2025 BAMS Student Medal Project Catalogue 2025 – issuu

BAMS STUDENT MEDAL PROJECT XXXII 2025 Contemporary Art Medals

GRAND FIRST PRIZE

IMOGEN KATE PHILLIPS Make Way for the Swaledale (obverse) Birmingham City University. Winner of the Grand First Prize, awarded annually by the Worshipful Company of Founders. See page 22.

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BAMS—STUDENT MEDAL PROJECT XXXII 2025

GRAND SECOND PRIZE

ISLA STANANOUGHT Protective Wings (obverse) Falmouth School of Art, Falmouth University.

Winner of the Grand Second Prize, awarded annually by Thomas Fattorini Ltd. See page 36.

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BAMS STUDENT MEDAL PROJECT XXXII 2025

Contemporary Art Medals 5

CONTENTS

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FIRST WORDS MARCY LEAVITT BOURNE

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INTRODUCTION PATRICK DAVISON

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THE STUDENT WORK ARTISTS’ STATEMENTS & PRIZE-WINNING MEDALS

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MEDALS BY STAFF MEMBERS

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AFTERWORD

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ABOUT THE BRITISH ART MEDAL SOCIETY

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ACKNOWLEDGEMENTS

CONTENTS

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FIRST WORDS MARCY LEAVITT BOURNE

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BAMS—STUDENT MEDAL PROJECT XXXII 2025

The British Art Medal Society, founded in 1982, has grown in membership and outreach: collectors, makers, curators, writers and lovers of the art medal can be very proud of creating together a Society that has commissioned new medals every year, organised talks and conferences and brought to wider public attention this wonderful, surprising and powerful art form.

The Student Medal Project was conceived by the British Art Medal Society as a means of re-introducing the art of the modern medal into art colleges within Great Britain – through bronze casting – and it has grown to include a considerable number of UK institutions and at least one invited foreign academy each year, making it an international Project. A new generation of medal makers is created. It has become part of the curriculum in many colleges, in sculpture, jewellery and metalwork.

Teachers are encouraged to make medals too. Loyal sponsors provide ten prizes. For teaching the art of bronze casting, it creates a perfect module whether a college has its own foundry or sends work out to be cast. There are few experiences in the art world to match a bronze pour, and the skills learned - wax carving and modelling, mould making, ceramic shell or plaster cast making – can forever form part of an artist’s working life.

In terms of the focus or the subject of a modern art medal, the themes are without horizons. A student may choose to examine their own feelings about a personal matter, or select a place of great significance; they may want to speak out in anger at political wrongdoing or celebrate poetry; abstract design and attention to the form and function of making a modern medal also feature as potential ideas. The parameters of two sides and an edge – a work of art held in the hand – far from being restraints, create possibilities. The prizes are based on engagement with the medallic medium, with several specific areas, such as lettering, or current affairs, also portraiture. To FIRST WORDS—MARCY LEAVITT BOURNE

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encourage promising students, ‘Merits’ are also awarded.

No theme was set for this year's Project. Nevertheless, student work often tackles the large themes of environment, inequality – social and political – and health. However small it may be, the appeal of the modern art medal is its enormity of impact, its potential to state a case.

Marcy Leavitt Bourne Director, Student Medal Project

LEFT Visitors view the display cases of over 100 medals at the Student Medal Project exhibition, Hereford College of Arts, April 2025. Photo: Stephen Dodd.

FIRST WORDS—MARCY LEAVITT BOURNE

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INTRODUCTION: ARTISTIC EXPLORATION ON A SMALL SCALE PATRICK DAVISON

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BAMS—STUDENT MEDAL PROJECT XXXII 2025

My fascination with medals originates from an appreciation of the intricate processes involved in their creation – particularly the striking process – which involves the shaping of metal under immense pressure to achieve remarkable detail. This technique, having been employed for millennia, still holds vast potential for exploration today.

The genesis of my interest lies not only in the technicality of the process but also in the aesthetic quality of the finished medal. It is a medium in which sculptors – both historical and contemporary – imbue a small-scale object with extraordinary sculptural finesse. This practice mirrors the traditions of cameo or intaglio engraving, as well as portrait miniatures and illuminated manuscripts, where technical virtuosity and emotional depth are expressed through remarkably minute dimensions. The beauty of such works is often magnified by their smallness; the viewer's awareness of this scale sometimes fades as the design, composition, and elegance of the piece resonate most effectively at this size. The medal, held in the hand and shared, becomes an intimate object, its artistic qualities revealed in close admiration and enjoyment.

The subjects explored in medal design range from grand political themes to more intimate familial or aesthetic ones, each rich in detail and complexity. These themes, whether global or personal, provide fertile ground for artistic exploration, with the small scale of the medium inviting a captivating level of intricacy and nuance.

One of the most compelling aspects of the medal is its capacity for harnessing depth through perspective: the tangible substance of high relief or the delicate illusion of depth created by low relief and bas-relief techniques. This manipulation of space allows for a refined exploration of texture and form, with each carefully selected area contributing to the overall composition A particular challenge I have encountered in my own practice is how to embrace the inherent threeINTRODUCTION—PATRICK DAVISON

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LEFT Delegates at the BAMS Annual Conference examine medals by artists; in the foreground, work by Natasha Ratcliffe, a former Falmouth student, now a leading UK medal maker.

Photo: Stephen Dodd.

dimensionality of a subject while at the same time exploiting the graphic potential of the medallic medium.

This delicate balance, between the flatness of graphic design and the sculptural depth of the medal, offers a nuanced and sophisticated approach to the form.

These qualities were vividly apparent whilst judging the recent Student Medal Project. So many works resolved complex compositions in innovative ways. Some artists employed lettering and text not only to articulate themes but also to reinforce the visual language of the piece. Others demonstrated an intuitive sculptural elegance – gracefully handling the challenges of reduced, yet essential, three-dimensionality – either building subtle layers or introducing deeper, more pronounced interventions into the surface of the medal. The use of colour and a variety of alloys further enriched these pieces, with patinas accentuating the underlying themes or highlighting the work’s physical luminosity or depth.

In some instances, the pieces achieved an almost miraculous synthesis of these elements. The themes conveyed through these works resonated deeply with their creators, and the aesthetic choices were skilfully executed, drawing on the rich tradition of medallic art while introducing new and innovative approaches.

I encourage all participants to take pride in the works they have created. Whether it is the theme that inspired them, the sculptural process, or the compositional challenges they faced, I urge them to continue exploring the aspects of this project that resonated most deeply.

It is through such ongoing exploration that the true potential of the medium can continue to be realized.

Patrick Davison Silversmith INTRODUCTION—PATRICK DAVISON

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THE STUDENT WORK ARTISTS’ STATEMENTS & PRIZE-WINNING MEDALS ALL MEDALS ARE CAST IN BRONZE UNLESS OTHERWISE STATED

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STUDENT WORK

BIRMINGHAM CITY UNIVERSITY; CARMARTHEN SCHOOL OF ART; CENTRAL SAINT MARTINS, UNIVERSITY OF THE ARTS LONDON; CITY & GUILDS OF LONDON ART SCHOOL; DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN; FALMOUTH UNIVERSITY; FIFE COLLEGE; CITY OF GLASGOW COLLEGE; GLASGOW KELVIN COLLEGE; THE GLASGOW SCHOOL OF ART; HEREFORD COLLEGE OF ARTS; LEEDS ARTS UNIVERSITY; SHEFFIELD HALLAM UNIVERSITY; WEST DEAN COLLEGE; TYLER SCHOOL OF ART & ARCHITECTURE, TEMPLE UNIVERSITY.

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BIRMINGHAM CITY UNIVERSITY SCHOOL OF JEWELLERY HND JEWELLERY & SILVERSMITHING BA JEWELLERY & OBJECT HEAD OF SCHOOL JEREMY HOBBINS STAFF TEAM DELIVERING PROJECT DAUVIT ALEXANDER (HND), KATY TROMANS (JEWELLERY AND SILVERSMITHING), REBECCA SKEELS (JEWELLERY AND OBJECT) CASTING G W LUNT

Prize Winner

JULIE ANN ASHTON

Life is a Game, and it’s Rigged ‘I decided to take the topic, The Economy/Climbing the Social Ladder.

To showcase this, I decided to examine the design of the chance-based game of Snakes and Ladders, because you could look at life, society and the structure of how the economy works as a game. When we talk about climbing the social ladder, we ultimately mean we want a better quality of life, a better standard of living, such as a warm house, nice food, being able to have a holiday. I wanted this medal to represent our current times, more specifically, the rapid decline of the standard of living in the UK. My medal explores the flaws and limitations that have been sewn into our economy historically – the class system for example – and also how it is in recent times. Ten or fifteen years ago more people had an equal opportunity to climb the ladder; now the choice often is between paying rent/fuel/food. The snake around the edge represents an eternal cycle of self-destruction, due to greed.

I used weather symbolism on the obverse and the reverse: the sun indicating a time when the standard of living was better, and the lightning and rain on the reverse, with damaged ladders, indicating the impossible task of climbing the social ladder. The snakes express the forced burdens, obstacles and limitations that are currently crippling our economy.’

Winner of the ‘Herbie’ Prize.

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STUDENT WORK

Prize Winner JULIE ANN ASHTON Life is a Game, and it’s Rigged 79mm The ‘Herbie’ prize, from the estate of John Herbert, presented for the best political/social comment medal, in this instance a sharp observation, including the edge, cleverly modelled to resemble a game, which draws attention to economic and social factors that inhibit success.

