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Dear Mr. Vernon, We accept the fact tha t we had to sacrifice a whole three years in art school for whatever it was we did wrong. But, we think you’re crazy to make us write a sta tement telling you who we think we are. You see us as you wa nt to see us: in the sim plest terms, in the most convenient de finitions. But, what we found out is that each one of us is: A brain... And an athlete... And a basket case... A princess... And a criminal. Does that answer your Sincerely yours, AE10



Oil, acrylic, pencil, charc oal, canvas, paper, ca rdboard, photocopy, glue, glass, wool, cotto n, polyester, moving im age, still image, plastics, utensils, writin g, gesture, marking, mo ulding, site. Text, words, so many words, colour, sound, whisper, interrogation silhouette, sleepwalkin , g, abandoned building s, a deserted swimming pool, in and out, lipstick, Google, pu mping iron, construction, deconst ruction. Scanner, water, reflec tions, lost and found, and found again, screws, Instagram, cir cuit boards, figures un known, figures known, landscapes, old and ne w, stitching, cutting, fol ding, subversion, a crashing wave, portra its imagined, portraits remembered. Work, more work, nega tive space, corrupt po litics, our vulnerable flesh, our measured bre ath, our conscious be ing, elegies, epiphanies, fired clay, dust and rubble. And so it goes. Above are just some of the ma terials, processes, ideas and images discu ssed amongst this gro up over the last few months. It’s in the natur e of contemporary fin e art practice that no stones are left unturne d and no media are off limits. It’s a messy and complex business but a necessary one. The list above, albeit a fragment, gives a sen se of the diversity of ap proaches to making art. This degree show includes all of the abov e and more. The Fine Art team congratulates this group on their wil lingness to experiment, explore and embrace the theatre of potentia l that is our practice, and wishes them all the best for their futures. Professor Tim Davies May 2013

Isabel’s artistic practice is predomi nantly centred upon dealing with the everyday, especially pers onal events from her life, often through the use of humour. Of late , she increasingly seeks solace in the simple beauty and pleasure of life drawing processes; a pillar of artistic expression. The irony of this exists in her appreciation of the complexities of the human anatomy in juxtaposition with an active discontent she believes is the result of humanity’s destructive tendencies. The new s and media coverage are two vital elements of Isabel’s research foundations, often driving her to create spontaneous, reactionary pieces. Simultaneous to this more immedia te form of expression, Isabel’s fascination with catharsis manifest s itself in the form of the systematic photographical recordin g of desolation and decay. Isabel moves through abandoned urban spaces – hotels, fuel stations, homes – and records thes e journeys through both modern and archaic processes. She feels this experience is not only representative of the pers onal loss she has intensively experienced of late, but also of trium ph and the glory of new hope. Her images revel in nature’s reclaim ing of man-made structures and play a key role in the artist’s expression of her alternating discontent with, and awe of, the world and its inhabitants.

atshop and sues of swe is s e at we ss re d the things th ctice ad h it w d e rn e Emily’s pra conc k of our r as she is t to the bac child labou ted and pu n ry, she ra g st u r d fo ke clothing in e th overlook, ta n are o ly e purchase using main e clothes w th minds. Foc g w in o h th e d n is som here a em, as this questions w rk is making th ore. Her wo o n h w ig d to n a se o o t h c made b le r, p nsume u s most peo role as a co ’s ty she believe ie d c n a so bility mainly on nal responsi comments r own perso e sly ignored h u n o o vi s re p se also focu thing she e m so is it t, as involvemen lf. e hers skills into itional craft d a tr te ra o orp the subject aims to inc s it mirrors d fin n e sh Emily always s a e has begu ch as stitch h recently sh g u o h l. her work su lt o a to , h rary dealing wit a contempo t that she is ormance as s significan rf a e p is d rk n o a w o r e h g n e ti th a using vide cre ct on involved in time to refle The process it allows for s a e m o tc ou as the final t. c je b su e opes to rais ctice she h ra hidden p d c n ti a is e rt tl a t her using sub y b e of s m Throughou le e b , in th hop of these pro voking work ro p t awareness h g u o to create th messages change. g a positive in encourag aines@gma emilyroseb s. rosebaine ily m .e w w w

