 300 E : a m b ie m o o re @ic lo u d .com 26

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Amy Field Exploring the intricacies of self and self-portraiture through the documentation of specific details of the body and its surroundings. My current work uses combinations of images, investigating the relationship that that they have with each other and using this as a means to visually represent aspects of ‘self’. I do not intend to use self-portraiture as a depiction of physical attributes, rather a portrayal of my own perspectives in connection to the world around me.

CONTACT

M : +44 746 85 64 246 E : a my f ie ld .c o nt a c t@ g m ail.com 28

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Anna Glinkina My work , o r i g i n al l y i n sp i red by ear l y R u ss ia n M o d e rn is m , jo in s t h e o n - g o in g d is c us s io n of expanded p ai nt i n g an d attempt s to c h al l e n g e th e G re e n b e rg ia n lim itat io n s of th e m e d ium of painting , i .e. t h e fl at su r fac e, t h e sh ap e of th e s up p o rt , t h e p ro p e rtie s of th e p ig m e nt .

T hroug h breaki n g t h e c o nvent i o n s of c o nstruc t in g a p a int in g , I ’ m try in g to a rrive at s o m et h in g th at re g isters as a p ai nt i n g wi t h o u t res o r t i n g to th e n o rm a l rule s of p ic ture m a k in g .

Reducing p ai nt i n g to i t s p r i n c i p al el ements b rin g s fo rt h th e ir ow n fo rm a l p ro p e rt ie s , m a k in g the stretc h er, t h e c anvas, as wel l as u su ally n e g le c te d s p a c e b et we e n th e c a nva s s urfa c e a n d the wal l , an i mp o r t ant p ar t of t h e c o mp o sit io n . 3D p ro p e rt ie s t h at th e c a nva s a c q uire s a d d a s cul ptura l el ement to t h e wo r k , h owever t h e t ra d itio n a l m e d ium s a n d te c h n iq ue s th at I us e ke e p s it the re al m of p ai nt i n g .

C O N TAC T

E : a g lin k in a @ g m ail.com W: w w w.a n n a g lin k ina .com

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Annalise Herd My work is compos ed from the idea of visual complexity and how various colour tones c an alter juxtaposition and placement in my s creen prints. My work is bas ed around the process of layering - how one colour c an affect the properties of the chos en co lour underneath, such as harmony, vibrancy, s oftness, translucency and weight . Within my practice I have wanted to produce s omething that is not only visually engaging but challenges and adopts the basic rules of colour theory. By Overlapping light tones over dark tones and vice vers a , I s ee how this process c an alter the colours I have mixed by hand. I us e shapes as the fundamental basis for my compositions, mainly s quares and rectangles. Thes e forms are layered in various ways to then generate another shape as an overall configuration.

C O N T ACT

M: +44 781 4411 92 2 E : annal is eherd@icl o u d.c o m 32

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Catharsis & Manipulation

Aoife Taylor

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My art revol ve s aro u n d t h emes of c at h ar si s an d m a nipul ation; by drawi n g i n sp i rat i o n fro m u n res o l ve d emotions, re l ations h i p s an d dreams, I wo r k towards a b ette r understanding of my su bc o n s c i o u s an d mys el f.

I t is im p o rta nt to m e to int ro d uc e t h e s e text p ie c e s in a way th at th e v iewe r m ay n ot b e s o fa m ilia r w it h , a n d to ke e p in lin e w ith th e s ubt le a n d tim id n at ure of ex p o s ing my in n e rm o st h o p e s a n d fe a rs . B y wo rk in g in t h is way, I t ry to e n c o ura g e th e v iewe r wo rk a litt le h a rd e r to f in d th e text , just a s we h ave s low c o nve rs at io n s to reve a l o ur s e c rets .

C O N TAC T

M : +44 7 70 76 44 2 36 E : a o ifet ay lo r0 @ g m ail.com 35

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Ben Walker

Sounds of Earth

T he Gol den Rec o rds o n -bo ard t h e Voyag er s p ac e c raft are mess ag es for the fut u re - c o smi c bott l es i n a univers e-si zed o c ean ( p ro of we once existed) . Po i s ed to p ass st ar syste ms o u t si de o u r s o l ar system, drifting fo r bi l l i o n s of year s i n sp ac e.

T ime c apsu l es c o nt ai n i n g mu si c an d othe r ‘S ou n ds of E ar t h’ al o n g w i t h me ss ag es i n di fferent l an g u ag es.

T h e Fo ot ag e re c o rd e d by Voya g e r ’s c ameras a n d th e re c o rd in g s o n t h e Go l den Re c o rd a re t h e s o urc e mater i al s fo r t h is v id e o in st a llat io n .

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C O N TAC T

E : b e n jw @live.co.u k W: w w w.b e n jo ewa lker.com

T h e o n ly m a n m a d e o b je c ts s afe ly o uts id e th is s o la r syste m , a n d p ote nt ia lly th e o n ly m ate ria l inte llig e nt a lie n life w ill eve r d is c ove r of o urs . T h e o n ly d o c um e nt at io n of o ur p la n et a n d its in h a b it a nt s’ ex iste n c e.

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Bex Ilsley

M y p ra c t ic e is c e nt re d a ro un d t h e c o n c e pt of t h e p e rfo rm e d p e rs o n a lit y in v irt ua l s p a c e, a n d t h e ways in w h ic h t h is p ra c t ic e h a s th e p ote nt ia l to b e b ot h m o re a n d le s s h o n e st th a n th e p e rfo rm a n c e of p e rs o n a lity in p hys ic a l s p a c e. M y wo rk s h o uld n ot n e c e s s a rily b e s e e n a s a s e rie s of p ie c e s exte rn a l to my live d ex p e rie n c e b ut a s th e a c tio n of c re at in g c o nte nt a n d p a rt ic ip at in g in d is c us s io n s w it h in c o ntin uo us fe e d s .

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My s e l f- portraits resp o n d to t h e p redi c ament of being s e en. Acce pt i n g t h e bo dy ’s p o si t i o n a s an object for con su mpt i o n an d u si n g s elf- commodific atio n as a to o l , I v i ew t h i s predic ame nt as a s o u rc e of au to n o my an d powe r as wel l as a p otent i al t rap. I do n ot n ecess aril y s eek to t ake a p o si t i o n o n t h i s, b ut instead to ask qu est i o n s, su c h as: - C an we stil l expe c t to be t reated h u man el y wh en pres e nting as avat ar s?

- W il l de bate s surro u n di n g t h e bo dy remai n relevant as we me rge w i t h tec h n o l o g y ?

- I f not , shoul d we u s e tec h n o l o g y to tra ns cend our bodie s befo re we h ave res ol ved the s ociol o g i c al an d p o l i t i c al i ssu es s u r rounding the way t h ey are v i ewed ?