BIRMINGHAM CITY UNIVERSITY

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KATHERINE CAMPBELL-HOWARD

VALERIO GRIMALDI-PLANT

Soar

Silentium est Aureum (Silence is Golden

‘A metaphor for our own emotions, my medal aims to depict the conflict that falls behind the façade we often mask our thoughts with. The single bird symbolises the calm capable face we show, whilst the reverse portrays the hidden fallible thoughts, which attack the mask we wear.’

‘The medal is inspired by the control and corruption of Italian politics and the Catholic Church. The obverse shows the Parliament building and the reverse, with pistol and banknotes, suggests the illegal activities the mafia are linked to. Connecting both sides is a large puppeteer’s hand that controls both sides. It is the story of corruption within the two prominent organisations in Italy and how controlled by the mafia they really are. The title is “omerta”, the code of silence.’

ALICE COURSE Laysa Marratayn? (Never Again?)

‘The design is a response to the Israeli government’s actions towards the men, women and children of Gaza since October 2023, as well as the broader history of aggression towards the Palestinian people. It is a situation not well understood by most people in the West. I am inviting the viewer to seek out a deeper understanding of Palestine’s history, to reflect on Britain’s and the West’s responsibility (and complicity), as well as to examine their own moral stance in response to events.’

MARIE GOUGE The Trauma of Loss ‘My medal, which takes the form of the human heart, is an exploration and expression of grief. It is the loss of a loved one and the pain felt in that person’s absence. The anatomical heart shown on the obverse is healthy, representing that they are still here; on the reverse, the heart is severely wounded, beyond repair and will never be the same again.’

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MEG HOUSTON Bitterness Feeds Upon the Host ‘My piece is based on the Maya Angelou quote about how bitterness is like a cancer, destroying its host. On one side a hand holds a gun, aimed at the viewer, and on the other it holds a peace lily. The idea is that we can choose how we react to a situation for our own peace of mind. We get back from the world what we put into it.’

REBECCA CATHERINE MINAAR Between Two Worlds ‘With this medal, I wanted to express my experience with studying abroad in the UK after growing up in Zimbabwe.

The steps between the two are a testament to the ups and downs I have had to contend with as I travel back and forth, splitting my life between Harare and Birmingham, as I have shown by the hole connecting through the maps of each country. I left my world behind in Zimbabwe and had to

BAMS—STUDENT MEDAL PROJECT XXXII 2025

STUDENT WORK

Prize Winner IMOGEN KATE PHILLIPS Make Way for the Swaledale, 77×76mm Winner of the Grand First Prize for overall excellence in the medallic medium, with particular attention to modelling and texture and to a change of perspective from obverse to reverse, close up details to distant landscape, awarded by the Worshipful Company of Founders.

BIRMINGHAM CITY UNIVERSITY

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start from scratch in the UK on my own.

The medal is a testament to the homesickness and hardships I have faced.’

FLYNN MOLES Contemporary Archaeology ‘I carved the wax for this medal with a large hunting knife, to achieve the curved facets of flint knapping. The obverse depicts a hand axe, with fossilised shell, an early artistic manifestation of hominids. The reverse contains a place where one can screw in a variety of bottle caps, using found objects.

The concept of 20th-century archaeology may uncover a mindless cycle of creation and consumption and the subsequent pollution of anything beautiful.’

using wax carving and hand fabrication.

The engraved texture on the medal includes sheep wool and dry-stone walling.’

Winner of the Grand First Prize for overall excellence, presented annually by the Worshipful Company of Founders, who also purchase the winning medal (or sponsor the making of a cast) to add to the Founders’ Collection of Grand First Prize medals. The medal is shown on page 21, and also on page 2.

FINLEY NICHOLAS Granny Smith’s Waste ‘My medal came around due to the amount of food waste I keep seeing around Birmingham. The contrast between the polished skin of the apple and the wormridden inside represents how fresh and edible food gets thrown away, instead of being gifted to those who could benefit.’

Prize Winner

IMOGEN KATE PHILLIPS

Make Way for the Swaledale ‘The Swaledale face and gated off scene symbolise the freedom, openness and natural beauty of the North Yorkshire Moors, near where I live at home. The sheep have the right to roam freely and control the movement of cars on their land. It is a stark difference to urban areas where humans have the right of way and control. The title, again, conveys that the pedestrians of the moors are the sheep. Throughout my work, I have based pieces on animals and nature, 22

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STUDENT WORK

CARMARTHEN SCHOOL OF ART, COLEG SIR GAR

LAYLA BALFOUR Self Preservation

PROJECT TUTORS LEE ODISHOW (SCULPTURE TUTOR), KATY OWEN (PROGRAMME DIRECTOR)

‘This medal was made exploring themes of fear and safety and the natural instinct to protect oneself and find a space of comfort and security. In any safe space the outside can seep in and some of the inside out. Through the passing of time, we change continually, sometimes dissolving into our surroundings, losing our sense of self and finding it anew.

The border of the medal is cast from teeth, representing growth and strength, something our prehistoric ancestors would have worn for protection.’

FOUNDRY LEE ODISHOW

HELEN BATH

FINE ART PRACTICE AND JEWELLERY DESIGN DEPARTMENT HEAD LISA PHILLIPS

Stag Head ‘Using the lost-wax method, the medal was designed to illustrate one of the words lost from the English language. Many countryside words have been removed from the dictionary in favour of modern terms or lack of use. The stag’s head is at the pinnacle of a tree, only the top of which has died and can be spotted in a landscape of the woods as one that stands out. A poem by Robert Macfarlane makes reference to it: “stag-headed, fire-struck, bare-crowned”.’

PAULINA CZUBATKA Source ‘The medal is to illustrate and remind one of women as being the source of the whole life of humanity, and stone as a source of the life on the earth. The inspiration stems from the themes of life, feminism, and the persistent lack of women’s rights in many countries and cultures. The concept represents the starting point of life’s creativity and the forces of creation.’

BIRMINGHAM CITY UNIVERSITY / CARMARTHEN SCHOOL OF ART

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MADDIE DAVIES Transformation and Sustainability ‘My medal is about using waste/discarded/ scrap materials and bringing them back to life by creating something new, promoting sustainability in this modern age of overconsumption. Using small pieces of fabric and attaching them to wax, I made a patchwork design with a collection of scraps. This draws attention to the possibilities of these materials.

The variety of the fabrics created beautifully detailed textures and patterns cast in bronze.’

AMITY EVANS Flip A Flapjack ‘I dedicated this medal to my pets. I chose to use my snake, Drako, on one side and for the other my cat, Flapjack. Their presence gives me comfort, joy and companionship every day, and I wanted the medal to reflect on the love I have for them. Flapjack is curled up, while Drako, who is always keeping busy, is wrapping himself in circles.’

MILLY HABGOOD Small Traditions ‘The small traditions that make up people’s lives inspired this medal. I love the small things that make life bright and I wanted to make something to represent that. On one side is a teapot with tea being poured out, and on the other mugs of steaming tea, being held in hands.’

TRUDY HARPER

reverse says: the extraordinary pursue ideas, which is to suggest that people are now encouraged to be their unique selves, a different situation from when I was in my youth. I believe it is our ability to create that makes us extraordinary, to use our imagination, embrace failure and be fearless in our quest for knowledge and personal growth.’

JULIA HUGHES Untitled ‘I have recently read Ovid’s Metamorphoses in translation and have fallen in love with the book, which has inspired artists ever since it was written. I wanted to pay respect to Ovid and the book. The obverse shows Ovid’s head, as sculpted in Roman times, and the reverse of the medal shows the figure of Europa, astride the bull, the god Jupiter. I am amazed at Ovid’s poetry and moved by his subject matter, as a woman and feminist.’

OWAIN HUGHES Mari Lwyd ‘The medal commemorates the ancient Welsh New Year tradition of the title, which means “Grey Mare”, when a decorated horse’s skull is taken from house to house, and each householder is engaged in a battle of song and wit before being allowed to leave the house to partake of food and drink. It confers blessings on the house and its people for the coming year. The obverse shows the beribboned skull and the reverse an endless Celtic knot, formed from those ribbons. It is a celebration of Welsh myth and folklore.’

Stand Out From the Crowd ‘I wanted to capture the desire for individuality, what makes us stand out. Writing on the 24

BAMS—STUDENT MEDAL PROJECT XXXII 2025

STUDENT WORK

DANIEL JONES

DORIAN WALTON

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Under the Sea

‘This piece is part of my exploration of classical construction methods in geometry to deepen my understanding of Celtic art.

I wanted to delve more deeply into more complex root ratios used to construct polygrams with a prime number of points, in this case, 7. The methods were laid out by Euclid and the Pythagoreans before him, who attributed their understanding of geometry going back to the Brahmins of India and the Druids of Western Europe.’

‘This medal is the final outcome of a module in which we explored the lost wax casting process. Inspired by the vibrant life beneath the waves - and influenced by a viewing of Disney’s The Little Mermaid - my design aims to capture the organic beauty of marine life.

Its intricate textures evoke images of coral, flowing currents and diverse sea creatures.

Additionally, elements such as wool and seeds were incorporated into the work.’

KATIE MORRISSEY Polar Bear ‘The design of my medal addresses the urgent and ongoing issues of climate change, specifically the impact on Arctic life. One side shows a roaring polar bear, a powerful and majestic animal that portrays strength, and the reverse side tells a different story, depicting the ice melting away, a reminder of the rapid loss of the bear’s habitat. The contrast between strength and vulnerability is at the heart of my piece. Climate change is happening now.’

JULES ROCK The Sea and Me ‘I interpret my world in shapes, colours and textures. Being in the outside and having a natural lifestyle runs deep, with a sensory enjoyment, of making metal look and feel soft. I love this. Playing with the concept of a very hard material. The inclusivity of taking pleasure from the feel of life’s ripples. How it feels in your hand; how it feels in your mind.’

