Reconnecting Publication by Lucy Llorente

RECONNECTING

2020 & 2021 BA Illustration Animation Kingston School of Art

Reconnecting two years

illustration and animation

through collaboration

with drawing

with your purpose

through materials

through artefacts

with character

with the environment

through music

with place

with our stories

with our roots

with childhood

with our spaces

with the everyday

through nature

with ourselves

TWO YEARS

Reconnecting We are Reconnecting. With the Covid switch to more digital learning, we have been dealing with dodgy internet and broken connections; we have been communicating with each other in virtual rooms and corridors. While we have been engaged with the digital, we have also been reconnecting to other things: nature, ourselves, our cultures and the rest of the world. And here we are, in this show reconnecting with each other. For the first time, two graduate years are holding a show together. We have joined up to support and celebrate each other’s work. We would love you to use this show as an excuse to reconnect with a friend who you’ve missed, and to talk about how the artwork may reflect your own experiences over this time.

ILLUSTRATION AND ANIMATION

What are Illustration and Animation? The words of Alessia Angelini, AnnaBeatrice Claxton, Daisy W.Y. Tang, Evie Anderson, Harriet Morton-Smith, Ivana Savova, Josephine Owen, Justine Rykiel, Louise Hung, Nina Hacker, Ollie Smallwood and Pati Micek Collated by Karenza Sparks Connected by Eira McCallum Both illustration and animation are processes of research, visualisation and communication. They come in numerous forms; from 3D sculptures to 4D games, from activism to education. They can explain, engage and entertain. They depict new, but familiar worlds. For us, illustration and animation are ways of expressing ourselves to others. They are a bridge that communicate our voices and emotions to an audience. They are a tool to demonstrate what we find interesting in the world and help us to materialise abstract concepts. We can use it in every single aspect of our lives. We hope that, by experiencing our work, you will have a route into our creative minds and see how we view and digest our surroundings.

Animation is younger and also a bigger sibling of illustration. We believe that one depends on the other and vice versa. Within an animation, every single frame is a work of art in its own right. When these artworks are put together, a whole new world emerges. It could be said that illustration is naturally a fundamental part of animation and not necessarily the other way around; but we believe that a good illustrator is one who knows how to add movement to their images, bringing them to life as animation does. Working with both illustration and animation allows us to navigate the grey area between the still and the moving, letting the idea guide how the visuals form. 9

Mai Nakajima and Louise Hung We Don’t Like Collaboration, But... Collaborations are exciting, fun and they stimulate creativity; however, they’re not always a perfect process. Before we came to study in the UK, we didn’t have many opportunities to collaborate with others. During the lockdown, both of us felt depressed and we lost our motivation to make work, so we decided to work together! This project was a wonderful experience. Together, we made a podcast, we painted with homemade natural inks, made collages, and created

both a digital and a physical book. We made a website that documents all the different ways that we collaborated in order share this experience with the students in our home countries- Taiwan and Japan. We added playful interactive elements and online workshops into the website to engage people and stimulate further collaboration. When people see how healthy collaborations look from our website, we believe their collaborations will be more successful!

THROUGH COLLABORATION

Mai Nakajima ‘For me, making this collage art together, and then cooking after we finish work is the happiness I get from this collaboration. Where is your happiness coming from?’ Louise Hung ‘umm... Spending time using my brain to think and having deep conversations with you during this COVID pandemic is happiness. I like the feeling of confusion, but we find out the answer together. Although often there wouldn’t be a correct answer, we can always find a solution and the motivation to move on. That is happiness.’

THROUGH COLLABORATION Mai Nakajima and Louise Hung We Don’t Like Collaboration, But...