Jessica produces work in response to her fascination the documentatio with n of everyday life , the mundane an she constructs he d how r identity for publ ic consumption. Jessica’s recent practice has been focused on takin extracts from he g r personal audio and visual diaries result of this focu . The s has been varie d. The materials media that she ha and s utilized include glass, text images video, sonic work , and photograph ic installation. Her interest with the construction of a public identit enables her to bl y ur the borders be tween truth and fiction, secrets an d lies. Her audio work is personal emotionally char and ged. It can give th e illusion of allow you in, to bear wi ing tness to her inner most private thou while simultaneo ghts, usly holding back the crucial details would reveal the which dialogues’ true na ture. Other ideas incor porated into Jess ica’s work are re rhythm, expressio petition, ns and the solidar ity of human em otion. jessica_carey@liv www.jessicacarey

Jason’s current practice tackles the melancholic feelings generated by the un-realisation of the chimerical futures of the past. He uses available media and place as a reflective representation of particular dreams and aspirations that have failed to materialise. Impossibility and failure in compari son to this nostalgic, media informed viewpoint, form a central part of the work, representing the point of confrontation between the imagined and the inevitable inadequacies of the actual. There is often a contradictory element in Jason’s practice, with a sense of almost playful interaction offered to the viewer in a possible ironic standpoint between the signifier and the signified. While the ideals represented may be personal in their particular projection, many of the overriding feelings of disappointment and frustration resonate with a broader audience. Are we all doomed to failure in com parison to our nostalgic view of the future for ourselves? Jason also forms one half of Jaso n & Becky, whose collaborative practice questions social division, on both personal and collective levels. Through their work, viewers and participants are often challenged to rethink their relation ships to one another and their surroundings, confronting alte red situations and simulated environments designed to create the uncertainty of internal dispute.

e ring on th ing shive ly to s e a rg w tte ul u a powerf p, Charlo aken by for fear thrown u rt y e w tl v n ra o e d s c a to re w d g e e in h u v s n a ti e H nc que con n all at o st grotes she has floor whe f that mo teful day o fa s t th a p th e ce ed draw. Sin ck into th rown ba th g in e b of ailable . rarely av ry e to. v is r shivering ape will take g fever, p ct pencil in g je w n b ri o ra u d y d r n e a to her ight of h wing on t appear a y th In the he finds herself dra ll s a e n c the fa he sensatio and so s he has drawn are y appear to her g is all e s h s es drawin st T e . m ti ts n e e s e m The fac o m r. At th ject mo t crazed above he t bay, on any ob r e w her mos e more to ons a draws th eem to s m e e h d s d n a e e s c d e luri the fa ep th d mind. detail of do to ke gly addle in she can he more s T a r. re e c h er in le to rs from h are accessib hands b disappea e c fa e od. Her fo ture. In of th d a n re a living c n sleep y e n e a s is n e a c g sin ton th r from th y has lon of a skele ath to release he e sees t a th Her bod to e e sh emblanc ngs for d oments more res nts she lo r, in brief lucid m e beauty m , o ty u m a t es oweve uch be s H t . a her dark e lives. fe s li p h e ments sh er the en we o htmaris ft o ig m n d e t s n s e a o m r th sh ted that give has crea ss. It is fo what she such acrid ugline nd few moments retched life. w of ef a on in her born out these bri continue mory of e to m th e g g th n e It is of str is: drawin amount r, take th e d a re smallest tory om her s g more fr nd a curse. in th o n a ke If you ta salvation re both a a rt a d n a ock@live cccradd

We as individu als are seduce d into a labyrin cyberspace; th of the its supremac y provides an and truth. Ther idea of experie efore, everythi nce ng we want to world is at ou know about th r fingertips. A e m y uses the inte force for her w rnet as a driv ork and ques in g tio ns the idea of contemporary reality in our environment. Today, we ca n instantly view a tsunami, he explode or ob ar a bomb serve people from across th hold these ex e world. We ca periences in ou n r hands. As a experiences ca result, real life n be overlook ed or suppress ed. Does the line between the virtual and th answer to this e real exist? Th question is no e t on Google. aledwards101@ www.amyedw