CARMARTHEN SCHOOL OF ART

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CENTRAL SAINT MARTINS UNIVERSITY OF THE ARTS, LONDON BA JEWELLERY DESIGN COURSE LEADER SALLY COLLINS TEACHERS ON THE PROJECT KATHARINA DETTAR (STAGE 1 LEADER), GILES LAST (SENIOR LECTURER), KATY HACKNEY (ASSOCIATE LECTURER) SENIOR TECHNICIAN/MOULD MAKER CHRIS HOWES FOUNDRY ARON McCARTNEY, Mc@RT STUDIOS LTD

NUBIA ABDELLATIF Heads or Heads?

‘A game of chance. Symbolic of Sudan’s civil war, the sides represent two military leaders, while the edge stands for civilians caught in the crossfire. The “coin” will never land on its rim, reflecting the unlikelihood of citizens deciding their future, emphasizing the country’s bleak fate. At the conflict’s heart lies territory, leaving no space for the people.’

This medal received a Merit.

ISABELLA BALDUINO Bound by Irritation ‘Since moving to a larger city, I’ve felt a surprising sense of restriction, as though I’ve lost the independence to make my own choices, often swept into the flow of the collective. Occasionally I catch a glimmer of shared frustration from a fellow commuter on a crowded tube train, a silent connection between strangers, bound by the same irritation. This inspired my medal design of two figures.’

CAT BARREIRA Eternal Youth ‘As the media world takes over human life, it shines a spotlight on youth and artificial beauty. This heightens fear and the prevention of ageing. Humans will undergo extreme procedures to maintain an unrealistic appearance. The medal highlights the contrast between skin that appears smoother, compared to the natural beauty of ageing, where each wrinkle tells a story of human experience.’

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STUDENT WORK

HARRY FLETCHER

CHAEWON LEE

The Art of Drag

I Want to Put You in my Pocket

‘The medal highlights the beauty and passion that goes into drag. Drawing from my experience at Drag Con UK, and drag pageantry scenes, I have captured the extravagance and glamour of drag culture and excellence. Feathers and sequins are on one side of the medal, with a mirrored surface, to make the viewer feel part of the experience.

The other side illustrates an individual madeup eye.’

‘In my country, this phrase is used for someone who is adorable and precious.

They are the ones who give me positive energy and make me happy. Whenever I’m feeling down, I wish I could take them out of my pocket. I discovered a British superstition about having a coin in your right pocket for good luck, and I liked the connection between this and my own similar story. My medal depicts a pocket with people.’

HONGCHENG HUA

Prize Winner

Flipped Affection ‘In Chinese families, love and control intertwine like two sides of a medal, inseparable yet conflicting. On the obverse, a mother’s reprimand, symbolised by flowing hair, represents cultural expectations, shaping the child. On the reverse, a tender gesture of tying a bow reveals silent love and care.

This contradiction defines parent-child relationships, the complexity of Chinese families. What should love truly be?’

NINA KENNEDY A Fruitful Pursuit ‘A decline in the hedgehog population may push them into extinction. Hedgehogs are struggling to access basic resources and mating partners due to urban development.

An increase of fences in private gardens traps wildlife from travelling freely. Hedgehogs are symbols of protection, and if we do not offer protection back we will soon lose them.

My medal depicts a garden fence, and a thus unattainable apple.’

MARIE PILOT

Merci Gisèle ‘Gisèle Pélicot was drugged by her husband and assaulted by multiple men over nearly a decade. Uncovered in 2020, the case led to her husband’s conviction in 2024, and sparked global outrage. Feminist movements internationally highlighted the case as emblematic of issues around drugs, consent, victim-blaming, and normalisation of sexual violence.

To honour Gisèle’s courage and for speaking up, I dedicate this medal to her, featuring her portrait, and solidarity protests with “Thank You” written on the reverse, for her bravery. Around the edge is written “let the shame change sides”, a phrase she made iconic during the trial.’

Prize awarded by the South London Foundry, for a portrait medal. The medal is shown on page 28.

CENTRAL SAINT MARTINS

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Prize Winner MARIE PILOT Merci Gisèle, 75mm Winner of the prize for portraiture, creating an excellent individual likeness on the obverse with a crowd on the reverse, echoing the sentiments of the title.

Awarded by the South London Foundry.

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BAMS—STUDENT MEDAL PROJECT XXXII 2025

Prize Winner

BEATRICE ROWOLD

Is the Party Over?

‘My medal explores the importance of nightlife establishments as community spaces. In the UK grass-roots music venues and clubs are struggling, forced to close because of rent hikes and changing consumer habits. I want to celebrate the chaos and connection within these spaces, with a club queue on the obverse, showcasing interactions between strangers and friends. The reverse depicts what is left after the night ends, with each forgotten object suggesting a narrative, what would be lost by closing these spaces.’

Awarded Honourable Mention by the Bigbury Mint. The medal is shown on page 30.

FRANCISCO STEFANO Memento Mori ‘My art medal contains a skull on one side and an hourglass on the other, symbolising life’s limited time and the inevitability of death.

The skull serves as a stark reminder of mortality, and to lead a good life, while the hourglass represents the unforgiving passage of time.

In modern society, time constrains us and dominates our daily lives, as we set alarms and follow rigid schedules, often trapping ourselves in routines that leave little room for reflection.’

CENTRAL SAINT MARTINS

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Prize Winner BEATRICE ROWOLD Is the Party Over?, 85x91mm

On an interesting shape, the details in relief from one side to the other create a successful narrative.

Winner of Honourable Mention from the Bigbury Mint.

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STUDENT WORK

CITY & GUILDS OF LONDON ART SCHOOL CARVING DEPARTMENT DEPARTMENT HEAD HEATHER NEWTON PROJECT TEACHERS RICHARD BARNES, SARAH DAVIS CASTING AT CITY & GUILDS ALISTAIR BLAKE, JOSH VAUGHAN

HUGO ALLISON Instant Evidence ‘The medal is a representation of flint knapping, our oldest evidence of human technology, shaping flint by blows into sharp and useful tools. I have created a believable carved sculpture of one that never existed, but could have.

Such ancient objects are a preservation of the earliest deliberate action by humans of which we have any record.

You can see the order of the blows, the flakes being removed, and the blade being the very last flake. My medal talks about all these human moments of making tools, and the tantalising glimpses of early human activity. A trace of a person, left in an instant.’

THOMAS PULLEN Joy ‘The medal is both a commemorative marking of the scientific achievement behind IVF, as well as a personal acknowledgement of the women and families that have undergone this process since. The design aims to show synergy between doctor and patient, focusing on Louise Joy Brown on one side, the first baby conceived by IVF 46 years ago. The umbilical cord becomes the insemination needle on the reverse, a clinical acknowledgement of the healthcare professionals overseeing the process. The piece was inspired by personal experience, and that of other families.’

CENTRAL SAINT MARTINS / CITY & GUILDS OF LONDON ART SCHOOL

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The Annual Project Award

DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN UNIVERSITY OF DUNDEE

DJCAD FOUNDRY DEPARTMENT HEAD SCHOOL SUPPORT SPECIALIST, FOUNDRY & 3D MAKING RODDY MATHIESON TEACHERS; CASTING RODDY MATHIESON, JANE BULLIVANT This year the British Art Medal Society commends Duncan of Jordanstone College of Art & Design for the overall standard of their student medals. They exhibited an excellent understanding of the art of medal making, and the students have engaged with the medium showing skill and enthusiasm.

PAMAS ABHITEACHAPAN Hauls ‘The medal is based on fast fashion and impulsive purchase behaviour. I am exploring the connection between where I am here in the UK and my home country, Thailand, where my family work in clothes manufacturing. I find the idea of fast fashion to be quite unpleasant, worn for a few occasions and then ending up in landfill or a thrift shop.’

ALANA BRAND The Fight for Survival ‘This medal explores the decline of the red squirrel numbers in the UK due to the large grey squirrel population. Each side represents an aspect of the fight for survival: the obverse displaying an acorn with oak leaves, and the reverse is an etched drawing of squirrels, with a single red squirrel highlighted in red, drawing attention to the disparity of the ratio.’

ROWAN DEAN A Full Recovery ‘My bronze medal depicts a figure deep inside a geode, inspired by my sensory experience as an autistic person feeling overwhelmed and overstimulated from the world surrounding me, finding comfort in safe places. There are five steps from the edge of the medal to the central figure, representing the calming of all five senses before a full recovery is made.’

ROWAN GANE Watch Me Rise ‘Making direct eye contact with those who view it, this medal aims to remind us of our humanity, our unity. We must stand together, for ourselves 32

BAMS—STUDENT MEDAL PROJECT XXXII 2025

STUDENT WORK

and for those who cannot, to protect our values.

The wing form is to encourage rising against oppression, and the design stems from the dove, emissary of hope and peace.’

MARIE HENDERSON Just Me ‘My medal represents resilience and choice, featuring on one side a wood, with two diverging paths, inspired by the poem by Robert Frost.

The obverse relates to difficult choices and surviving domestic abuse; the reverse contains lettering, spelling out the phrase in a spiral: I face my fears every day I go to art school. It reflects on how spirals are found in nature. It symbolises the support and compassion I have experienced, as well as the courage it takes to move forward.’

This medal received a Merit.

NAMREEM KANWAL Simultaneous Bilingualism ‘The representation of South Asian culture, in particular Pakistani roots, is extremely important to me. I moved to Scotland after my first birthday and have been brought up around two vastly different cultures. I am also bilingual. The medal I made is about how a POC experiences two cultures such as this. On the obverse, my mum is getting her henna done for a wedding. On the reverse, I appear as a young child, learning the English alphabet. These activities give an insight into the differing traditions.’