WITH DRAWING

Life-drawing by Eira McCallum

‘Enthusiasm is good. It goes a long way. But one must also get smart and develop clear goals. That takes more than intelligence; it takes passion. It also takes more than passion; it takes intelligence.’ (Karl Gnass, 2005) Anonymous On Spirit of the Pose In reading the quote above, I’ve come to realise that the act of drawing, has a particular critical nature to its pursuit that I myself find quite irresistible. Calling for an intellectual frame for which artists can use to understand their own practice as well as that of others - for the sake of growth. This wise-man of the craft laid the words for me to reach the epiphany that passion alone is not enough for this journey in art but, similarly, intelligence or academic rigour are not enough for growing artistically. The instinctual, raw and wild feeling that flows from the body through the electrified arms, and into charged fingers is a state of being that I love to experience and try to put into the work I do, and the way in which I work. With large arcs of the arm and swinging pivots. I do this to engage my dull empathy in a way that allows me to truly resonate with the subject I choose to draw — all for the sake of making one feel the gesture,

movement and rhythm in all things. A small workstation has forced the realisation of the importance of the kinetic experience in drawing as well as tempo — urging me to tap into the feeling mentally, rather than physically. From there, I’ve struggled but also attempted to pour this feeling onto paper with the attempt of selfishly trying to observe whether I can make people feel the pose the model made, or sense the violence of a locomotion or experience varying other viscera printed to paper. Hard and soft, cold and warm, heavy and light, dark and luminous. In the absence of life-drawing and interacting physically with others, I’ve come closer to understanding the integral nature movement has in the practice of drawing, whilst also comprehending and appreciating the intelligence that goes into observing and depicting such untamed, tempestuous energy onto a dead, barren piece of paper.

OUR PURPOSE Hosted by Eira McCallum with Belle Foreman, Miranda Xanthe, Lucy Llorente and Ollie Smallwood Artists as Agents of Social Change: A Conversation Stimulated by Suzi Gablik’s Words During this conversation, we came to some conclusions and opened up a lot more questions: • Is a work of art less valuable if it doesn’t save the world? • What is the artist’s role in society? • Do you have to be an ‘artist’ for something to be seen as ‘art’? • Who are the art critics now? • Are we happy with how society values artists? • Are creative responsible to use their voices for social change? • How can we emphasis the collective?

Yeshe Thapa Magar Metamorphosis and Gregor

I often explore the semantics of materials and how they connect with each other to communicate narratives surrounding identity. I delve into various disciplines; approaching an expanded notion of what illustration is, to create immersive work that activates the senses for the viewer to gain a greater understanding of ideas and concepts. Previously, my work focused on my dual-identity of being both British and Nepalese, however this year, I challenged myself to explore further into aspects of identity other people may face. For example, my projects Metamorphosis and Gregor were about understanding and empathising with the protagonist from Franz Kafka’s Metamorphosis, Gregor Samsa and his battle with his identity when he turns from human to insect. This has been mainly communicated through documentation of conceptual performance art and creating wearable sculptures.

THROUGH MATERIALS

Natalie Fitch Copper Memories In lockdown, I began a project about my mom’s collection of copper pots and pans. Growing up with six older siblings my mom would have to share a lot, so, she would hide away shiny copper pennies as her treasures. As she grew older, this collection grew into bigger and more bizarre copper items she would find at charity shops. When I interviewed her for my film, she describes how much she likes the weight, and the variance in colors and textures you can get from one material. She finds big boxes on eBay that people practically give away because it is tarnished and unlined. She then polishes them herself and gets the insides re-tinned so that they are ‘as good as new’. After some investigating I found connections between my mom’s

European/American (U.S.) Immigrant Identity, and her copper collection. My grandparents are children of Polish immigrants who relocated to the rural Midwest. The Statue of Liberty is made in copper, so as a material, it represents those who travelled far to attain their liberty. And the way that my mom sees value in a tarnished coin, takes the time to and energy to make it shiny and new, is indicative of the ‘American Dream’ that exists for so many immigrants. Through this project, which began as an innocent documentation of her collection I’ve come to a greater appreciation of copper as a material and her family’s immigration from Poland to America.