T h ro u g h t h e u s e of lo o p e d m ov in g im a g e s , I ai m to c reate n ar rative s of th e s e lf w h ic h t w i st i n an d o u t of th e re a l a n d th e v irtua l, t h e ar t i fi c i al an d t h e a uth e ntic , p ro g re s s in g t h ro u g h j o u r n eys of d is c ove ry, o n ly to e n d up exac t l y wh ere t h ey b e g a n .

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Cameron Brown

T h e E ntire Wo rld D re a m s of Am e ric a

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Celine Stonex M y wo rk ex plores how colour h as th e abi l i ty to be c o m e th e s o l e s ubj e c t of a pai nt ing. By accumulation, rev i s i o n , re j e c ti o n , addi ti o n an d s ubtrac ti o n , th e b uild u p of form a nd colour cre ate s h arm o ny an d te n s i o n i n a p ai nti n g. M y wor k attem pts to tra ns cend repres e ntati o n al exp re s s i o n , th us al l owi n g th e audi e n c e to d raw their attention away fro m any extran e o us refe re n c e to th e ac tual i ty of a pai nt ing-as -pa inting. By pourin g di ffe re nt l aye rs of h i gh l y ref l e c ti ve c o l o ured oi l pai nt onto c a nvas es, it not onl y al l ows th e vi ewe rs to be c o m e p art of th e wo r k it s elf b ut a ls o forces the a udien c e to c o n c e ntrate an d f i n d th e de pth s i n th e ar t wo r k , which in turn become s a fo rm of s e l f- hyp n o s i s . M y wo rk h as be c o me a g lor i f ic ation of colour, light a n d to n e i n wh i c h th e p o rtrayal of l i ght an d s h adow n ot o nly depict the contradicti o n bet we e n stabi l i ty an d di s rupti o n but al s o th e inf i n i t ude of space.

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Cerys Thorne My practic e i s an i nvest i g at i o n of s ocial convent i o n s w i t h i n p u bl i c and private sp ac es. B y res earc h i n g s ocial norms w i t h i n s o c i et y, I h ave come to un der st an d h ow c o nt ro l l ed our action s are du e to t h es e conventio n s. Ou r beh av i o u r s di ffer massivel y w h en i nterac t i n g wi t h i n publ ic and p r i vate sp ac es. We h ave an expe ct at i o n to u p h o l d, as s et by previous beh av i o u ral p atter n s, prompting a n eed to ac t i n an ide al is e d an d n o r mal i s ed way. T h i s in turn me an s t h at o rdi n ar y ac t i o n s c an stil l be v i ewed as ext rao rdi n ar y, de pe nde nt o n t h ei r c o ntext .

I aim to de l ve i nto t h i s ‘o rdi n ar y ’, extracting t h e mu n dan e an d p l ac i n g it into a new s ett i n g . T h i s c h an g es our views o n t h e o r i g i n al ac t i o n .

Tending to u s e my own bo dy an d actions as a fo u n dat i o n , ex p o si n g my everyday, yet p r i vate r i t u al s, I ai m to te st exact l y wh ere t h e p u bl i c /p r i vate boundary l i es.

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‘ P laque on be nch, Pl att F i el ds Par k’

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Charlotte Henshaw

My work is i n sp i red by t h e emot i o n al en erg y c o n n e c te d to my Epil ep sy. I ai m to c apt u re t h es e abs e n c e expe rie nc es an d to p ai nt s o met h i n g t h at c a n ot h e rw is e not be und er sto o d.

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‘Am I g oing to h ave a s ei z u re?’ i s a dai l y a n x iety. M y painting s rep res ent t h e batt l e bet ween t his a n x iet y a n d a n anxiety aro u n d t h e g est u res I c reate w i t h t h e p a int . E a c h frag ment an d mar k ex p l o res a di fferent t y p e of e m otio n .

I work on a l arg e s c al e to di sp l ay t h e h u g e im p a c t th is condition h as o n my l i fe.

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E : c h a rlh e n s h aw @ya h oo.co.u k W: w w w.b lue le p h a nt s hop.com 47

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Chris Power Our interaction with the world around us has fas cinated me from a very early age, mainly our interaction with light and colour, from the rays of sunlight created bet ween the blinds to the dazzling spectacle of las ers in a night club. I was originally inspired to create light and colour art work from s eeing light painting pictures, where people create photos of light forms suspended in time. Recently I decided to bring this fas cination into my work . I have now begun to focus on exploring and obs erving the interaction of light and colour in artistic practice and how the viewer reacts to the combination of colours and light .

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M : +44 783 1918 349 E : Ch ris p owe r247@ g mail.com I : in st a g ra m .c o m /c h ris .power.art

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Chris Thorpe

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Clare Soutter My work focus es on the process of creation; I s ee mys elf as a material and colour bas ed artist , looking at different ways to create a painting.

When considering materials (in particular, wax), I want to experiment with the endless possibilities that wax c an have. I want to understand its properties, I want to push it , I want to change it and I want to challenge it . Colour c an awaken different respons es in the body; whether it an emotional respons e or a nostalgic remembrance of the past . The colours in my work are c arefully chos en, to evoke either emotions or nostalgia that are different to each individual. I’ve been exploring the field of expanded painting, and asking the question “ What is a painting?�. Can my work still be considered a painting due to its us e of pigment and surface, despite its 3D qualities?

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M : +44 75 0 2437 133 E : c la re _ s o utte r@h ot m ail.com W: w w w.c la re - s o utter.co.u k

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Daniel Goodwin

The expe rie nce of t aki n g fi l m st i l l s fro m a l apto p s c re e n di re ctl y in front of yo u i s i nt i mate i n c o mp ar i s o n to t h e i m me rsive atmosphere of a mov i e t h eat re. In a c i n e m a th e m ov ing imag e come s o u t towards yo u , g i v i n g t h e fe e lin g of b ei ng e nc apsul ate d i n t h e mo ment . T h e fo r mer h oweve r, h a s more of an obje c t h o o d. So met h i n g yo u are l o o k in g at , rather than being immer s ed i n , si mi l ar to t h e ex p er i e n c e of encounte ring a paint i n g .

J ohn S tezake r tal ke d of t h e p assi ve p ro c ess of watc h in g a fi l m, due to its s eq u ent i al n at u re. T h e l o n el y i mage g ets lost in a s e quence an d i s n ever fu l l y u n der sto o d as it s ow n entity. I aim to expl o re t h i s t h ro u g h t h e medi u ms of p a int a nd print due to the i r abi l i t y to i s o l ate an i mag e. T h is s lows down the act of l ooki n g t h ro u g h my own dec o n st r u c tio n of th e orig inal , whil st i mmer si n g t h e v i ewer. It i s al s o a n a c t of tra nsl ation bet we en t h e var i o u s medi u ms, i nter p ret at io n s th at are l ost through t h i s l ac k of c o ntext t ake o n t h e ir ow n s eparate me aning s.

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E : Da rg o o d w in 2 1 @ g mail.com W: Ca rg o c o lle c tive.c o m /d g o od w in2 1 54

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Emily Kinsey My studio practice explores the themes of narrative, subjective and fictional memory, death, loss, time and entropy, which all are coherent and inexplicably linked with each other. I work with photographs primarily found in charity shops, as well as my grandparent’s collections.