SARAH MACLEMAN Cruel for Little Reason ‘This medal was inspired by a poem I read by Althea Davis, “Kinder than Man”. I felt the

theme of a cruel world is unfortunately still relevant, and my medal is made to reflect that sometimes people will kill beautiful things only for being unable to understand them, and being afraid of them. While this is very true in relation to spiders, it could be applied to humans, and the conflicts created just out of ignorance.’

This medal received a Merit.

SARA MARSHALL Medal for a Blood Donor ‘Giving blood is an extraordinary act of generosity, and the aim of this project was to make a contemporary medal that recognises the altruism of blood donors. I aimed for a design that would be both visually appealing and be able to be understood on a factual/anatomical level. I also wanted the medal to engage the viewer, and to convey a sense of preciousness.

The kinetic element is to capture attention through movement and sound.’

CONSTANCE MCROBERT-SMITH Vanity of Vanities ‘For my dissertation, I did a lot of research into the subject of death. I wanted to explore different attitudes towards it, such as fear, indifference and embracing it. I learned about the origins of vanitas, from the Book of Ecclesiastes. I decided to make this medal as an ode to death, to act as a mirror for the viewer, one side in life and the other in death. The outer silhouette symbolises the circle of life.’

CLAUDIA MINDANG The Furies’ Maw ‘This medal is inspired by my research into “the monstrous feminine”, which relates to my studio practice, in particular the mythological DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN

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trope wherein women become monstrous and supernatural after experiencing a tragic event, or death. I used casts of my own fingers, to appear as if they are clawing their way out; the teeth and fleshy frills are a reference to horror imagery.

The spiral represents the cyclical nature of life and death.’

HEATHER RUSSELL Your Majesty ‘The magpie is an anarchical fictional character that I created and have carried through in my work. I use it to represent Britain’s colonial past and greed, stealing all the “shiny things”. The purpose of the character is to educate younger generations, as we are often indoctrinated into long-established but no longer acceptable cultural norms. The medal design looks at the “culture” of tea, inspired by mythical characters.’

a robin on a branch, so you always have a robin with you. The reverse shows an empty branch, symbolising the loneliness of loss. The medal is held in the hand to provide solace when needed, the perfect size to carry around. In my jewellery degree, I am working on talismans and good luck charms and symbols. The saying is stamped in letters around the edge; and the reverse is patinated.’

This medal received the Kate Harrison Award, which is to visit a working artist’s studio, where the artist provides a ‘teaching’ session about working as a professional, with funding for the teaching and travel expenses for the student.

AVRIL SMART Drink to Forget ‘The world we live in is expiring, yet we continue as individuals to focus inward on our own personal enrichment and growth. We walk, eat and work “mindfully’, while the wealth gap widens. We drink 8 glasses of water daily, while the ice caps melt. The global wellness industry is worth over $6 trillion, and as long as we focus inward, drinking our water, as long as we remain “mindful” we can forget what’s happening outside ourselves.’

JULIE A. SMITH A Robin ‘The well-known saying, “A robin appears when a loved one is near”, inspired the medal. Robins are seen as messengers, and bring comfort to those who have lost someone. On the obverse is 34

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STUDENT WORK

FALMOUTH UNIVERSITY

MADELEINE BEDFORD Popdoodle

FALMOUTH SCHOOL OF ART FINE ART COURSE LEADER JONTY LEES SENIOR TECHNICIAN & CASTING TOM HARRINGTON

‘I spent a while trying to think of something important, meaningful, to make this medal about. Then I realised that I’m allowed to make art purely for fun. I carved lino with the designs of silly medieval animals; they make me smile. I have given myself permission to create a bronze piece of art purely for my own amusement, a reminder that the process of art making is allowed to be lighthearted.’

JESSICA HARPER A Man’s Best Friend ‘This bronze medal is an ode to the two most important figures in my life – my father and my dog – who have been my greatest caregivers and shaped me into the person I am today. Their bond is unbreakable. Carved into the medal, they sit together on a bench, gazing up at the stars. This is how I like to picture them. The phrase is a reminder that some of the strongest bonds in life are often the quietest.’

ESME HOSKINS As Above, So Below ‘I have been fascinated by the phenomenon known as the ant death spiral, a natural occurrence, and I have incorporated this in the bronze medal. It is based on an ant hill, the reverse being the winding catacombs in which ants chisel away their homes; while the obverse is a homage to the ant spiral – related to the Fibonacci sequence – and their march to their demise. The hole connects both sides, and ants are on the edge.’

DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN / FALMOUTH UNIVERSITY

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SOPHIE HUNTER

VASILIA PANTELI

I Really Like Apples

Alpha

‘What inspired my medal, apart from the fact that I really, really like apples, quite a lot, actually, I mean, why wouldn’t you, as the saying goes: “an apple a day keeps the doctor away”. The reverse carries the retort: “if you throw it hard enough”. It is an ode to my love of a nice red Royal Gala and my hatred for the doctors. The idea of going to the doctors scares me so much, so I’d rather eat apples, and keep the medical professionals at bay.’

‘I have been looking into different textures in relation to memory, inspired from varied ancient techniques. I have been looking into cryptic language and trying to make my own code, through experience in nature and so on. I used loose sketch marks, and I like the idea of casting and making an “impermanent” scribble permanent.’

SOPHIE MATHESON Wonderment ‘Go on a walk, look around, absorb the weirdness, allow yourself to wonder.

What do you see in these fragmented worlds? Days follow into dreams, merging into this distorted reality.

Lettering expresses these thoughts. A world full of strangeness and a not quite represented moment, distorted and fragmented memories, now held in this weird little medal.’

This medal received a Merit.

CECILIA MCALOON WOLFF Heart Shaped Lock ‘In my medal I wanted to use medieval imagery, related to metalwork, to go hand in hand with using casting for the first time in bronze. Both of these images evoke themes of strength. The heart-shaped padlock suggests the idea of protecting your inner self, and resilience. Using motifs linked to knights and battle, framing empowerment as both defensive and offensive.’

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Prize Winner

ISLA STANANOUGHT

Protective Wings ‘This medal explores themes of protection and femininity, with one side featuring a swan, symbol of grace and strength, while the other depicts a cygnet, cradled in its mother’s wings, a reflection of care and vulnerability.

Swans are a protected species in the UK. While these birds are safeguarded by law, women’s safety remains an ongoing issue. The medal, which is cast in bronze, captures the fluidity of feathers and the weight of the issue in a lasting form.’

Winner of the Grand Second Prize for overall excellence in the medallic medium, presented annually by Thomas Fattorini Ltd. The medal is also shown on page 3.

MARLON WEYENETH I Can’t Lose ‘I can’t lose, well, actually I can. I’ve lost at raffles, competitions, bingo, lottery and anything else I’ve entered over the years. I do quite well at having fun and going out, out, maybe too well. So, I’ve made this medal to award to myself for

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STUDENT WORK

Prize Winner ISLA STANANOUGHT Protective Wings, 78mm Winner of the Grand Second Prize for overall excellence in the medallic medium, a medal that captures both movement and stillness, utilising a symbol for a dual application of significance.

Awarded by Thomas Fattorini Ltd.

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surviving the ’90s. It represents the drug ecstasy and everything that comes with it, the coming ups – lights, colours, sounds - and even the coming downs. My medal is the pill on one side, and the effects on the other.’

RHIANNA YEWEN A Fish Out of Water ‘The title quotation denotes a dog, which is the shape of the medal. One side shows her fur, her protective coat, while a collar tugs at her neck. This side represents a person’s attempt to uphold a positive and consistent exterior.

The other side depicts a slightly more scrappy, uneven imperfect surface, to suggest the vulnerable and introverted feeling of uncertainty and fragility and almost whimsey-like ignorance of reality.’

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FIFE COLLEGE JEWELLERY DEPARTMENT HEAD, ACADEMIC QUALITY MANAGER KAREN COLVILLE LECTURERS KATHERINE WILLIAMSON, MICHELLE OVENS TECHNICIAN 2 SHIRLEY WARNOCK-LOWE CASTING RODDY MATHIESON, THE MOBILE FOUNDRY

STUDENT WORK

PATRICIA ARTHUR The Cat’s Mother ‘This medal is based on the phrases and character of my late Glaswegian mother. She had the sharpest verbal responses to us as a family and to anyone she met. Embarrassing as it was, we grew to love the speed, familiarity and honesty as we grew older. The image I carved is from a photograph of her, including her favourite hat, earrings and patterned scarf.

She was always keen on her appearance, and regularly pulled us up to improve our clothes and appearance if we were tardy in its execution.

On the reverse are some of her favourite sayings, such as “Hud yir wheesht”..’

MHAIRI ANGELIQUE GRAHAM It is Our Fragility that Marks Us ‘It can be said that art is vulnerability, with artists creating something with meaning to them. In creating this piece, a sense of fear dawned on me, that I would have to show something with real meaning to me. My mother was an artist and I had always wanted to be one, but creating art brought me close to the pain of loss. I decided to use my mother’s art as inspiration; she often used the motif of a fox.

In my piece, on one side the mortally wounded angel, depicted with bow and arrow, falls to earth; on the reverse, she passes her wound to the fox.’

water Kelpie, wrapped in seaweed, fierce and expressive. The medal features in lettering a verse from a poem by Robert Burns called “Address to the Devil”. The medal is polished and oxidised, and patina was applied to the seaweed part and the Kelpie’s mane to give a blue-green appearance.’

This medal received a Merit.