Throughout history museums have been present in civilisation, showcasing their importance within our society. We have used these institutions to preserve, educate and display such a large variety of artifacts and art all through time. We enjoy and learn from these objects, whether that’s factual knowledge or the way we develop a skill of storytelling. Either way, these social situations allow for us to spark conversation with one another and help us build connections with both the art we’re standing in front of and the people we are with.

THROUGH ARTEFACTS

Bekah Knight Excerpt from ‘The Development of Museums from the 16th Century to the Present in England: by Incorporating More than One Sense Could this Achieve More Inclusivity in Museums to Different People Groups?’

Laina Deene Drawings from the British Museum (behind) Freya Croissant Motherland - a study from the National Portrait Gallery (right) 21

Victoria Hoover Will

When lockdown hit us the first time, I found myself stunted artistically; overwhelmed and unable to create university work. So I turned to a character I was familiar with, and had been developing for the past few years. As Corona went on and passed its various stages, I found myself more and more focussed on Will, this character that kept me entertained through the most uncertain time of my student life. For my final project, I decided I’d pursue my developing idea for this character, by adapting a screenplay I’d written into a graphic novel. This process of creating a graphic novel truly reconnected me with my practice. For so long I felt so uncertain, and yet when starting the largest project I’ve attempted so far, I felt the most connected to my work and art I’ve ever been.

YOUR CHARACTER

Louise Hung Reconnecting Students With Environmental Engagement & Action Through Printmaking In ‘Factors Affecting College Students to Take Action Against Global Warming’, it states that, on average students at universities are concerned more about global warming issues than environmental issues in general (Chou, Pan and Wu, 2013). Which means that most students have an awareness of environmental issues, yet few of them take any sort of action. As a visual communicator, I wondered how I could help to effectively influence others to take action. Since my second year of university, I have been very interested in printmaking. During the printing process, I noticed that it is not environmentally friendly. Starting from the preparation of materials to tons of paper, oil-based ink, chemical cleaning product, plastic

gloves, and water. The waste caused by various steps and the discharge of toxic chemicals is incompatible with sustainable development. Facing the conflict as an illustrator and environmentalist, I was eager to find out ways to bring sustainability into my practices and also impact others at the same time. I did some practical research, I designed and ran multiple workshops in Taiwan in July 2020. They were called: Trash into Treasure: Sustainability in Monoprint and bookmaking- A Green Printing And Collage One Day Workshop. Most of the printmaking courses from primary to high school use disposable materials. The engraving of foamboards, lino plates, and so on are incompatible with the environmental education

other printmaking processes stimulated their senses. The complexity in making prints helped to train students’ ability to observe, to concentrate, to memorise, to think, to instantly apply new knowledge, and also to work in a team. (Vojvodic and Sredanovic, 2020) When more sustainable printmaking methods are combined with environmental themes, the topic and the process are compatible with each other and the process is meaningful. Printmaking is not only a technique, but also a medium of communication. The unique beauty of printmaking attracts the attention of the audience, and at the same time, conveys the voice of the makers.

WITH THE ENVIRONMENT

concepts implemented at the same time. In these one-day workshops, I combined water-based monoprinting with recycled, reusable and natural materials, therefore, the process of the printing is simulated in a more sustainable way. During the workshop, participants worked in teams. They learned about the history of printmaking, and had the chance to discuss the pollution of the print industry and the idea of sustainability. None of the participants in the workshops were art students, and not many of them had experienced printmaking and teamwork in this way; however, they engaged actively in the workshops. The operation of creating printing plates, pressing, and