Beccie uses her body as a site to express internal dialogues. The construction of femininity, masking and transformation are the themes that run through her prac tice. She is fascinated by the way we construct our identities and how we perform our bodies. Aware that the female performanc e artist walks the line between artist and spectacle, Beccie cho oses to perform to the lens. It seems the lens having had such a strong influence on the selfportrait has informed and increase d the awareness of identity, becoming a suitable tool to docume nt her performances. Working with everyday beauty prod ucts and practices, Beccie investigates the effects that they may have on us physically and psychologically. She is interested in the idea of makeup as mask, by way of concealment and by way of expression. Makeup is also use d as an art material within her work, as she finds that the materiality of lipstick is just as malleable as the postmodern body. Beccie explores the uncomfortable battle between the guilt of wearing cosmetics and the liberatio n of transforming into something else, because although perhaps a medium for self-expression, makeup may also be masking wom en’s oppression. Just as the performing female body walks a tightrope, so does the woman with a painted face. www.becciejosanneevans.weebly .com

Painting – dabbing, daubing, sme aring – is the most basic, the mos t primitive, the most physical way of leaving a mark. In her painting Carys searches for a personal, handwritten signatur e or fingerprint in her attempt to leave a distinctive mark. She will work on a single canvas for days or weeks, scrubbing, deleting and overpaintin g, sometimes several times. Figures of women, herself included , are Carys’s subject. But she is not a portraitist or self-portraitist in a conventional sense. She is as likel y to subvert female images as to cele brate or dissect them. She tries to make maps of their faces. The old map makers added icons in the corners of their charts, and Renaissance painters juxtaposed their portraits with obje cts, conventionally read as ‘symbols’. So too Carys associates her figu res with non-human attributes, leaving to the viewer the task of reading them and the women they accompany. Carys’s themes may be few, but her materials are varied. She use s unconventional media, including common emulsion paint, pastel on sandpaper, pure pigment on wet plaster and sometimes makeup, searching for different ways of investing mar ks with meaning. The scale of her work varies from single studies to larg e triptychs, as she wrestles with the surface, the medium and the tool s in her hand.

Being a very precise person, the striving for perfection is fundame ntal to the way Sylvie approaches her prac tice. In spite of experimenting with a diverse range of media and skill s over the years, her commitment to collage has remained paramount. Initially her work was about destroy ing and rebuilding relationships, whic h stemmed from her personal experience of issues such as ado ption and mixed race, but now her interest lies much more in the port rayal of place. Starting with her own photograph s and experiences of familiar plac es, Sylvie begins by deconstructing the traditional representation of a place. Photomontage techniques have allowed her to play with scal e and perspective, removing and add ing alternative structures into the landscape to create new spaces. The viewer thus begins to questio n reality, becoming disorientated, con fused and deceived by the seem ingly familiar place where everything is not always as it first appears. Sylvie is continually trying to crea te places which are both tempora ry and permanent, real and imagina ry. However, she has now moved from the ‘comfort’ of photomonta ge and is experimenting further with the techniques of collage/assem blage, placing both two and thre edimensional objects alongside eac h other in three dimensional spaces, using colours and materials whic h will interact together to create their own tension and drama.

s manner. and spontaneou ve iti tu in , le nt eate visual orks in a ge capture and cr to Elyse Gwynn w s pt d m te at e actice, sh that occur to an and moments Through her pr ts gh ts ou gh th ou of th idence her daily and physical ev sis. By mapping day-by-day ba a Elyse begins to s, on ie r ar he di nd al arou oks and visu bo ch et which then may sk in es and doodles, and emotions ch et sk deo, of rm photography, vi k in the fo create her wor rmance-based rfo pe h ug ro th form take on further lations. en sound instal ev or e, ur pt scul er. nship with wat ng on her relatio si cu al fo on r rs he pe es y man work se work and holds Elyse’s current element to her nt es in her rta or pl po ex im e an sh Water is r her, which fo es nc ca ifi gn si memories and practice. her attempts to she documents o, de ral vi d an y raph recting the natu By using photog water, while redi of efore er es th di d bo an e h, ng ac ra to the be ck ba connect with st it g in orks ct w re s rpose of di . She create flow with the pu comfortable in t os m is e rry sh ca may er that ilities that water the body of wat explore possib to . ns io on nt rs te pe in to e with th and person place to place emotions from


Who are we if we lose our mind? Are we still the same person, where does our mind actually go and will we get it back? What are we if we lose the ab ility to function with ou r body, if a disease or a malfunction breaks us down? Are we comp romised as a person, are we any les s of a person? For over the past year Lily has been ill. The dia gnosis however, has been somewhat of a mystery, leaving her with questions such as, is this somethi ng she has had from bir th, or simply a malfunction currently within her body? The artist is fascinated with the frightening fac t that we, as human be ings, are not invincible and it has tak en this illness to awake n her to the fact that she, herself, is no t infallible. This has be come the muse and inspiration for her current work. She use s her experience as an advantage to cre ate work which is releva nt to her daily life, focusing on the fuz zy, spaced out dizziness which occurs creating an authentic perspective of her const ant frustration and resistance in conform ing to being sick. Enfor cing that illness and disability can be a part of you but it is not wh o you are and it does not, and should not, determine your life or undermine the creativity within us. m www.lily-anne.tumblr.c om