VOLHA YATSKOVA One Day ‘My medal is dedicated to the problem of political prisoners, and to human rights in general in my home country, Belarus. I used a photo of the hands of Maria Kalesnikava, forming a heart. She is one of the 1200 Belarusian political prisoners who were not afraid to express their opinion and to be involved in political activities. She was one of three brave women who united, each using a symbol – heart/love, fist/strength, and V sign/ victory, which are shown on the medal. On the medal, outside the prison bars, is the national/ unofficial flag of Belarus, another symbol of freedom.’

EMILY PARKIN Ode to the Water Kelpie ‘My medal is based on Scottish lore, focusing specifically on the tale of the Kelpie. I was fascinated by these stories in my childhood, and I think it is important to keep these traditional tales alive, or they could be lost to future generations. The obverse depicts the FALMOUTH UNIVERSITY / FIFE COLLEGE

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QUOTES FROM TWO WINNERS

‘Entering and winning a prize in the Student Medal Project taught me an understanding of the new medium to work with: wax. I can now use this transferable skill in my own projects. It has also given me a great confidence boost!

Learning carving allowed me to convey my design on the medal of the Swaledale sheep, its freedom and right to road over the land,

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whilst maintaining as much detail and texture as possible. It is important to me that other people understand and appreciate my work, especially when the medal design is very personal to me.

Medals are good to display and to spread awareness of political and social issues, to evoke emotion and they can sometimes be very humorous.

A great medal can tell a story while resting in the palm of your hand.’

IMOGEN PHILLIPS BIRMINGHAM CITY UNIVERSITY, WINNER OF THE GRAND FIRST PRIZE See Page 22 QUOTES FROM THE WINNERS

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QUOTES FROM TWO WINNERS

‘Taking part in the British Art Medal Society Student Medal Project has been an enjoyable and rewarding experience. It allowed me to explore a new way of working: thinking conceptually across two sides of an object, and considering form on a small but meaningful scale. I came away from the project with new skills in casting

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and designing for metal, but also with a stronger understanding of how objects can carry meaning and provoke thought.

One of the things I appreciated most about working with medals is the idea of permanence. A medal is an object that lasts. It felt important to make something that not only reflects personal values, but also comments on a broader social issue, something that might outlast me, but still speak for me.’

ISLA STANANOUGHT FALMOUTH UNIVERSITY, WINNER OF THE GRAND SECOND PRIZE See Page 36 QUOTES FROM THE WINNERS

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CITY OF GLASGOW COLLEGE CRAFT & DESIGN DEPARTMENT CURRICULUM HEAD LISA MCGOVERN LECTURER DAVID FINLAY CASTING RODDY MATHIESON, THE MOBILE FOUNDRY In 1175, the City of Glasgow gained Burgh status, and the medals this year from City of Glasgow College celebrate the 850th anniversary of that event.

KATARZYNA BIALOGRZYWY Glasgow 850 ‘I have focused on the most iconic building in Glasgow, Glasgow Cathedral. Built in the 12th century, the cathedral stands as a remarkable example of Glasgow Gothic architecture. It was constructed on the site where St Mungo, the city’s patron saint, is buried. On the edge of the medal is St Mungo’s famous motto: “Let Glasgow flourish”. On the reverse I made a Celtic knot, to accent the influence of Celtic culture.’

JOSEPH COYNE Behind the Windows ‘The medal is themed for Glasgow’s 850th celebration, and depicts the river Clyde’s shipbuilding yards, the high flats and the wind turbines, prominent features of the Glasgow landscape. These, together with the bird, tree and fish from the coat of arms, are immediately associated with the city, past and present.’

CLAIRE FAIRLEY 850 Years Flow Through Glasgow ‘The concept I used is the constant of water and the connection with the city itself. Canals were built that are now being regenerated, bringing ecology systems back to life; the river Clyde has a history of shipbuilding and trade; engineering works supplied fresh water from Loch Katrine.

Over 850 years, Glasgow regenerates itself, just like the flow of the Clyde.’

THALIA FRENCH Intersectionality in Glasgow: A Medal of Unity ‘This medal embodies the city’s longstanding commitment to equality, diversity and 44

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STUDENT WORK

intersectionality. It is designed in the shape of a triquetra, its three interwoven sections each represent a key aspect of Glasgow’s progressive spirit: Queen Victoria, symbolising gender and class; James McCune Smith, representing racial equality and activism; and Glasgow Pride, celebrating LGBTQ+ inclusion and self-expression.

They illustrate different but connected struggles for justice.’

KIERAN GILROY To the Genius of Memory ‘The medal captures Glasgow’s deep religious history. Depicting the “tree that never grew” and a map of the Glasgow Necropolis on the other side, it aims to acknowledge the city’s dark history, but forever growing into a place of knowledge and genius.’

AMBER HADDOW The Heart of Glasgow ‘People are the heart of Glasgow. Although the city is full of buildings, the people are what make Glasgow, as we’re known for being friendly.

On the obverse is a heart, filled with lots of people, to celebrate the kind heart that Glasgow has had for 850 years. The reverse is filled with iconic things, places, associated with Glasgow.

It is busy with a lot going on, indicating the atmosphere the city.’

of the old docks, which I thought resembled a “G”, and three boats. I feel a personal connection, as I had family members who worked on the docks many years ago.’

MARILYN C. KENNEDY Clyde Built ‘The medal is a celebration of Glasgow’s shipbuilding and the importance of the river Clyde in the ever evolving development of the city.’

ORLA KENNEDY Traffic-coned Statue ‘The Duke of Wellington statue is always seen with a traffic cone on its head, despite efforts to remove it. It represents Glaswegian sense of humour. The cone is light-hearted and iconic to Glasgow. I took inspiration from this, as I love how it has been a part of Glasgow for decades.’

ANDREA LEE YUET TUNG Water of Life ‘In Gaelic, “uisge beatha”, or water of life, relates to the drinking culture of Glasgow and inspired the design. Our only whisky distillery in Glasgow is located by the river, which shows the importance of drinking and the river to Glasgow history. They say it’s the spirit that lives in us.’

CONSTANCE HERON

ROSELINA LIM

Putting Glasgow on the Map

Let Glasgow Flourish

‘This medal is inspired by the old dock yards in Glasgow. After 850 years, we can still appreciate one of the biggest money-makers that put us on the map. On the obverse is part of the Clyde, and on the reverse I have one

‘The meaning of my medal is to show that even though we are all different, everyone contributes to making Glasgow a better place. On one side of the medal there is a bouquet of flowers, each flower portrays an ethnicity that makes up CITY OF GLASGOW COLLEGE

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Glasgow’s diversity. On the other side, I decided to carve our coat of arms, because it signifies St Mungo, who founded Glasgow around the year 540.’

JOY MCDOUGALL Belonging ‘The meaning of my medal is to show how everyone belongs in Glasgow. The image of the fox is because they roam all around Glasgow, some choosing the urban environment as it is a relatively safer space, and we accept them because they are a part of Glasgow. It represents people who migrate to Glasgow to create a diverse community, and how they belong there just like everyone else.’

HOLLY MCGARRITY The Spirit of Glasgow ‘My medal is inspired by the Glasgow coat of arms, which is based on the famous poem: “the tree that never grew, the bird that never flew, the fish that never swam, and the bell that never rang”. I chose this as it reminds me of Glasgow’s history.’

ALICE SINCLAIR BEST Grey to Green ‘The medal is inspired by the people and communities of Glasgow, and speaks of the climate crisis and the importance of working together to make a difference. I was inspired by the Gaelic word for Glasgow – Glaschu – the “glas” means grey to green. Looking for the green in the grey could be a way of finding even more green and expanding it.’

MIRREN STEWART Ever Upwards ‘I chose to create my medal based on Glasgow Cathedral, to celebrate the 850th anniversary, as it is one of the oldest buildings in the city. I also chose the quote, “sursum semper”, from the high school, the oldest school in Glasgow, which means “ever upwards”, to suggest we are constantly moving forwards and evolving.’

MARIA ROBERTSON The Light Always Comes Back ‘My piece represents the lack of female poets in Glasgow. The quote is from a poem called “in the Mid-Midwinter” by the poet Liz Lochhead.

The obverse of the medal depicts a woman sitting at a table deep in thought, writing; the words are a message of hope and promise.’

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STUDENT WORK

GLASGOW KELVIN COLLEGE DEPARTMENT OF JEWELLERY LECTURER KATHLEEN DUNCAN TECHNICIAN IAIN BAIRD

DAISY CAMPBELL Interwoven ‘With this piece I wanted to explore my Shetland heritage and my relationship with my granny, the woman who taught me to knit and crochet. By combining the delicate technique of crochet, with the strength of metal, I reflect on the dual nature of women’s work, nurturing and resilient. Handwork on the island was and still is both a craft and a form of identity. It acknowledges the stories embedded in the fibres of our lives.’

CHI MENG LAO Untitled ‘My medal explores the vanishing world of coral reefs. The obverse is filled with delicate coral formations, representing the beauty and diversity of these vital ecosystems. The reverse features a fossilised fish, surrounded by corals, a haunting reminder of the species that depended on these habitats for survival. These reefs are among the most biodiverse ecosystems, supporting thousands of marine species. Climate change, acidification of the ocean and pollution threaten them. This creates a ripple effect throughout the maritime food chain.’

This medal received a Merit.

ANDREA MANNING Koru ‘The Koru (kor-roo) is inspired by the unfurling frond of a native New Zealand silver fern. It holds deep significance and meaning in Māori culture, and is a fundamental symbol in Māori art, carving and tattooing. The fluid circular shape represents creating and the flow of life. The outer coil conveys movement and growth, the inner coil, birth and new beginnings. The Koru is a connection to life, growth, strength, harmony and peace.’