To create a sense of displacement and loss I have used these images, manipulating them by re-photographing them, scanning them, screen printing and drawing them. I have also found the use of tracing paper, silk and photography to work particularly well in creating the effect of faded imagery.

By altering these original photographs, I hope to convey the sense of memory implicit within them. A lot of the images I work with, I have no recollection of the time in which they were taken, myself being either too young or not present.

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Emma Louise Simpson

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My practice is hig hl y c u rato r i al an d o rg an i s at i o n ba s e d , I work with events and en g ag ement to en h an c e my a rt ist ic a nd cul tural knowl edg e. Event s c an var y bet ween c ult ura l s hows, workshops, au c t i o n s an d o p en g al l er y v i ewi n g s .

E n g a g e m e nt is a la rg e p a rt of my p ra c tic e, ra n g in g f rom p e rfo rm a n c e a rt to c o lla b o rat io n a n d inte ra c t ive a r t . M y wo rks h o p s s e rve to e n g a g e w ith id e a s o n a rt e d uc ation a n d t h e eve ryd ay; ta k in g fo c us o n t h e a rt c ult ure t hat s urro un d s us .

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M : +44 747 6 35 2 572 E : E m my _ lo uis e @h otm ail.co.u k W: E m m a - lo uis e - s im p s o n .s q ua re s p a ce.com 59

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Estelle Chung Fat My art prac t i c e q u est i o n s l i fe. I ex p l o re mate rial is m an d dec o n st r u c t i o n t h ro u g h the process of maki n g . My wo r k al s o invol ve s mo r t al i t y, i dent i t y an d t i me, where by ti me i s di rec t l y p ro p o r t i o n al to the de c ayi n g p ro c ess of t h e mater i al s I us ed. I ten d to ap p ro ac h t h e c o n c ept of my wor k wi t h p l ay fu l n ess an d ever y art work is a man i p u l at i o n of mater i al s without pr i o r p l an n i n g .

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Farhana Begum

Tree Series 2016

I had started draw i n g t h es e t rees bas ed on a story my g ran dmot h er to l d me re l ating to a p ar t i c u l ar t ree. A p p arent l y in Bang l adesh t h es e t rees are di sl i ked for re l ig io u s reas o n s an d t h e p eo p l e of Bang l adesh do n’t l i ke to g row t h es e tre es. T his sto r y c au g ht my attent i o n and I thoug ht of res earc h i n g mo re i nto tre es and t h e mean i n g of di fferent t rees in differe nt c u l t u res.

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Up o n re s e arching , I fo u n d o u t a l ot a b out differe nt trees an d t h e mean i n g of the m in diffe re nt c u l t u res an d wi t h i t b ec ame more con c ent rated wi t h my drawing s to make t h em a l ot mo re def ined. I real l y e njoy t h e si mp l i c i t y of the s e drawing s b ec au s e of t h e fi n e text ure - simpl e yet affec t i ve.

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E : fa rh a n a b e g um 9@h otm ail.co.u k I : in st a g ra m .c o m /fa rh a narinaaa 63

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Once Upon a Time: Spirit Vessels

Fuluso Oguntoye

Reflections, expressions and projections rooted in time, past/history and tradition. My art is about nostalgia; my longing and yearning for home and a lost, simple way of life and identity. A paradise. An integration of two different traditions and cultures with a history to re-imagine, re-contextualize and evoke visions, memories and myths of the Pre-colonial African past. It is a celebration of the past and future as well as a mourning of the loss of a past way of life.

Fuelled partly by my childhood and recent memories of life in Nigeria. My art embodies the Black African body with its culture, traditions, values, aesthetic and everyday way of life that was gradually lost through Western influence and colonization.

My art is about going back to old, traditional, cultural ways, values, nature, the earth, God and spirituality.

It is an ode to the trueness, purity, simplicity and authenticity of life as compared to the complex, broken, toxic times which we now live in, where nothing is everything and everything is nothing. My art is a reaction to the displacement of people and their identity, of the spirit and body, disconnectedness from the earth, emptiness/void-ness, discomfort, un-satisfaction, and yearning.

CO NTACT

M : +44 797 2 2 83 60 4 E : fo lus o.wo g nt y @ya h o o.c o m W: fo lu- af ro m a ntic .t um b lr.c o m 64

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Georgia Harris

P roce ss is key withi n my p rac t i c e, u si n g t h e medi u m of res in combined with var i o u s p i g ment s to ex p l o re t he unpre dicted outcom es of mi x i n g mater i al s. My mo st recent works inters ec t t h e real ms of ar t an d s c i en c e - re pl ic ating org anic , n at u ral reac t i o n s wi t h i n c el l u la r structure s by worki n g i n a s eq u ent i al , systemat i c m a nne r to form my own synt h et i c c el l u l ar g row t h s. T h e control l e d method i n wh i c h I wo r k i s c o nt rasted ag a in st unpre dictabl e and un ex p ec ted o u tc o mes.

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Georgia Markham By exposing the damaging impact of human activity on the natural world in art works such as Memorial for the Lost Life of Britain, I aim to challenge the engrained ideologies of the West that exempts s ociety from any moral responsibility for how their actions effect the environment . Our connection wit h nature s evered, we no longer make choices or behave in ways that are sympathetic towards the environment and the wildlife that inhabits it; they are ‘other ’ to us, s eparate and unknowable. I rais e issues of sustainability and responsible consumption of materials in artistic practice by only using that which has been found, is unwanted or has been gifted. To protect the natural world and repair our planet , we must reform our relationship with all facets of nature, from one of exploitation and disharmony to one that promotes compassion and partnership, recognising the interdependency of all living things.

1 . T h e Tre e I D id n’ t Ca st in B ro nze 2 . M e m o ria l fo r th e Lo st L ife of Britain 3. Po o r P ig e o n

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Hollie Parker My work shows the passing of time within a relationship advocated by the use of ready objects. I have gained influence through the surrealist movement and its artists. My work with the symbolism behind objects of display has created a narrative. There is a strong link to the domestic in my work, showing the reality of a complicated commitment, contrasting to the media’s portrayal of the happily-ever-after. I highlight the passing of the pure passion, furthermore the sacrifices of the two lovers. My intention is for the viewer to see this narrative in the household objects of normality from day-to-day life that aren’t usually witnessed to have any story.

1 . E n d of th e H o n ey m o o n Pe rio d

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Isabella Jones

D esire c aus e s u s bot h st ress an d p l easu re, fo rc in g us to be bound to an ot h er t h ro u g h c ar n al l u st o r e motional obs essi o n o r bot h . Over r i di n g l o g i c al re a s o n and corrupting o u r c i v i l i s ed s en s es. It i nvades o ur thoug hts, s eemin g l y c o nt ro l s o u r ac t i o n s an d ag itate s our bodil y instinc t s.