Jamie’s practice focuses on the construction of masculinity in relation to the act of bodybuildin g. Concentrating on the definition of masculinity and notions of what makes someone a “man”, Jamie questio ns whether the development of the muscular body really has any thing to do with the development of one’s masculinity. The artist’s personal involvement with the gym environ ment and interest in bodybuilding culture continually informs the artist’s practice of the excessive behaviour of bod ybuilders, and the extreme measure they take to achieve the “perfect body” in an attempt to fulfil an ideal. Addressing the abject and grotesq ue through an extreme form, Jamie challenges the viewer to question the level of muscularity in the human form and the conventions of the bodybuilding ideal. Working on larg e-scale paintings to mirror the subjects’ scale of excess and evoke a sense of intimidation, Jamie abstracts thes e forms by closely cropping in on specific muscle groups of the subject. Capturing the detailed crevasses and vascular veins within the muscles to confront the viewer, we are left to question our individual preconceptions of masculinity.

Predominately working with pain t, but also interested in sculpture, graffiti and street art, Jen -Wah’s practice concerns itself with the freedom of speech . Using spray paint as a medium that can mould into man y forms and texts, Jen-Wah explores its potential as a powerfu l political tool; a creation for both good and bad intentions, erasable yet permanent. Creating aesthetic or meaningful objects, the artist questions our notion of freedom through repe tition, reconstruction and use of colour. Through every brush stroke and release of aerosol an idea unfolds and rele ases a personal mark that locates itself in artistic freedom . Viewing the world like a playground of consumerist cult ure, the artist challenges the structure and routine of the exp ected and ideals, finding inspiration and beauty in the wor ld as he believes it should be, not as it is. Continually searching for the voic e of freedom, Jen-Wah invites the viewer into a space of contemplation, allowing the individual to express and indulge their imaginations through portals of colour.

Heather uses the medium of clay to express her ideas. Her work is concerned with the contrast betw een the inside and the outside of the individual. The body of the clay can be seen as a metaphor for the way humans respond to thei r environment. Clay is very malleable until it is overworked and cracks. The different character of each clay, combined with how the maker forms the clay and chance happenings during this proc ess, determine when this point is reached. Like humans, clay carr ies within its structure a history of its experience. The structure of the individual clay has a voice in the making process and in the fina l statement. These ideas have recently been expressed in a series of real and imagined portrait heads. The view er comes face to face with the timeless image of the portrait bus t, where a balanced image of the individual’s character has bee n portrayed. The subject is the individual presence of the public image we imagine we always express. These are contrasted with portraits of momentary emotions that have risen to the surf ace and dominate the mind and character of the individual. The internal story leaves a surface record.   

Elliot’s whole artistic being is deri ved from personal experiences that have triggered a process of cathartic creativity. His practice is centred on the notion of loss, the beauty of life and the challenges that lie within it. These previously oppressed emotions and struggles are now poured out into the work, allowing for the most raw and unrestricted form of expression. He creates a visually drawn language through a wide variety of media, trying to create sensitive work responding as an immediate emo tional reaction. Maintaining the expression and exploration of loss, bereavement and the fragility of life, the work progress es towards a consideration of a shared absence presented in larg e-scale abstract paintings. Experimentation is key to his prac tice, discovering which materials speak to him and playing with new media to create an innovative and exhilarating visu al language. When producing his paintings, Elliot enfolds himself solely in the media in question, completely surrounding himself with creative focus. The capacity of the canvas reflects his internal space, where the paint absorbs his inner emotion s which are made visible through the marks created.