CITY OF GLASGOW COLLEGE / GLASGOW KELVIN COLLEGE

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Prize Winner

SÍOFRA COLLINS O’REGAN

An Dobharchú ‘There are two terms for otter in Gaelic, which translate literally to “water dog” or “water hound”. Irish folklore and oral tradition contain numerous references to an dobharchú, though characterisations range from that of a friendly, benevolent creature, to a vicious, murderous beast. The otter population of Ireland has remained relatively strong and stable, and is now one of the densist populations of Eurasian otters globally. As the apex predator in many freshwater ecosystems, otters are important for ecosystem functioning, yet are threatened by factors such as habitat destruction and degradation, pollution and accidental and intentional deaths.

Their conservation status is monitored. This medal depicts the otter’s main choice of prey, fish swimming in synchrony as a school. Hidden below, the elusive dobharchú hunts for his dinner, his eyes looking up to the swirl of food directly above him. As he swims, he extends his forepaw, displaying the distinctive webbed five-toed paw.’

Prize awarded by the Worshipful Company of Tin Plate Workers alias Wire Workers, who also purchase the medal to add to their collection of winning medals.

COLIN STORY Hidden Mental Health ‘I suffer from mental health problems. I know that some days it’s not just a bad day; it can feel like a demon inside my head, an ethereal voice that is just there to torture me. So, this medal is a physical manifestation of that feeling. When it is bad, and I cannot put it into words and to stop everyone worrying, I say the easiest words “I’m fine”.’

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STUDENT WORK

Prize Winner SÍOFRA COLLINS O’REGAN An Dobharchú, 66mm Prize awarded in particular for the animated images that echo each other on both sides, as the action flows over the edge, presented by the Worshipful Company of Tin Plate Workers alias Wire Workers.

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THE GLASGOW SCHOOL OF ART SILVERSMITHING & JEWELLERY DEPARTMENT PROGRAMME LEADER ANNA GORDON LECTURER, PROJECT TEACHER MARIANNE ANDERSON CASTING, SILVERMITHING & JEWELLERY TECHNICIANS MACIEJ SANKOWSKI, SHONA GUTHRIE, CAIUS BEARDER

YASAMAN BAZMANESH Charshanbesoori (with zirconia, silver, plastic) ‘This medal is inspired by the Persian Charshanbe Soori celebration, which takes place on the last Wednesday of the year before Nowruz, the Persian New Year. During this festival, people gather with friends and family, jumping over bonfires while reciting traditional phrases for good luck in the coming year. I designed the medal to reflect the essence of this celebration, featuring a girl leaping over a fire. The reverse, with different materials, incorporates yellow and red tones to enhance the overall concept.’

SCARLETT CHAPMAN Revels of Excess ‘Celebration isn't inherently a way to overconsume, but modern ways have almost idolised material gain and taking food in excess.

I wanted to play with this theme of gluttony, and how this can overshadow important celebrations. For contrast, my medal takes ancient symbols such as the pomegranate, with which Hades tricks Persephone to eat six seeds, thereby trapping her in the underworld.

In my piece, the pomegranate represents the abundance of objects we do not need. The ouroboros, around the edge, is an eternal cycle of renewal, destruction and recreation.’

KIRSTY DAVIE From Samhain to Beltain ‘My medal celebrates two traditional festivals that happen on either side of the year, Halloween and the Gaelic May Day, a time when the veil between our world and the spirit world is narrowed. One side represents death and darkness - the deer skull - the other is made from moulds taken from wildflowers 50

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STUDENT WORK

and represents new life and light. Around the outside are stylised flowers symbolising the fine magic that connects the two festivals, and completes the cycle of the changing of the seasons.’

NAZIHA GILANI Markhor Medal ‘The medal is inspired by the unique and artistic horns of Pakistan's national animal, the Markhor, which is originally a Persian word meaning “snake eater”. This goat symbolises bravery, resilience and diversity. The twisting form of the horns is not only unique, but deeply creative, resembling natural sculptures shaped by time. Capturing the spiralling horns within the small space of the medal was challenging, but the process was rewarding, allowing me to create nature's elegance in a medal.’

BELLA HUNTER Eternal Dance of the Sun and the Moon ‘The Venetian carnival can be traced back to the Middle Ages, a time of celebration in which the people of Venice wore masks. This allowed people to interact with any one from any social background. The sun and the moon motif can be seen a lot in Venetian carnival masks. In this medal, the theme is related to the relationship between the sun and moon, where they only cross paths during an eclipse, mirroring the idea of different classes meeting while wearing masks. Visual perceptions can influence people’s interactions.’

SCOUT KNIGHT Glass Ceiling

I represented this through a “heads & tails” design, with the mermaid symbolising women and the water symbolising the glass ceiling being broken through. I chose a small size for the piece, as it fits well in the palm, and also chose to patinate the medal to a green/blue shade as it elevated the ocean theme.’

CIERA MCCOMBE Awaiting the Tooth Fairy ‘This piece is a celebration of dreaming, a mundane activity often so overlooked, as we don’t have control over it. However, human beings’ ability to dream is extraordinary, and my medal honours this. The medal is shaped as a creased, slept on pillow and has a large molar tooth in the middle. The pillow is the physical space our bodies are when we dream, and the tooth represents the psychological side to dreaming. The piece is a homage to the tooth fairy, a symbol of childhood.’

EMMA MURRAY Untitled ‘This work celebrates written letters and cards. It is getting to be more common that moments of vulnerability towards those we care for, such as birthdays, are online. It has its positives. However, the ability to sit down and write from the heart, and then to physically send it to someone is becoming a dying form of communication. The medal shows a card with a balloon on one side, and inside the card a message obscured can be seen. On the reverse is a wax-sealed envelope. I felt it important to comment on the artform of letter writing and its decline.’

‘This medal is about gender inequality, and the struggle many women face across the world.

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TALLULAH SHEEHAN Simply and Freely ‘This work was inspired by the embroidery of Elizabeth Parker, who worked as a nurserymaid in the 1830s. Parker told her story through needlepoint, describing the abuse of her employer as well as the tragedy of her youth.

Her piece begins by saying: “...I put this down simply and freely as I might speak to a person”. I chose to cast my own embroidery work in bronze, letting the cloth-like texture of the fabric creep through the patination, like the secrets Parker kept. She got away and later became a schoolteacher, and the medal celebrates the power of her craft.’

EMMA SMITH Fill Your Cup ‘I was thinking about all the ways in which we celebrate life events, and my personal favourite is the day I got accepted into university. I celebrated this event by giving my mum a hug, and a warm hug from my mum was the kind of celebration I wanted. I remember the hug “filling my cup”, which to me means my heart was full of joy from sharing a special moment, something money can’t buy. The medal showcases two figures engaging in a hug, with the background textured like a glass cup to emphasise the hug “filling my cup”. Two hands wrap around from front to back.’

BEE SWARTZENTRUBER Vita et Mors: A Celebration of Life and Death ‘I wanted to make a piece which celebrated life, following the messages of a memento mori, looking at the idea of transience. My medal goes beyond religious iconography and, although inspired by Christian devotion medals, acts as a universal and inclusive vessel for its message. I 52

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have long been interested in irreligious artwork as well as in existential questions of life and death, and I have featured the angels of Life and of Death, one on each side.’

TARA TANETVITAYAVET Fished Out ‘This medal is a response to the theme of “celebration”, and it addresses my personal nervousness and discomfort around personal celebrations, especially ones that celebrate my own milestones or achievements that to me feel mundane or undeserved. Celebrations embrace one's own life, yet I feel stuck, uncomfortably playing the role of a happy celebrant, because maybe it always feels unworthy of celebration.

I’m sure others can relate to my sentiment. My hope is that one day I can dispel my discomfort and embrace celebrations in a more genuine way.’

This medal received a Merit.

ZEKE THOMSON They Had a Conduit ‘The medal celebrates the life and work of Gilles Deleuze and Félix Guattari, both French postmodern physicians. As collaborators in the mid 20th century, they coined the term “rhizome”, to denote a structure in which every point is equally connected to every other point.

This, to them, is the structure of the universe and all things contained within, where all difference is a matter of relative intensities or thickenings. This is represented by the medal, which joins their portraits via the back of the heads. A portrait is on each side, celebrating this shared love of conceptual creation.’

This medal received a Merit.

STUDENT WORK

FAITH WYLIE My Love is on You ‘This medal is a tribute to Scottishness in all its nuanced glory. The figures on the front of the medal, dancing joyfully at a ceilidh, are a powerful symbol of the celebration of our culture, of embracing our roots without fear, and of finding pride in who we are. Showing this pride can often feel uncomfortable to us Scots; words of affirmation and touch were absent in my family, instead, acts of service were our language of love. This reluctance is referred to as the "Scottish cringe", shying away from expression, coming from centuries of cultural suppression. To break this cycle of discomfort, we must reconnect with our history.’

XUAN ZHANG Bumper Harvest ‘Good wishes: bumper harvest of grains and surplus year after year. One of the most representative languages of traditional Chinese auspicious prayers, it represents a rich life with surplus wealth and food every year. Abundance and "fish" have the same sound, so there is rice on one side of the medal and fish on the other.

There are eight characters in ancient Chinese seal script, and the shape of the building comes from the granary. The two sides contrast with different relief.’

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HEREFORD COLLEGE OF ARTS

HELEN ABLEY The Gift

CONTEMPORARY DESIGN CRAFTS BA (HONS) JEWELLERY DESIGN BA (HONS)

‘My medal is a celebration of life, which for some is only possible through science and medical intervention, such as IVF. I wanted to highlight the struggles encountered by some on their journey to become parents, and the wonders of science to enable the most precious gift of all: life!’