Yet d e s ire re m a in s inta n g ib le, o n ly a n e le m e nt of th e Re a l th at e lud e s o ur un d e rsta n d in g . M y wo rk a im s to q ue st io n w h et h e r s exua lity is a v is c e ra l o r o rg a n ic p ro c e s s w it h in o ur m in d s th at a c c um ulate s into s e n s ua l b e h av io ur. Re p re s e ntin g love a n d lust as e q ua l fa c to rs in th e un k n ow n re a lm of d e s ire.

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66450mins

James Mathews-Hiskett

If the creative act is viewed as a series of actions, processes and subjective decisions, as Duchamp proposed, then my practice examines different sections of this journey. In different artworks, the labour of the artist, the act of making, or the translation of an idea to an audience, could all become the focus of the piece.

The role of the artist is questioned by presenting different locations for both the artist and audience. The performance-like nature of art-making is explored, as opposed to making art that is performance. The tradition and form of monochrome painting is often used as a vehicle and visual motif to present ideas, dramatising the anxiety of the blank canvas. The mechanisms of making paintings become the physical outcome in many pieces.

Deliberate absurdity, humour and futility are used as devices to approach ideas in my practice.

This breaks down barriers between the artwork and the viewer, and allows for a playful critique of the validity of artistic practice.

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M: +44 754 0888 324 E : j .mhiskett@ g mail.c o m W: jame shiskett .wordp ress.c o m 74

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Janine Mansbridge

My painting s re pres ent t h e sp ac es i n ever yday l i fe t h at we ty p ic a lly ten d to ig nore and over l o o k . B y en c ap su l at i n g t h i s n otio n w it h in th e confines of a c a nvas, we are i mmedi atel y ac kn ow le d g in g th e ir exi stence and, in tur n , an al ysi n g t h em wi t h s c r u t i ny. T h is id e a of contradictory and o p p o si n g i nfo r mat i o n i s key to my p ra c tic e. T h e pa i nting s are cre ated i n p ai r s si mu l t an eo u sl y; wh ere o n e c a nva s wo uld establ ish a rul e, the ot h er wo u l d s eek to break i t , l e a d in g to a te n s io n b et ween the t wo.

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M : +44 7 7 7 2 804 608 E : ja n in e m a n s b rid g e @h otm ail.co.u k

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Jess Gilby

Domesticity

“ what a hands ome yo u n g man” “ That’s a g irl ” “Oh g od I mean, g irl, I’m s o s o r r y ” “Do you think you’l l ever g et ‘ t h e ch ang e’?” “ You’re too pretty to be a boy ” My g ende r identity c o mes fro m a strong and s ettl e d s en s e of g en der fa i lure. U nl ike the mai n st ream repres e ntation of tran s bei n g t h e tra nsition from one g en der to a nothe r, I us e my g e n der i dent i t y a s subje ct in consta nt fl u x , ch ang ing from one day to t h e n ext .

Thi s ul timate l y al l ows me to l i ve m ostl y outside of th e wester n i s ed m a i nstre am g e nde r bi n ar y an d i n turn take aspe cts fro m bot h mal e an d femal e ide ntitie s, to fo r m my own m i d-way point .

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Jiaying Chen My work is not bound by medium, I freely use paint, sculpture, light, photography and installation in my creative practice.

This piece expresses my personal growth and transformation when moving outside my comfort zone. As one can examine a goldfish in a bowl, this work allows you to view the fragility and vulnerability of my soul. The light radiating out represents my hopes and strengths in new beginnings.

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Joanna Haworth

We g round our re al i t y i n a wo r l d of di men si o n l ess s p a c e. I n s uc h a worl d, imag es have g ai n ed an evo l u t i o n ar y l i fesp a n f ig htin g th e b a rrie rs of mode rn day s o c i et y. T h ro u g h my p rac t i c e I h ave b e e n qu estioning how far we are abl e to dep i c t mater i al i ty, v is ua lly in a worl d that is cens ored to t h e rest rai nt s of t h e di g i t a l s c re e n .

B e s e d uc e d by t h e m o m e nt of w h ic h we f lo at b et ween th e evo lv in g d ig ita l a n d s ub sta nt ia l re a lity. Fe e d you r eye s w ith a f ixatio n to f ig ht d e pt h to f in d a b a c kgrou nd of un d is c ove re d re a lity.

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Kasumi Dean Collaging in space.

A Playful investigation of colour, form and surface and my relationship with materials in the making. Where paradoxes are drawn between the manufactured and hand drawn biomorphic forms.

My practice is sequential and not predetermined.

It is in a constant state of flux, moving and shifting from one state to the next. Order is opposed with chaos, the familiar with the autonomous.

Impermanent with fixed.

The work is made in a post digital/ internet landscape, a flatter image world. I am ever more interested in the idea of the Haptic, and my work is increasingly becoming sensorial. The variation of surfaces evoke a desire to touch, in a world where our main tool for perception and experience has become our eyes.

Sometimes in the playful and spontaneous moments the most interesting things happen, and we can really appreciate the human trace. Evidencing things that get left behind and might otherwise be discarded.

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KIEKIE

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“I T ’S SPAT I AL AWAREN ESS GON E M AD!”

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Kimberley Rose Robinson

I ex pl ore the psycho l o g i c al i mp ac t ac h i eved t h ro u g h th e m echanic s of fil mmaki n g , an d var i o u s tec h n i q u es i nc lud in g i m a g e disruption.

Working in fil m, photo g rap hy, p ro j ec t i o n an d i n st al l atio n , I have devel ope d a met h o d of n o n -n ar rat i ve c o mp o s it io n a nd bol d imag ery w i t h o u t di al o g u e. I am s eeki n g to in st il a therapeutic val ue i n my wo r k by fac i l i t at i n g n o n -ve rb a l communic ation acro ss c u l t u res an d bet ween abi l i t i e s .

Drawing attention to t h e i nt i mate yet sh ared ex p er ie n c e s of h umanity, I form a c l o s e c o n n ec t i o n w i t h t h e v i ewer.

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M : +44 787 55 47 42 1 E : k im b e rley.ro b in s o n @ o utlook .com W: c a rg o c o lle c tive.c o m / k im b e rley rob ins on 88

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Laura-Anne Taylor

Material ity is of most i mp o r t an c e to me an d i s al ways t h e sta rting point within my wo r k . I’m i nt r i g u ed g reat l y by th e to uc h , text ure, col our and t ac t i l i t y of di fferent mater i al s, I’ m d raw n to th em and how I c an ex p l o re an d man i p u l ate t h em i n in n ovat ive ways. I e njoy the s e n s e of dar kn ess an d h u mo u r i n my wo rk playing with the themes of t h e g rotes q u e, femi n i n i t y, g e n d e r roles, fetish and s exu al i t y. My wo r k i s i nten ded to b e v iewe d a s play ful and I want th e au di en c e to en j oy i t fo r t h at a n d inte rp ret i t a s they wish, either deep an d mean i n g fu l o r as a f le et in g , grat uitous expe rie n c e.