Helene’s project originates from a performed hike in Norway, whe n she observed how the captured images were documenting the majority of the journey. Emphasised by her not utilising any camera herself, wha t caught her attention was how the documenting of a journey through a lens removed the focus from the actu al experience itself, and what one sees with one’s own eyes. The images she selected from thre e of the photographers who part icipated on the hike simulated a quality that she associates with paintings, suc h as Hans Gude’s Norsk Hoyfjell (185 7), and Francois Diday’s Casscad e de Pissevache (1852). Having an interest in how technolo gy has been integrated into our daily life, what she investigates is how the everyday is documented thro ugh technology. By using Instagram, one of the world’s most popular photo sharing networks, she explores how individuals share personal imagery with the rest of the world. Technology has changed the acc essibility of personal information throughout the world, and one is no longer in need of distant travellin g to observe and experience different countries or cultures. In the act of painting and the conduct of explorin g the nature first hand, Helene, thro ugh these traditional methods, seizes to explore the melting point betw een the nostalgia of the past and the inev itable digital future. Credits to: Thea Kamilla Jonassen, Nora Fjeld

heim Lerstøl and Inger Birgitte Rich


Encompassing landscape and abs traction, Graham’s current body of work is derived from , and conceived as a result of, an intimate emotional and cerebral relationship with his native Gower coastline, the inner landscape of his imagination, and his life experience . He explores the exceptional phy sical qualities of paint to full effect, allowing his creativity to run unrestrained, producing fluid, organic forms, that are full of movement and often bursting with colour. Graham’s work has immediacy and authenticity. Harmonious wholeness and visu al lyricism can be seen in juxtaposition to stark, intellectual, grounded realism in his vibrant paintings.

Alice has been looking at the land scape of the Lower Swansea Valley, and also at its industrial hist ory. It was a major centre for copper production during the nine teenth century, and also had a well-regarded ceramics industry, with fine examples held at Swanse a Museum and at the city’s Glynn Vivian Art Gallery. Her art practice takes a phenomenological approac h to the Valley, using printed matter, archived material, photogr aphs, plants and found objects to record her responses to her subject . It is a process of exploration and discovery which necessarily intersects with various narratives. The already-known history and the contemporary both impinge upo n her senses and divert her from the visual and immediate to an acknow ledgement of the residual and historical. The senses of touch, sou nd, and modes of communication that include the verbal and textual as well as the visual, are drawn upon - like a shout at something seen. Alice’s practice goes from explora tion to discovery and then from discovery back to exploration, so that her recordings reflect her responses to her research into the phenomena encountered in, and by, the very act of moving through the landscape. ording-land


Exploring notions of val ue and identity through the domestic spaces home, the artist focuse of s on objects invested with memories and ma of time that outline bo rks dily actions, invisible ge stures and narrative. Frances’s work manifest s itself in the landscape of the everyday, re-imagining the ordina ry and banal that beco me overlooked through their familiarity. Using her practice to take a moment to pause and reflect on these comm onplace items within ou r personal and public spaces, she questions our understanding and reception of the familia transforming the humb r, le into something stran ge, mysterious, beautifu and extraordinary. Throu l gh investing time into documenting objects found within drawers, cupboards and the co nfines of the home, ob are frozen in time to co jects nsider their beauty wit hout necessary functi purpose or value. The on , stillness of life suspend ed in her drawings ec the fragility between life hoes and death. Intimacy, Domesticity, Absence and Time rev eal the underlying notio of impermanence within n the artist’s work but als o connect to the artist’ use of drawing and ph s otography as two distin ct mediums used to cre a poetic discourse in ate portraying those closes t to her. Drawing inspir from family, the artist ation continues to search for a voice in the quiet wo of the conventional, allo rld wing us to re-conside r what we dismiss in the routine of our daily live s and to see the poten tial in the world of hid things all around us. den francestracefineart@gm www.francestracefinea

Daniel is a modern day Cosmop olitan and his practice relates to the fluid meaning of identity within a glob alised world. Daniel responds to identity within a globalised world on a variety of levels. Within his more persona l works there is a longing for the meditative, tranquil and ‘authentic’; this is accompanied by an underlying element of melancholy and loss. These works are an infle cted response to the variety of identity choices that exist within global soc iety and the fast pace at which we live our lives. In addition to these personal resp onses, Daniel responds to life in a globalised world by reflecting it bac k upon itself. In these fairly objective responses, Daniel exposes inequalit y and injustices within global soc iety. These works are designed to hav e an affective turn on the spectat or drawing them into internal convers ations about a variety of local and global issues. The most important aspect of Dan iel’s work is aimed at providing solutions for multi-cultural commun ities and global society as a who le. Daniel employs a variety of strategi es to achieve these aims. Through out his work, Daniel celebrates the cos mopolitan moments that underpi n global society and also exposes shared historical roots. By exposin g these roots, Daniel creates cultural counter memories in the historic al record that are designed to shift perceptions regarding race and belonging.