Charlotte Wood Has COVID-19 Killed the Live Music Industry? An Analysis of the Underpinnings of the Crisis and the Online Future of the Industry The future for the live music industry will not be the venue vs. the digital, it will be the venue and the digital. Ultimately, online live music is not just a COVID-19 response. The online music community is active, and a valid way of sharing music with one another. The appetite for in-person live music is still as hungry as ever, as indicated by the respondents to my survey. All 54 of my survey participants stated that the environment of the music venue was important to the live music experience. As Larry Harvey, co-founder

of Nevada’s Burning Man festival, attests: ‘You can communicate with anybody in the world on the internet, but so what? [At Burning Man] we’ve resorted to a kind of primal psychology, a level of experience that lies at the heart of all ritual – primordial, preverbal, prehistoric. The genesis of that feeling is standing around a campfire. You have to reach back that far to find something that’s going to bring people together.’ (Harvey, quoted in Sweetman, 2004 p.88)

Every year my family go camping for a week on the Pembrokeshire coast. It’s these trips that have made us so close, for that week we are entirely with each other- reconnecting. We camp, swim, play games, cook together and at the end of the day we chill out around the campfire and sing the same songs we have been singing for years. I used the MIC welder to engrain imagery from

these songs on a firepit I made - as they have been ingrained in me over the years. The examples you can see are ‘The Boxer’ by Simon and Garfunkel, the war song ‘Pack up your troubles in your old kit bag’, and Welsh folk song ‘Sospan fach’. The firepit is an object that will continue to bring people together, and the welded drawings will act as a catalyst for more music and song.

THROUGH MUSIC

Eira McCallum The Firepit

Leeseul Oh Personal Illustration

Last year I was working in my home studio in New Malden, In the process of making my graduation film ‘Scales’. I went back to South Korea in the summer and finished my animation in my studio space at home. I took some film photographs before I left London. I feel reconnected when I looked back at these pictures.

WITH PLACE

Callier Epps Frames from Little Oasis Crazy Skate Trying to reconnect to old memories, connecting the imagination to a real place in time. Attempting to align to two in some cohesive way.

Alyaa Ridha Long Walks at Night Over lockdown I used drawing as a way to reconnect with places I missed ... This series of drawings developed into a film exploring memory and sentimentality.

WITH PLACE

Brennan Ward A Letter to My Future Child Reconnecting through interview with my mum and dad. Understanding the joys and struggles of parenthood at a young age, and what it means to love and care. I found myself almost bringing a new understanding with the people who raised me. A letter to my future child is the idea that can take from this foundation.

WITH OUR STORIES

Josephine Owen and Megan Willett Normalise Menopause Everyone has a relationship with the menopause. We have found that information on the subject is scarce. Aided by Menopause Support, we collected stories to inform the world about the diverse experiences people of all genders and ages have with the menopause. This is Dan’s story. By reading Dan’s story on the following spread you will notice that some parts are missing. To complete his story, here’s what to do: • There are 5 missing pieces to the story and 5 Normalise Menopause stations located on each floor of the OXO Bargehouse. • Explore the exhibition and find our stations, each one will contain stickers (these are your answers). • Consider each sticker and read the information display. • The correct sticker will match the shape and colour of the gap in the publication. • If you think you have found the answers, stick the stickers in the story. • Enjoy learning about Dan’s unique relationship with the menopause.

Menopause is something I will likely never go through. I suppose it’s not something I feel that I would be missing a out on, a s m e n s ke trua i l lt t ion of te n fe

one

of my body against me, with bodily processes that I didn’t feel aligned with my sense of self.

Despite knowing people of

two

can menstruate,

I still find it hard to tease apart the idea of menstruation and femininity 34

within

myself.

was a lifeline. One of the first changes I experienced was the

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four

WITH OUR STORIES

three

Thus

w h i ch

w a s of t e n a h i g h l y

h dy sp

or i

tim

My reproductive system has always felt like an alien part of me, so despite my periods stopping on testosterone,

n I ca

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my s e s i on

l f h av i n g a

five would never reduce anyone of any gender to femininity simply due to them experiencing menstruation however, I still find it difficult to hold those same standards to myself.