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Leesha Irwin

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My art has al l owe d me to ex p ress my emot i o n s rel atin g to s i gnific ant events in bot h my p er s o n al l i fe an d t h e d a rke r s i d e of g rowing up i n a t ro u bl ed s o c i et y. I n ever s et o ut to b e a n artist that refl ected u p o n p er s o n al an d s o c i al t ra um a s ,

t ra um a s , b ut a s my p o rtfo lio a n d inte re st d eve lo p e d I b egan to n otic e a p atte rn in th e wo rk w h ic h I h a d a g re at re spons e to. H o p ef ully my wo rk w ill s p e a k fo r its e lf a llow in g my a ud ie n c e to h ave th e ir ow n p e rs o n a l c o n n e c t io n w it h it .

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M : +44 7 7 2 0 6 06 5 83 E : Le e s h a .irw in _ 94@h ot m ail.co.u k 93

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Horse Christ

Leo Robinson

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With t h e v i g o ro u s o u t l o o k of t h e t ran s c e n d e nta list s transl ated i nto a c o ntemp o rar y c reat ive p ra c tic e t h at empl oys medi a ran g i n g fro m v i deo to p o et ry to p a int in g and s c u l pt u re, my wo r k ai ms to c apt ure th e e s s e n c e of th e infin i te an d t h e su bl i me sp i r i t u al ex p e rie n c e t h ro ug h va rio us narrat i ves an d symbo l s, an d w i t h ea c h p ie c e I c re ate a micro -c u l t u re of aest h et i c an d t h eo lo g ic a l id e a s .

Hors e C h r i st demo n st rates a n ew de it y, a n d b eyo n d t h is a cul ture – h u man , arc h i tec t u ral , l i n g u ist ic - in w h ic h th is d e ity and i t s wo r sh i p are man i fest .

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E : le o ro b in s o n @h ot m ail.co.u k W: le o ro b in s on.co.u k 95

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Lewis Toumazou 18th De cember 2015 – MMU announces Lord Peter Mandels on as its new chancellor, s et to be officiall y appointed in April.

25th January 2016 – I s et up a petition on change.org asking the head of MMU’s board of governors, Vanda Murray, to stop Mandels on becoming our chancellor.

4th Feb ruary 2016 – I contact the Student Union attempting to gain recognition of the petition and cre ate an open debate for students and staff. Despite multiple emails I am ignored.

22nd February 2016 – I begin working on The Mandy Mad Fan Club, a s atire fan club dedic ated to spreading an awareness of Peter Mandels on and celebrating the man hims elf. The fan club exists in the form of a website and on multiple s ocial media platforms.

1. Ac c e s s D e n ie d 2 . O n T h e Pove rt y of S t udent Life

8th March 2016 – It appears The Mandy Mad fan Club website c annot be access ed via the university wifi, therefore any where around the c ampus. I contact the MMU IT department to try and find a reas on why, they tell me the website has been officially flagged by MMU, despite them knowing exactly how or why. Once I dis cuss the content of the website they tell me this is most likely the reas on why.

10th March 2016 – After trying multiple times, I fail to get a written explanation from IT as to why the website has been cens ored.

20th April 2016 – Whilst continuing to promote my petition, it has only managed to gain 86 signatures. Peter Mandels on is s oon to become chancellor, yet an official date has not been dis clos ed by MMU.

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Lucy Woods

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The process of stitch, A reflection of my city, Austerity: fade.

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Luke Coombe T h e work l o o ks at t he i m b a l a nc e a nd b a la nc e bet we e n p o s i t i ve a nd ne g at i ve e ne rgi es wi t hi n today ’s s o c i et y. I t atte m pt s to g ra s p t he i d ea of a worl d t hat i s c o ns i ste nt l y e nc a p s u lated by a syste m that ke e p s u s w i t hi n a m u nd a ne, systemat i c orde r. A n o rd e r t hat st r i ve s off of o u r li mb o-li ke exi ste n c e ; neve r a l l ow i ng u s to w i t ness moment a r i ly spe c tac u l a r o c c u r re nc e s .

It atte m pt s to c o m m e nt o n w hat i s rea l a nd what i s fal s e w i t hi n t he d i g i t a l c o ns u m e r i st wor ld t hat we a re addi cte d to a nd s u b m e rg e d w i t hi n. The repet i t i ve f l ash i n g i m a g e s a re p re s e nte d to u s in a n attempt to e n c apsu l ate o u r atte nt i o n towa rd s s o met hi ng t hat n ot on l y g i ve s u s no t i m e to a na l ys e a pure pi ec e of data / i nfo r m at i o n b u t ha s no p hys i c a l ex i stenc e.

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M: +44 754 5928 783 E : Luke @ coombe.org 100

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A p prox. 80, 816, 404 , 4 08 t h

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Mollie Milton My practic e c ent res aro u n d s cul pture an d p erc ept i o n s of time, mortal i t y an d eter n i t y. It i s an investig at i o n of i n ev i t abl e an d irrefutabl e c yc l es.

Re lig io n , s p irit ua lit y, my t h o lo g y, a lc h e my a n d p h ilo s o p hy a ll inf lue n c e my wo rk b e c a us e t h ey exist as a n swe rs o r s o lutio n s to th e a n x iety a ro un d d e at h and ex iste n c e. I m p rint s of f in g e rs , d is c a rd e d h a ir o r  c asts of th e b o d y a re c o m m o n m otifs a s t h ey ex ist a s traces of h um a n p re s e n c e. H ig h lig ht in g a n d p re s e rv in g t h e s e tra c e s of life is c e nt ra l to my p ra c tic e. I often us e c o m b in atio n s of m ate ria ls t h at h ave c o ntra sting lo n g ev it y, s uc h a s d rie d f lowe rs , sto n ewa re c e ram ic, b ro n ze, p la ste r, wa x , h um a n h a ir a n d raw c lay - w hen c o nt ra stin g th e s e m ate ria ls , I a im to d raw atte nt ion to t h e e p h e m e ra lity of o ur ow n o rg a n ic m atte r.

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E : m o llie.m ilto n @ g m ail.com W: w w w.m o llie m il ton.com

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Núria Prat ‘O bs e rve t h e st reet , fro m t i me to t i me, wi th s ome con c er n fo r system, p er h ap s ap p l y yours e l f, t ake yo u r t i me, n ote down t h e p l a c e : the te rrac e of a c afé n ear t h e j u n c t i o n of Rue de Bac an d t h e B o u l evard Sai nt-Ger mai n .

T he time: Seven o’c l o c k i n t h e even i n g.

T he date: 1 5 M ay 1 973 T he weat h er : Set fai r Note down w h at yo u c an s ee. A ny t h i n g worthy of n ote g o i n g o n . Do yo u kn ow h ow to s e e what’s wo r t hy of n ote? Is t h ere any t hin g that strike s yo u ?

Nothing st r i kes yo u .

You don’t kn ow h ow to s ee’.