Lisette is a Swedish artist, currentl y based in Wales and Australia. Her main body of work deals with the phenomenon of secrets and the hidden inner self through the medium of portraiture. A painting or photograph is only a surface; there is no way to get to know the picture better. The only way to see a deeper meaning, behind what is obvious , is to reflect that surface onto your own feelings and experience s and judge them on that notion. The characters in Lisette’s paintings, therefore, have a life of their own. She does not try to understand what their secrets are, neither does she pain t with a specific secret or vice in mind. Refraining from doin g so maintains the mystery of the piece and makes it possible for the viewer to form their own ideas and reflect themselves onto the work, rather than the artist. Lisette prefers her work to be amb iguous and through that hold the possibility to become a mirror rather than an image.

Are we fixed, or are we moving? Are we both? Do we exist at points, or along lines? Is there an in-between, a liminal state? Is it possible to capture both the static and transient simultaneously? Becky’s work explores proof of our existence, within the infinite contexts of space and time. Her interest lies in the evidence that marks the journeys we make. She wishes to prompt the viewer to contemplate their own journeys, their own existence. Searching for interconnected path ways, marks and traces, she aims to reveal what we take with us, and what we leave behind, within both physical and psycho logical frameworks. Fleeting moments are uncovered, capture d, given new meaning. Becky also forms one half of Jaso n & Becky, whose collaborative practice questions social division, on both personal and collective levels. Thro ugh their work, viewers and participants are often challenged to rethink their relationships to one another and their surroun dings, confronting altered situations and simulated environ ments designed to create the uncertainty of internal dispute.

t has increasingly n within an environmen tio ec refl of ns ss ne ue The vag urse. Captured reflectio ire as an artistic disco ses asi ph em r the been an interest to Cla n that fur her, creating an illusio on surfaces fascinate ed by the phenomenon vat pti Ca y. int rta d unce the feeling of doubt an and the sense of ca sions within lands pe illu , ter ent, wa in ns tio ec of refl nd within the environm cordant objects are fou s ist’ art the hin wit displacement when dis focus les have been the main reflections within pudd easy identification, the ists res t tha e ac sp g rin plo Ex rk. wo t en most rec eptacle of memory. present vision and a rec of r rro mi a th bo is le pudd se concentrated phy, Claire captures the gra oto ph of t oin wp Through the vie nature of the subject where the ephemeral reflective environments natural landscapes. usl ment within previo y op vel de an urb on ts reflec phic images and their optics of these photogra ing Concentrating on the texture, surface, cropp artist explores colour, aesthetic qualities, the and depth of field. ange when viewed in w true to life images ch Claire focusses on ho ioning and expanding as paint, further quest elves. Currently alternative media such close-up images thems the of ies ire alit qu tive the refrac of the photographic, Cla and the representation g, ing int rrin pa blu g gh tin ou iga thr est inv otograph can also suggest a ph explores how a painting depth of field. cropping, surface and claire_louise1990@ho ea fin www.clairewilliams

Joel’s work has initiated itself out of the unusual experiences he has undertaken with his ‘other’ self. Over the past 3 years, Joel has developed a con scious awareness of his ‘sleepwalking’ habits. His art work has enrolled itself into finding and capturing small glim pses of what his ‘sleepwalking’ self may look or feel like to him or in fact, if it even exists. Joel’s art speaks to him, translati ng movement and trace into delicate signs of his ‘other’. The small traces of this presence evoke a sense of control that he is searching for within his sleeping habits and ‘other’ self. It exists above, but always out of reach. It embarks upon the secured room. It controls the unc onscious mind and does not speak in daylight. Where is it? It does not exist inside, it exists above. Joel believes that in order to find his ‘other’, he must feel secure and relaxed in a space of freedom, a space no other person can reach or inhibit. He belie ves his bedroom holds all of the answers to finding his othe r but, in order to keep the sense of security he has dev eloped in this room, no other person must enter.

A very big thank you from everyon

e to:

All the lecturers, technicians, artists in residence and staff at SMU Four Counties Office Furniture Horizon Promotional Products Lim ited Oxfam, Union Street, Swansea Swansea Sea Cadets, Swansea Marina Rogues Hair Salon, The Kingswa y, Swansea Al’s Ice Cream Van And anyone we’ve missed out! It’s been eventful


Swansea Met Fine Art Degree Show 2013

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