COURSE LEADER ELLA SIBLEY SPARLING

Prize Winner

TEACHERS ON THE MEDAL PROJECT ELLA SIBLEY SPARLING, RICH MAKIN (DIGITAL DESIGN LEAD), NICOLA LILLIE (JEWELLERY DESIGN LECTURER) CASTING RODDY MATHIESON, THE MOBILE FOUNDRY

YASMIN DUFFIN CHAMBERS μεταμόρφωσις (metamórphōsis) ‘The medal is based on Aristotle’s ideas on migration, the thinking at the time being that birds would transform as the seasons changed.

For instance, Redstarts would morph into Robins, then Garden Warblers into Blackcaps.

The myth is based on the idea that the timing of the departure of one species coincided with the arrival of another. On the reverse is the Apollo swan, used on ancient Greek coins at the time of Aristotle. In Greek mythology the swan was a bird consecrated to Apollo. The hollowed centre of the medal shows the head, allowing that it can be seen from both perspectives as the birds change, metamorphose.’

Presented with the Michael Roberts Memorial Prize.

CAROL GOLDSMITH Australia Day ‘This medal explores the theme of arrival and departure, commemorating the arrival of the first British fleet at Sydney Cove on mainland Australia on 26th January 1788, celebrated as “Australia Day”. More recently, indigenous Aboriginal people have renamed this day “Invasion Day”. The arrival in Tasmania in 1803 is thought ultimately to have led to the departure of all native Tasmanian people by 1876. The shape of the medal represents the island of Tasmania. The 54

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Prize Winner YASMIN DUFFIN CHAMBERS μεταμόρφωσις (metamórphōsis), 67mm

Prize awarded for engagement with the edge, as well as contrasting sides, with movement and texture, presented with the Michael Roberts Memorial Prize.

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embossed shapes on the reverse represent the Aboriginal symbol for a footprint.’

words of the composer Edward Elgar encircle the bull’s head: “land of hope and glory”.’

MATTHEW HORSFALL

CLARA NEWMAN

Earth to Infinity

Cofiwch Milan 1880 (Remember Milan 1880)

‘This piece focuses on the literal aspect of exploration, asking the question of “what is out there?”. The obverse is representative of the desire to explore, and what possibilities may come out of it. The other side is what could be the horizon when we do reach something new.

The final frontier encapsulates the back and forth between beginnings and endings, pushing us to continually expand our horizons in search of a new start.’

‘The medal’s title symbolises the journey of sign language. In 1880 the Milan conference marked the departure of sign language, which was banned in favour of oralism. This led to the punishment of many deaf signers and led to a decline in deaf people accessing professional education and careers. The reverse of the medal shows the arrival of the British Sign Language Act in 2022, which gives BSL a legal recognition and protection, aiming to improve information, interpreters, education, healthcare and employment.’

CLARE HOWE Odyssey (with cubic zircona) ‘My medal is a contemporary talisman, an alternative to the traditional St Christopher. It is intended to give the recipient wishes of prosperity and a safe passage through life, a friend or loved one embarking on a journey, or for a newborn.

One side depicts the constellation of Ursa Major.

Its seven brightest stars make up The Big Dipper, and the two stars to its right line up with Polaris.

By locating Polaris, you can determine your direction of travel. The lettering on the reverse praises the importance of the journey itself.’

JACOB HUMPHRIES Welcome to Hereford ‘I decided to design a medal to celebrate BAMS coming to Hereford, showing Hereford produce.

The medal is shaped like a cider apple, with 4 varieties inscribed on one side. Two carefully placed holes in the medal, represent both pips from the apple and the eyes from a Hereford bull, shown in relief on the other side. The celebrated 56

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ANYA PONSFORD Syzygy ‘My medal is a celebration of the constant arrival and departure of the sun and moon every day, a constant in our everchanging lives. The angel, with its encompassing wings, represents the departure of loved ones, while their presence remains. The imagery is based on a Victorian thaumatrope, which demonstrates the persistence of vision.’

DAISY WILSON Without Women, There is no Life ‘This medal represents the simplicity of life and death and how in death we are all equal as humans.

Upon closer inspection, we delve into how life is not equal. Women in Afghanistan, for example, fight a daily battle just to exist in a country ruled by men, through the arrival of the Taliban followed by the departure of human rights.

There is no right to schooling, or singing in their own houses. Without women there is no life, that is the ultimate power.’

STUDENT WORK

LEEDS ARTS UNIVERSITY DEPARTMENT BA (HONS) FINE ART COURSE LEADER JO NEIL SENIOR LECTURER, PROJECT LEADER GABI BOIANGIU TECHNICIANS JOANNE HALL (FINE ART INSTRUCTOR), JAMES BRIGGS (METAL WORKSHOP) FOUNDRY G W LUNT

EVIE BLACK Good Deeds ‘Pomegranates are rich in symbolism. In Judaism, the seeds connote the many mitzvot (good deeds) that a person can undertake on their time on earth. This medal captures the pomegranate in the process of decaying, on which a worm goes around and through it, sustaining itself off the death. The fruit embodies the potential good, and the worm is a manifestation of feeling unable to do the “right thing”, the struggle of how to follow the right path, if that even exists. The two sides of the medal, one seeds, and one rind – with a barcode label – suggest human interference with nature, and the bias of our upbringings. The worm, which seems to have no start or end, mirrors the constant cycle of nature and the futility of trying to achieve moral perfection.’

This medal received a Merit.

CHLOE BROOK All Ears ‘The obverse of the medal depicts an ear with speech bubbles in the form of faces; the reverse shows humanoid figures, standing out from a background of a crowd. Multiple interpretations came into my mind: the idea of being within a crowd and feeling like people may be judging or talking badly about you because you “stand out”. The main idea sticks to being able to hear things. It inspired me to use repeated facial features, such as ears within my work. The process of making the medal was a great experience to explore new techniques.’

SCARLETT BROWN The Interconnectedness of All Things ‘The medal explores the idea that even if you are separated physically from friends, family and HEREFORD COLLEGE OF ARTS / LEEDS ARTS UNIVERSITY

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loved ones, your connection remains and is not forgotten, and can continue to be an influence in the lives of others. This connection is symbolised through a leaf ’s vein, transforming at the edge of the medal into the roots of a tree at the other side. The leaf can be viewed as our individual selves, but is still connected to the vast network of the tree, to others.’

FREYA CONNOLLY Metamorphoses ‘My medal represents the lifespan of luna moths, one side portraying the larvae inside the cocoon and the safety within the walls of the chrysalis; the other side shows the imprint of the luna moth’s body. These moths are rare to see, alive only for one week in their adult stage, so my idea was to capture the transition from life and death with my medal. The title symbolises the hatching of the larvae and the transformation from birth to adulthood and to death. Because I wanted my medal to have a shiny finish, it took hours to polish and refine.’

TOMISI LOUSSALA I Waste the Thing I Love ‘In my medal, I am discussing human consumption of food and how waste things can be repurposed. On the obverse of the medal is a grimy bin lid, and on the reverse are two slices of lemon that are getting mouldy, and a piece of rind. I acknowledge that I contribute to wasting food, which unfortunately includes the food I love too. I ask myself whether these three pieces could have been used; can they be preserved; are they too insignificant to bother keeping?

Others could ask themselves the same things.’

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ELOISE MILES-SCOTT HxC ‘Music and alternative subculture are a large part of my identity. The medal celebrates Punk subculture Hardcore and its resilience as a principled anti-consumerist genre. I intended to create a medal that celebrates my local scene and speaks to the duality of the themes of solidarity and found family within Hardcore communities, as well as the image of masculinity and violence the genre often projects. Attending shows and starting new bands is encouraged, and it has retained authenticity for almost five decades.’

SABINE MITKUS Exitium Sui (Self Destruction) ‘I have titled this medal in Latin. One side of the medal has an ouroboros, which is a snake consuming itself, with a skull inside the middle; the reverse is the earth. I made this decision to show how we are destroying our planet, and therefore ourselves, by not doing enough to stop global warming, and all the harmful activities that damage the environment. The skull, the ouroboros and the land masses on the earth are polished to stand out, while the background is darkly patinated.’

KIAN NUTBROWN La Crèche ‘I have chosen the subject of a crèche of penguins for my medal, on one side showcasing the lively huddled animals in their natural environment, contrasted with the skeletons of these same penguins on the reverse. I aimed to comment on climate change, showing the animals that we admire, but also the warped view of them to exaggerate the idea of how our actions to our planet are harming the creatures we adore, if STUDENT WORK

we don’t put a stop to our harmful actions.

The medal is slightly curved, with the skeletons being contained on the concave side.’

ROSE PORRITT Coming Into Contact ‘My medal combines both geometric and organic shapes to symbolise the tender connections in my life. Side one is inspired by organic shapes from the natural world.

The form creates a tactility that fits comfortably in the palm, with ridges and curves across its surface. The other side is geometric, with flat, square shapes in contrast, creating a conversation between the two surfaces. A circular aperture cut through the centre suggests a more figurative form, linking it with the human aspect of connection. The simplicity of these shapes represents the fundamental nature of love and connection in my life.’

EVE SORLEY Entropy ‘This medal stems from the anxiety and apprehension felt regarding the precarious geological and political state of our planet as the future unravels. The medal opposes two different states of a water-based landscape. On one side is a barren, frozen tundra beginning to thaw, suggestive of the end of the ice age, before humans were a dominant force on the planet. On the reverse is an imagined future, a turbulent sea scape covering small geometric shapes that represent elements of humanity lost through time. The circling edge of the medal suggests the flow from one state to the other, eventually collapsing into chaos.’