Megan Willett Frame from Only Human For the final project, I created a short animation exploring what it means to be a young carer. A carer is someone who provides unpaid care for an ill, older or disabled family member or friend. To make this animation, I had to reconnect with my past. I once was a young carer. My dad has always required a great

deal of care from my mum; this gave me great responsibility as the oldest sibling to look after my brother and sisters. I never once thought about reaching out for support. I wish I had. I hope that through reconnecting with my past and sharing my experience, I make caring visible and valued.

WITH OUR STORIES

Alfie Dyer Frames from Endre and the Mountain My film ‘Endre and the Mountain’ is a metaphorical visualisation of an insurmountable mountain of grief and the acceptance of loss. My main character Endre is trying to ascend this mountain, battling the crude snowy landscape, encountering animals that have a mythical connection to grief

and finding his own journey of accepting the loss of his wife. Everyone’s experience of loss and grief is very individual, yet I am hoping that the abstraction of loss within Endre‘s journey will help people find their own paths over the mountain. 37

Oda Aurora Norlund A Bowl and Spoon This project explores the carving of a spoon and molding of a ceramic bowl, much different from my usual practice with digital animation. I like tangible handmade objects, as they remain connected to where and what they are made of. The piece of wood I used for the spoon was brought from my home in Norway. It was cut of from a dead pine during my family’s annual canoe trip in the middle of the woods. The design of the ceramic bowl is inspired by a bowl I have grown up with, white with a blue rim. Finally they are connected to my last weeks at the university and the people around me, as they were both made here in England.

Being physically unable to be home in the past year has caused me to use my work as an excuse to reconnect virtually. I spoke with my siblings about stories we heard as children and about how, as adults, the way we view these stories have changed. We spoke of the attitudes in some of these old stories towards grief and loss. In my final project I explored how some of these attitudes have not changed as much as we would like to think.

WITH OUR ROOTS

Sarah Devaney Frames from Fairyfort

Charlotte Strike Frames from ‘Looking’ These are some stills from a film I’ve worked on called ‘Looking’. Every scene is drawn observationally from my childhood home using my Nintendo DS which are both things I’ve reconnected with over lockdown. Animating this way was very limiting, so I had to think less about the final outcome and focus more on enjoying the process.

WITH CHILDHOOD

Somin Lee The Mechanism of How Audiences Get Satisfaction from Art: The Similarity of Art and Children’s Make-Believe Play

My desire to create has always been from the joy of make-believe play. The Perfect Home is a building made only of fabric. It is a re-creation of an apartment he used to live in. His work has something fundamentally connected with pretend play of a child. Children often hang blankets on things like a chair and pretend that it is a base, or tent. The blanket tent is the children’s version of transportable house. A blanket becomes a medium for imagination that allows children to pretend to be camping whenever and wherever. Do Ho Seo’s work draws on his memories and is an experience into the make-believe. Of course, Do Ho Seo’s project looks realistic and much more well-made compared to the children’s blanket tent, although it does the same thing. A blanket allows children to feel adventurous; they can imagine a forest outside of their blanket, hear a dangerous creature’s roar, and they feel safe from the nature underneath

the blanket that is a durable tent in their imagination. Like this, even though they are just sewed fabrics, Do Ho Seo’s work is an implement of nostalgia. He can see through them how bright the morning sunshine from the window was; he can smell what the place smelled like; he can feel the temperature, and even how the light switch clicked; he can sense every memory with the space. His project is not only a medium for memory, but also the work itself is a representation; it is an embodied ghost of his imagination and memory that cannot physically exist. The transparency of the material enhances the mood of mirage. In summary, Seo’s project is make-believe play as he tries to imitate spaces in his memory with fabrics, an unrealistic material, and the shaped fabrics show something beyond them by using our symbolic thought. This is what I aim for; to represent, to observe and to communicate the reconnection to my previous experiences.