Ge orges Perec .

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Oliver Williamson The constant consumption of Masters’ paintings influences my attempts at turning personal photographs into something more significant.

Through the process of painting in oil, I feed my photographs more time.

Thus, the time in which the image took to be created is greatly extended, from 1/60th of a second to days, weeks or months. Consequently, my aim is to extend the attention of the viewer. I use inspiration and references from pre-1950’s painting, from Della Francesca to Fantin-Latour, to allow myself to embellish scenes from my point of view, and re-tell them however I want. I paint what I want the viewer to think I saw.

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Phoebe Phillips

Se lvag e, a histo ric al fusi on of s el f + edge, i s a word fo r b oth a g e o lo g ic al zone of al tered rock , and a f inis he d e d g e of a p iece of fabri c whi ch prevents i t f ro m unrave lling . I wa nt to consi der that thi s embodi es t he id e a of the walker, as s el f, wal ki ng al ong edges of co asts in a m e anderi ng l i ne yet pri ori ti si ng the inte rfacing b et we e n spaces: what l i es nei ther i nsi de no r o uts id e t he f rame, but al ong i t , and constructi ng an exp and e d land s c ape. Usi ng v i deo, performance and d raw ing as m e chani sms to expl ore the rhy thmi c and m e d itat ive m ovements of the ti de, I ai m to c apture t he p as s ag e of t im e a nd create a s ens e of pl ace.

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E : phoebe - phil l ips@h ot mai l .c o.u k W: phoebe sus annah .c o m 108

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Rachel Ferguson

Synec doche Ink S erie s C O N TAC T

To u n derstand the wh o l e, rep res ented by t h e v i c e vers a a n d ob s erved from the sp ac es i n bet ween .

H a rp ist: Ros al ie Warner

E : r.fe rg us o n 93@ o ut look .com S : s o un d c lo ud .c o m / h a p pyc at logf lu m e 110

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Rachel Wilson

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My work revol ve s aro u n d dest r u c t i o n . I draw i n sp i ratio n f rom J Henry Fair, w h o do c u ment s t h e i n du st r i al det ritus th at s ociety s o wil l in g l y over l o o ks. I c reate o rg an i c wo rk by us i ng wax, ink and ot h er mater i al s. T h e wo r ks are a b stra c t repres e ntations of t h e wo r l d i n c r i si s du e to h u man s t a k in g th e natural worl d fo r g ranted an d dest royi n g i t t h ro ug h greed and corruptio n .

I c h o s e t h is s ub je c t b e c a us e in re c e nt ye a rs it h a s b e en b ro ug ht to o ur atte nt io n t h e effe c ts th at th is w ill h ave on the e a rth in f uture ye a rs to c o m e. We h ave b e e n c h a n g ing ou r s o c iet y by re c yc lin g , yet we a re a ll st ill g uilt y of n ot d oing e n o ug h . T h ro ug h th is p ro je c t I h ave b e e n a b le to e n c ou rage my p la c e of wo rk to re c yc le th e ir g la s s e s w h ic h la st m onth to o k in 2 1 to n n e s of b ottle s . Â Â

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Rebecca Kay Haliwell-Sutton

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M: +44 797 02 75 0 3 5 E : RHal l iwe l l Sutton@ o u t l o o k .c o m W: Re be cc aKay.co.uk 114

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In my wo r k s c u l pt u ral fo r ms an d o b je c ts ma p t h e l i ved, n u an c ed an d p aradox ic a l exp er i en c e of t h e mat r i arc h . T h es e formal q u al i t i es t h at referen c e t h e b o d y al s o i nvo ke a c er t ai n p syc h o l o g i c a l state, as di c h oto mo u s el ement s ex ist in har mo ny an d c o nfl i c t , o c c u pyi n g b oth a sp ac e of beau t y an d abj ec t i o n . T hey a re ass embl ed i n ways t h at ran g e fro m th e mo n o l i t h i c an d i mp o si n g , to teeter in g o n the edg e of c o l l ap s e.

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Rebecca Hignett

My work focus es on c o l o u r rel at i o n sh i p s t h at c reate ten sion. T hroug h ex p l o rat i o n , I h ave di s c overed t h at my m a i n inte re st in col o u r i s o pt i c al di sto r t i o n . Wh en t wo o r m ore contrasting co l o u r s meet , t h e c ent ral l i n e bec o m e s f uzzy and distorte d to t h e v i ewer. T h i s i nterest sp arke d my curre nt practice wh i c h h as si n c e bec o me mo re abo ut th e vi ewer, by executing t h i s i dea o n a l arg e s c al e.

I n this instal l ation I h ave i nt ro du c ed mi r ro r s w i t h blue per spex attache d. Th e u s e of t h e mi r ro r s p u t s t h e v iewe r i nto my work as we l l as refl ec t i n g t h e sp ac e maki n g it a n i m me rsive environment . I h ave do n e t h i s as t h e c o l o ur of th e pe rspex manipu l ates t h e ex i st i n g c o l o u r an d c re ate s a 3 D effect . The pe r sp ex i s att ac h ed by a h i n g e, ma k in g th e mirrors interact i ve. As a resu l t , t h e refl ec t i o n of th e s u r rounding work is sh i fted an d t h erefo re t h e sp ac e is a lte re d. It is never th e s ame fo r eac h i n di v i du al v i ewe r a nd this is inte nde d, as eac h p er s o n w h o enter s t h e s p ace shoul d have a p er s o n al ex p er i en c e wi t h t h e wo rk , tr i g g e ring a s ens e of c o ntemp l at i o n , w h i c h c o u l d furth e r provoke emotions an d memo r i es.

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Rosanna Wilson Reli g ion ha s a divine a uthority, p re s e nti n g syste m s of be l i ef th at un i te s o m e w h i lst dividing or excluding oth e rs . M y wo rk addre s s e s th e i m p ac t of re l i gi o n by m akin g comparis ons bet ween th e th re e m ai n m o n oth e i sti c fai th s ; C h ri sti an i t y, I s lam a nd Juda ism.

T h rough ex ploring the la nguag e us e d i n s c ri pture s f ro m al l th re e fai th s as wel l as us ing materials that hold ric h sym bo l i c m e an i n g, s uc h as bl o o d, wax an d a sh , my wo rk aims to show our conn e c ti o n to re l i gi o n , as we l l as c o m m e nti n g o n t h e cur rent politic al climate.

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Russell Smith My work is based on studying the structures that society creates to segregate and control its members. This interest into social structures led me to examine the body that governs this nation, the Houses of Parliament.

My examination of the two bodies that make up the Houses of Parliament, the House of Commons and the House of Lords, led me to three main conclusions. There are a large number of members that I had no visual recollection or prior knowledge of. The quantity of non-elected members of the Houses of Parliament i.e. the House of Lords (811) exceeds the quantity of elected members i.e. the House of Commons (649). The contrast of behaviour displayed during the debates held by the two groups.

Through the medium of both drawing and video, I want to raise awareness of these conclusions and change the way people view the political system.

CO NTACT

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Ruth Wilson My work deals with the way we s ee images in modern s ociety. We have become more and more reliant on mediated images, rather than experiencing them first hand. Using a manipulated image of a test c ard pattern is a reminder of the culture we experience now with the advance of modern technology; it edits, manipulates and replic ates information.

The test c ard us ed to appear on the s creen when there were no programmes showing, whereas now there is no need for it , as technology has rapidly developed and there is a constant stream of different television channels. We are bombarded with information in an endless circulation, accumulation and production of images. The bright and jarring colours , coupled with the us e of a repeated pattern, create a dis orientating effect for the viewer, as they are faced with an overload of visual information to process.

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Samantha Goulbourne My works stems from ideas of keeping a record of duration and time through a repeated process. Taking the concept of duration and applying it to the act of making led me to process es many ass ociate with ‘hobby ’ and ‘craft’. My current practice is an exploration of knitting, creating tactile and fluid pieces.

I us e my body as the working tool through the technique of arm knitting, which brings the concept of time further in to the work due to the action’s limitations. Whilst creating the pieces, I am limited to my body size and current situation, during the process of making I am unable to place down the work or take a break without having to first ‘c ast off ’ from the piece which permanently halts the process. Therefore each net is a physic al repres entation of my ‘ time’.

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M : +44 7 7 7 093 0 142 E : s a m .g o ulb o urn e @ o utlo o k .com

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N/A

Samantha Louise Evans

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Not Appl ic abl e is a s er i es of wo r ks remi n i s c ent of a p a st ti m e. Fading Pol aroids dep i c t i n g i mag es w i t h o u t a b o d y, per s onal ity without a fac e, a sh ro u ded fi g u re, ex p l o rin g th e n ature of a portrait in rel at i o n to i t s own i dent i t y. Try in g to di s c e rn bet we en its own u n i q u e o bs er vat i o n s an d fe a rs , a n d every thing considered n o r mal .

I ex p lo re t h e n ature of id e nt ity a n d p e rs o n a lity th ro ugh Po la ro id s , ex p lo rin g id e a s of fe a r a n d h um o r t h ro ug h a c ove re d fo rm , q ue st io n in g p re - c o n c e ive d id e a s o n the id e ntity w ith in o ur fa c e s , w is h in g to p rovo ke a s e lc o ut h fe e lin g .

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M : +44 7 7 1 0 4 04 432 E : s a m lo uis e 765 @ g mail.com 127

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Sam Ryding I’m interested in the ideologic al forces that shape us, our beliefs and our environment . A lot of my work contains a childlike curiosity and play fulness mixed with humour. I want to make art that speaks to people who might normally feel removed from the art world and I find humour helps me make that connection with people.

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1. Just Th e J o by Found Im ag e, 3 00dp i 2 . Pinky an d t h e B rai n monoprint o n 54 A 4 l as er p r i nted torie s, 20 0x 200c m 3. Cautio n Mi n d t h e Step S ite Spe c i fi c Inter vent i o n 4. Lion and t h e Un i c o r n D ig ital Co l l ag e, 3 00dp i

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Samuel Whitham My work focuses on explaining how my mind is processing the loss of my dad who died when I was 10. I have been looking at his work from when he studied here in the 1970s and implementing elements of his work into my own work, using colour separation screen-printing and multi-layered screen-prints to create “3D images� of his prized possessions. This creates an unclear image of the object for the viewer to examine at their own discretion. I found that although this was a difficult subject for me to pursue it was also one that sparked my interest the most. I chose to draw my cross sections for my screen prints by hand and not expose them fully for the screens which is why they are uneven , the unevenness is my way of differentiating from my dad who was a very neat person and I am very crude. I produced a giant yo-yo for one of my final pieces to illustrate the manifestation of my frustration of the passing of my dad, as well as the fact that I have never (not without trying) been able to yo-yo properly.

1. Toffe e S c re e n p rint o n Pe rs p ex w ith ste e l f ra m e

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Sara Cutler

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Sarah Thomas We live in a digital age in which the Original is in crisis, due to the duplication and commercialisation of the image. Technologically reproduced images dominate our urban environment, which encourages us, the public, to be influenced on a day to day basis by icons of mass culture. It has been argued that due to this, the society we now live in has become alienated from all individuality.

When an image is repeated the meaning of the work fragments into many different contexts, depending on where it is and who it is being seen by. We are entering an age in which the idea of the Original will have no meaning whatsoever; where production and reproduction will have equal status.

My work revolves around this notion of the repeated image. I continually re-draw and re-print from old prints I have made. Every new print I make informs the next.

The continual repetition of drawn and printed shapes has led the images to become fragments of what they once were.

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M : +44 781 8 2 70 384 E : s joth o m a s @ o ut look .com 135

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Sarah Wakefield

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1 . Fra g m e nt s 2 . Ac tive o r Pa s s ive

My practic e ex p l o res t h e bo u n dar y bet we e n t h e m in d a n d th e o ut s id e wo rld .

How doe s yo u r brai n p ro c ess t h e vast a m o unt of info rm atio n it re c e ive s eve ry s e cond, a n d dec i de w h at to ac t o n an d what b e c o m e s irre leva nt ? H ow d o o ur p a st expe rie nc es, kn owl edg e an d s o c i al i ntera c t io n s affe c t w h o we a re a n d h ow we s e e thing s? In my i n st al l at i o n s, I wi sh to e n c o ura g e t h e a ud ie n c e to a c t ivate t h e art work . I n t h i s man n er, I am i nterested in h ow th e h o m e o st a s is of t h e a rt wo rk c an change v i a t h e ac t i ve o r p assi ve n at ure of th e v iewe r - t h is c re ate s a b rief c atal yst bet ween mys el f an d t h e au di en c e. O n c e th e wo rk h a s b e e n ta ke n d ow n it be come s l o st , j u st l i ke al l ot h er l i fe ex p erie n c e s , o n ly ex ist in g in th e un c e rt a int y of ones mi n d.

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Life’s A Beach

Scarlett Allmark

Working from the photograph, my paintings primarily deal with the exchange of information experienced when a person sees an image. My paintings are meant to convey how I examine and interpret the photographs I work from, deconstructing and reconstructing the image in order for it to become a painting. My painting style employs many different textures and consistencies, hinting towards surface and object in a naive yet controlled fashion. Painting is a very experimental experience for me, my intentions are to examine the limits of what paint can and cannot do, revealing details about paints qualities as well as the narrative possibilities within my work. There are definite humorous undertones to my work, noticeable in the unusual scenes and nonsensical landscapes created. I feel these comical elements are a reaction to previous works where my paintings took a more personal tone, my current work is a response to that, now utilising humorous and naive qualities.

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Sian Halfpenny ‘The grotesque body…is a body in the act of becoming. It is never finished, never completed; it is continually built, created, and builds and creates another body…’

Mikhail Bakhtin - Rabelais and His World.