WITH CHILDHOOD

WITH OUR SPACES

Karenza Sparks and Lucy Llorente Milner Flag Dossier During lockdown, our home became our whole world. Borders became more defined than ever before: between countries, cities, households. Our house was a country with a population of two. In a bout of lockdown mania, we formed a vexillological board and designed flags for each room-State, negotiating our personal territories. The result of this project was a dossier outlining the flag specifications and symbolic meanings for each

room-State’s flag, with attached information such as our neighbour’s cat’s visitor’s pass. Pictured left are the flags for the House Nation, Izzy State and Lounge District. The dossier acts as an archive, collated at the dissolution of the vexillological board, to remember the bordering and un-bordering of our personal spaces as we moved out of lockdown and reconnected, cautiously, with the rest of the world.

WITH OUR SPACES

Home Studios Lockdown has changed our experiences with the spaces we inhabit. Some have found joy in the innovation required to be creative from home, while many have struggled to make it work. These are some of the makeshift ‘home studios’ we worked at over the past year. Looking forward with studios reopening, we are beginning to distance ourselves from the intensity of a year of WFH. However, our relationship with our desks (or kitchen tables, or beds #softoffice) will forever be changed. 47

Belle Foreman These Times As the days and nights blurred into each other and time became a fuzzy foggy mingled soup, I found comfort in the little repetitions of everyday life, like brushing my teeth and making cups of tea to keep my hands and head busy. When time stopped, I stopped too, and I started to notice the little moments around me, like how spaghetti somersaults in the bubbly boiling water and how sometimes the clouds in the sky look like soya milk when it separates in tea. As a way to process my thoughts, I started to turn these observations into poems. Referencing Ancient Greek ceramics which often showed scenes of daily life, I made coil pots to be a home for my drawings and poems. By putting them onto these pots which will stand in time, I am giving these small moments permanence a contrast to the jumbled roly-poly days of ‘These Times’.

WITH THE EVERYDAY

Rosie Gate The Rise of Oddly Satisfying Videos; Is there a Universal Aesthetic in Animation, Which is Innately Satisfying to the Viewer? I found the same comfort in videos of mundane moments on Instagram, such as soap cutting, throwing ceramics, or creating beautiful ‘pack-lunches’, and found myself wondering what it was that made these videos so satisfying and soothing to watch. It could be seen as living through watching. According to a recent report published by Ofcom, people in the UK have invested 36% more time on social media in April, than they did before the pandemic in January 2020 (pg. 38, 2020). This could be because of the need to feel reconnected in these isolating times, or the increase in news and stories. However, I have found myself investing more time on social media because these videos have brought a satisfaction of vicariously living through others. These

types of videos fall under the hashtag #OddlySatisfyingVideos, a trend on social media by which people share any video they find satisfying. They remind me of some of my favourite animation scenes, such as Remmie in ‘Ratatouille’ (Walt Disney, 2007) combining the flavours of cheese and strawberry for the first time, or watching the Sushi Master make sushi in ‘Isle of Dogs’ (Wes Anderson, 2018). This led me to question: what visual qualities are shared within these #OddlySatisfyingVideos that cause this feeling of satisfaction? And if there is a aesthetic which is universally satisfying; how could this could be used in animation to achieve the same feeling?

Molly O’Neill Frame from ‘An Abstract Journey into Isolation’ For me, this was a time to reflect on how lockdown had affected my workflow. I felt reconnected to nature due to my daily walks. Doing this allowed me to clear my mind and feel free. They allowed me to focus outwardly on the world around me rather than constantly thinking about myself and my inner turmoil.

THROUGH NATURE

Josephine Owen Groundmarks

I love to tell stories. This work forms part of a collaboration with contemporary dancer and producer Hannah Wallace. The project was called ‘Groundmarks’ and focuses on exploring our relationship to place with our physical being. I produced the project’s advertising and brand identity, which aimed to connect people with the performance. Most importantly though, mine and Hannah’s aim was to reconnect people with nature.

During the pandemic everything slowed down, almost to a stop. I found myself in the garden most days; planting bulbs and seeds, enjoying the feeling of the earth under my hands. I liked separating the plant roots, giving them room, then bedding them down into a nutrient rich compost bed. I think I was nestling down too. Going back to something I loved doing as a child gave me a sense of familiarity that I needed when so much else had changed. Having now moved, it makes me happy knowing that my bulbs are there still, a small remnant of a strange time.

THROUGH NAUTRE

Manny Walker Lockdown Sketchbook

WITH OURSELVES

Maha Shami The Way Out: A Collection of Imperfect Things I have used collage, film-making, and finally, creating my quilt to reconnect with myself. Spending time and focusing on each of these artefacts became a type of therapy and evolved into becoming the road out of a very dark headspace.

Self Portrait by Yeshe Thapa Magar Pati Micek Human Being

‘Reconnecting’ could in fact replace the title of my final project ‘Human Being’. The film is non-linear, which for some might feel unfamiliar, but is about coming back to your own home- that is to one-self, which should be known to some degree. The reconnecting with what is inside requires a lot of courage, to look at your reality as it truly is. This process can be incredibly painful or not at all, it seems to vary from person to person, just like any other experience. After having conversations with individuals, (and with myself), I learned that it is common,

in spite of struggle, to be grateful for this beautiful experience. I think reconnecting should take place as much as possible, with nature, with close ones, with the present moment, to bring the best for everyone. Animation has allowed me to express and visualise that need. I wish you all much ‘reconnecting’.

WITH OURSELVES

Self Portrait by Callier Epps Alessia Angelini On Reconnecting In this last year I had the chance to reconnect with myself, my spaces, my objects and my beloved ones. I had the chance to reconnect with my needs and feelings and know myself a little bit better. At the same time, I feel ‘disconnected’ with the person I was before: even if I have the same ambitions, I think I managed to change them slightly to respect the needs I have right now. My goals haven’t changed. I have just found another way to pursue them. Today I wanna feel close to my beloved ones and still be able to do what I love.

Self Portraits by: Nina Hacker, Manny Walker, Alfie Dyer, Kalpana Pun, Justine Rykiel, Maha Shami, Rosa O’Mara, Lucy Llorente, Rosie Gate, Natalie Fitch, Rina Torshina, Noah Monnereau, Zac Song and Freya Croissant (from left to right)

WITH OURSELVES

Making Reconnecting In the making of this show, we have had numerous Teams calls, endless Facebook messages and eventually, when restrictions began to lift, daily meetups in the studio. This has been a valuable opportunity to work collaboratively with creative and innovative people. Everyone has brought

their own particular expertise and helped out where they can be most effective, while also being willing to learn from one another and try out new methods of working. Coincidentally, the making of the show has been a great chance to work, be inspired by one another, and to Reconnect.

Reconnecting

Endless thanks to

BA Illustration Animation 2020 & 2021 Kingston School of Art

Our tutors: Jake Abrams Josh Armitage Martina Bramkamp Stephen Brown Laura Copsey Rachel Gannon Evgenia Gostrer Frances Grahl Geoff Grandfield Maggie Gray Rachel Lillie John Miers Peter Millard Paddy Molloy Martin Morris Jane Webster Russell Weekes Nick White

25th-27th June OXO Bargehouse iabareconnecting.com Instagram @iaba.reconnecting Printed by Aldgate Press On Denamur Revive Natural 170gsm, 135gsm and 100gsm In Pantone Medium Blue U, 233 U, 382 U and 108 U Typeset in Apercu Medium by Colophon Foundry Reforma 2018 Negra by Pampatype Foundry Designed and Edited by Natalie Fitch Louise Hung Lucy Llorente Oda Aurora Norlund Edited and Additional Text Written by Eira McCallum Developed by Sarah Devaney Natalie Fitch Louise Hung Lucy Llorente Eira McCallum Oda Aurora Norlund Karenza Sparks Miranda Xanthe

A special thanks to All of the staff and technicians throughout KSA Nina Carter Jill from Riverhouse and our KUBacker supporters