Bakhtin describes the grotesque body as a site of exploration and exaggeration where the body behaves as a fluid concept, constantly recreating itself in a continuous act of becoming. My practice is a metaphor for the grotesque body where I explore the relationship between bodily fluids, attraction, repulsion and abjection. By using animation and drawing as a tool of fluidity and manipulation, I am able to produce unsettling works that echo Bakhtin’s statement and provoke feelings of disgust and discomfort. My subjects are isolated and distorted, their heads severed from the body to create a disturbing and surreal atmosphere. They appear suspended in a void, presented in limbo or a dream-like state, bordering on life and death, exploring notions of the uncanny.

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Siân Leyshon My work is abo u t maki n g t h e fami l i ar u nfa m ilia r, th e un inte re st in g intere sting an d maki n g t h e w ro n g r i g ht . In s p ire d by t h e w rit in g s of Ge org e s Perec , I dec i ded to draw my fl at . To m e, a d raw in g is a projection of t h e mi n d. As I draw I t h i n k ab o ut th e s c a le of t h e o b je c ts and the sp ac e t h ey ex i st i n . B y drawi n g a s p a c e th e re is a s e n s e of control wi t h i n t h e ar t i st to make an ap p rox im atio n of life. D raw in g is a way of commu n i c at i n g l i fe an d t h e wo n de r of s p a c e s . M y a rt wo rk is a n es c ape to t h e mi n d, a p ro j ec t i o n of an at m o s p h e re, fo r th e v iewe rs to examine w h at t h ey s ee an d to es c ap e rea lit y.

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Sinead Moakes

Poss ession My work expl ores th e t h eme of c o n su mer i sm an d t he n otion of poss essio n s. It i s an attempt to c o n si der my ow n role as a consume r by p res ent i n g t h e fo ot p r i nt s of e a c h of th e obje cts I own, thu s rec o rdi n g my fo ot p r i nt o n s o c iety.

Thi s ste ms from my desi re to bec o me a mo re aware a n d res ponsibl e consum er. So me of t h e sh ap es reveal t h e o b je c t th ey orig inate from an d ot h er s are mo re ambi g u o u s ; th is i s i ntende d to make t h e p i ec e ext remel y p er s o n al w h ilst i n s piring intrig ue in t h e v i ewer. T h e h an g i n g st r u c t ure t h e pi ec e takes cre ates h ei g hten ed v i si bi l i t y w h i l st i nt ro d uc in g a n aspe ct of distort i o n , c o n s o l i dat i n g t h e i tems i nto o n e uni f ying form.

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Sume Leyden Us i ng the mate rial ity of p ai nt a nd col our, my work ex p l o res t h e di s c ordant rel ations h i p of l an ds c ap e a nd industry. The s er i es of di pt yc h works us e the fl uidit y of p ai nt to ref le ct the orig inal un c o nt ro l l ed m olte n fl ow of l and c reat i o n . Pai nt f low is impe de d, infl u en c ed, o r emphasis e d by the c otto n st r u c t u re preformed unde r the p ai nt i n g .

Thi s cotton impos es a w i l l an d i n del ibl e imprint on t h e ex p ressi o n of ‘ lands c ape’. D oubl e sp l i t p ai r s of c ompl eme ntary c o l o u r s fu r t h er express a disharmo ny an d j ar r i n g j uxtaposition. Exten si ve res earc h i nto the ris e and dec l i n e of t h e c otto n i n dustry around Ma n c h ester, w i t h i t s legacy on the l and a n d mi n ds of t h e peo pl e has informed t h es e wo r ks.

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Timothy Hodkinson My practice is bas ed u p o n th e transl ation of ex p er i en c e (pri maril y the neg at i ve; t rau ma , confl ict , corruption , l o ss) i nto form. The methods I mo st readi l y us e to achieve this are met ap h o r a nd symbol ism.

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I ’ m inte re ste d in m a k in g o b je c t s a n d s p a c e s th at literally b rin g th e v iewe r in to th e s a m e p syc h o lo g ic a l s p a c e I have in h a b ite d in t h e m a k in g p ro c e s s . T h e s a m e p syc hologic al p la c e s t h at th e ex p e rie n c e s I a m m a n ife st in g o c c upy. The inte rrupte d n atura l st ate is s o m et h in g th at info rm s my work c o n c e pt ua lly a s we ll a s m ate ria lly. M y wo rks a re stories , state m e nt s a n d d e s c ript io n s p re s e nte d to h e lp try and p ro g re s s a b ette r un d e rsta n d in g of th e negative.

T h e v iewe r is a f un d a m e nta l p a rt of a ll my wo rks . My work st rive s to m a n ip ulate th e m a n d m a ke t h e m c o m p licit in the v iew in g ex p e rie n c e, m a k in g th e m ta ke re s p o n s ib ility for th e v iew in g of t he work .

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William Bacon I attempt to create paintings that invoke the memory of touch through the physical engagement with and manipulation of my source material, in the hope of conveying a deeper more truthful understanding of the subject. Photographs and paintings are objects alike, as they continue to react to the world around them, described in the gradual processes of destruction and disintegration. Yet I seek to celebrate this notion of destruction as another form of creation, manifesting itself in my practice as perhaps the crumpling of a photograph, the burying of a painting, or in the mantled passages of paint that begin to exist in our own physical space.

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Sp ecial thanks to

P rize s & Awa rd s W it h th a n ks to -

Sophie B e ns on, Ke i t h B row n , R i c k C o p s ey, Ian H a rtshorne, Brig itte J u rac k , J o L an sl ey, A n drew La con, Chara Lewis , Pen ny Mac bet h , Do n al Moloney, O ran O’Re i l l y, Dav i d Osbal desto n , J ames P i mperton, Mag nus Qu ai fe, M att Mu l l i n s, A l ys o n Ols on, He l en Wheel er, A n g el a B ar t ram, M ar i a Gonde k , Robin Broadl ey, M ar t i n Dexter, Gl en n J one s, Nick Manning , Pau l Tu tt y, C ai t l i n A ker s, Ki r ste n Aubrey, Rac h ael B ar ker, Pat r i c i a C h u rc h , H oward G oody, Phili p Hatto n , Mi c h ael Hi tc h en s, Dav id Linkman, Bil l y Lo g an , A n a Pj at n i c ka , Graham Trickey, Da n Tu tt al l , Adan Wi l d, V i c ki Wi l d, C hristine Arnol d, Fi o n n a B ar ber, Su e Sh ento n an d Roc he l l e Morris.

Alum n i Awa rd Le o n a rd L ittle P rize Ke n B illa ny Awa rd M AFA Awa rd s P urc h a s e P rize fo r S t aff Awa rd s Ao n Art Awa rd Awa rd s fo r S tud e nts h ip P ip S ey m o ur P rize

For al l your support an d g u i dan c e du r i n g o u r t i me at Manche ster S cho o l of A r t , yo u make t h e s c h o o l a n i nspiring and sup p o r t i ve env i ro n ment .

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