IZABELLA ROSE SUMMERSCALES Northern Pride ‘The theme behind this medal is the pride that comes from being Northern, and how it affects us through life, how we tackle hardships, and interact and grow. The imagery of the hanging lamb – as if it were being weighed – is based on the emblem of Yeadon Cricket Club, a community space in West Yorkshire where I spent most of my childhood. It illustrates the saying: “You might as well be hanged for a sheep as a lamb”. It refers to punishment for stealing a sheep, of any size. It is a dark concept, but suggests that you should put your all into anything you do, no matter the risk.’

OLIVER SUTCLIFFE Space Lichen & Fire Fungi ‘The medal highlights the extreme resilience of nature, one side illustrating a species of lichen, the other a species of fungi. Both have adapted to survive in the harshest of environments.

The lichen, xanthoria elegans, was sent into space, tested outside a space station. When back, a large percentage of lichens were able to photosynthesize. The fire fungi grow in the remnants of a forest fire. Nature has an ability to adapt and survive.’

HOLLY LOUISE TOMLINSON Evolutionary Lunch Rush ‘What time do pelicans eat lunch? It is an inconsequential question, but this medal speaks to answer it. Pelicans eat lunch at the same time as we humans do. According to the London Zoo, pelicans are fed at 1 o’clock, a concept that has been captured in bronze for this art medal.

Further research into pelican feeding times in captivity has proven the standard lunch rush lasts from 12.00 pm to 3.30 pm, a window of LEEDS ARTS UNIVERSITY

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time shared by the societal standard of when humans eat lunch. Humans are but animals with shared traits and experiences to our counterparts.’

Prize winner

SIENNA WILLIAMS

How Can This be Called Sport?

‘The idea for this medal is inspired by the “blood sport” of pheasant shooting, which happens yearly across the UK, and I often hear gunshots echo through the valley at home.

I don’t feel that there is need for a “sport” in today’s society that results in the unfair deaths of harmless animals for fun.

The obverse of the medal shows a pheasant at peace in its natural habitat of grassland, while the reverse shows the now deceased pheasant being carried by the hunter who shot it.

The tail of the pheasant connects both sides of the medal and is a reminder of how closely life and death are intertwined.’

Prize presented by the foundry G W Lunt.

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Prize Winner SIENNA WILLIAMS How Can This be Called Sport?, 86mm Prize awarded for careful detail and change of scale, creating a surprising and effective image on the reverse, in keeping with the title, presented by G W Lunt.

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SHEFFIELD HALLAM UNIVERSITY JEWELLERY, MATERIALS & DESIGN/ILLUSTRATION ACTING HEAD JEFF DURBER (SENIOR LECTURER) CASTING, SHEFFIELD HALLAM TECHNICIAN DREW SUTHERLAND

FLORENCE BOUCHER Belle Sheephead ‘This medal is based on the Cumbrian folktale of Belle Sheephead. A pet lamb, belonging to the young girl Belle, is killed by a fox. In grief, she drinks the blood of her lamb and is transformed into a half-sheep/half human monstrosity, which is now said to roam the moors of Cumbria with a thirst for blood. I felt that this story was a perfect example of key recurring themes which can be seen across folklore and horror genres: concepts of cycles, transformation and the interconnectivity of life and death.’

LUCY BOXER The Silent Burrow ‘I have never seen a badger. Despite being a protected species under the Protection of Badgers Act 1992, their populations are still culled each year. The practice is justified by the belief that badgers contribute to the spread of bovine TB in cattle. The ongoing badger cull sets a terrifying precedent for humanity’s treatment of nature and our readiness to destroy it, turning a blind eye to alternatives that would negate the need for such drastic measures. The enduring medium of bronze is a strong contrast to the vulnerability of these fragile creatures.’

ARIKI EARLE Navigation to an Enhanced Life ‘‘The theme of my medal is the story of my gran, who travelled from India to Liverpool at the age of six, in 1946. In India, she had travelled to school each day by elephant, and I incorporated this memory on the obverse of the medal with shapes of elephant heads. In the centre is the Liver Building, which she would have seen on arrival.

Connected with the outline, is the S S Burma, on which she travelled, which represents the bravery 62

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of her journey. On the reverse is the lotus, the national flower of India; I also quoted the poet Rabindranath Tagore, from “The Boat”.’

ERET JAMIL The Gille Dubh of Loch ‘I based the design of the medal on Scottish folklore about the Gille Dubh, said to be a solitary male fairy, banished by the fairy queen, who kept to himself living in the birch woods of Scotland near human settlements. The Gille Dubh was known for looking out for the best of children and lending a helping hand to those in need. I etched the design into 2 pieces of acrylic, on the advice of my tutor, as the details would show better, and glued the sides together before creating a mould.’

LOUIS SAUNBY I Won’t Smash the Cameo ‘The medal is a top-down view of the workbench that I use at my job as a goldsmith. There are two sides, one of which is a clean bench with tools laid neatly in the tray. The other, a blackened old bench with tools laid out everywhere. This medal comments on people’s need to show other people a better version of themselves, even if their true self is hidden underneath. The title of the medal refers to my habit of saving old jewellery, often featuring cameos, which I think have more personality, as they cannot be melted or transformed.’

they felt like. On the other, the roots have been forced to conform to a pattern mould. This work comments on humankind’s desire to commit ecocide, destroying the natural world around us, deliberately or negligently, to force continued growth of our artificial capitalist society. We should work with nature as our equal.’

Prize Winner

EM SWIFT

Herne the Hunter ‘This medal is based on the folk legend of Herne the Hunter, in which Herne kills a sacred white stag. He is struck down with divine retribution and transformed into a half-stag beast with antlers, cursed to hunt for eternity. I wanted to use antlers, central to Herne’s narrative, to frame the scene, and the medal is mirrored on each side to show the connection between Herne and the stag. I created the medal using lost-wax casting, the first time I have used this method, and it was a great lesson in learning new media and techniques for my work.’

Awarded the Ditchling Prize for excellent use of lettering. The medal is shown on page 64.

TYLER STOTHARD-ASHER Don’t Bite the Hand That Feeds You ‘The medal was grown from grass seed, made entirely of roots that were nurtured over 12 days and then cast in bronze. This enabled me to capture the movement of the roots, the essence of life, thus I have a one-off medal. On one side I allowed the roots to grow in whatever direction SHEFFIELD HALLAM UNIVERSITY

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Prize Winner EM SWIFT Herne the Hunter, 80mm Awarded the Ditchling Prize for Lettering, where lettering in an integral part of the medal and its meaning, to create an inseparable whole.

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WEST DEAN COLLEGE METALS PATHWAY METALS SUBJECT LEADER KATE JENNINGS PROJECT TEACHER STEPHEN COLES CASTING STEPHEN COLES

LAURA DAY Blooms of Youth ‘The flower and cherub face represent youth in its early stages, the beauty and society obsession of the young; but after this fleeting time in humans and nature there is still you, there is still the flower that is rooted. I am a sculptor and this is related to my work in both practice and returning to study as a “mature” student. I first sculpted the medal in clay, and then used the lost-wax method.’

MURRAY ETHELL The Bright Blessed Day, The Dark Sacred Night ‘There are many ways one can view how you are placed in the world, as part of its natural landscape. I wanted to show these two contrasting feelings.

On one, we are embraced by the caring hand of nature, a warm, benevolent figure, holding the world in his worn, gardener’s hand. On the reverse, quietude, where a melancholy figure looks out from the cold, wreathed in night. The mountain stands exposed in a lonely world, and though we may not find comfort, we can find peace in our solitude. The piece reflects an interest in folkloric look at nature.’

BASS HYMAN Moss and Bone ‘The medal explores the balance of life and death, through the hidden world of woodland creatures and decay. On one side are the remains of a small animal skeleton, on the other, SHEFFIELD HALLAM UNIVERSITY / WEST DEAN COLLEGE

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woodlice, living insects that thrive in the damp, forgotten places of the natural world. There are woodlice climbing through the bones and along the edges of the medal, reminding us of the fine boundary between the living and the dead. A central hole allows these two worlds to weave together. I added moss texturing throughout the surface, casting from real moss.’

RAFFY POWELL The Pen is Mightier than the Sword ‘My medal represents the idea that “the pen is mightier than the sword”. This famous saying began with the English author Edward Bulwer Lytton in 1839, and is a sentiment that I feel is very important, especially in today’s current political climate. The medal relates to my other work as I have always had an interest in blades and their significance in not only warfare but also in their historical context. I have been doing a lot of wax casting, and this medal proved to be a good learning experience, particularly using the medium of clay and experimenting with bronze.’

LUCIEN SYLVESTER Charged Talisman ‘This medal was borne from the desire for a talisman charged with the capacity to inspire new ideas, the courage to pursue and realise them. It looks to the belief systems and symbolism within esoteric practices and ritual magic as a mode of engineering/hacking reality.

The medicine bag creates a cohesive system of protection and/or healing from the assemblage of a series of disparate objects, bound together by a faith in their personal potency to the wearer. Bindings, such as rachet straps, cable ties and duct tape, are democratic, and can embrace the act of visibly mending as an aesthetic choice.’

FRANKIE STOREY Hexed Hooves, Perpetual Ponies ‘I am an artist and maker interested in the bizarre and humorously insidious. Studying at West Dean College, I like to inject visual contradictions and visceral textures into my work to create a potent and peculiar atmosphere, laced with frivolity. Looking like a Rorschach test, horses and hooves tumble and act like a tripwire for the bounding and oncoming competitors, the participants together like a block of instant noodles falling almost in unison, a kaleidoscope of legs in almost graceful mayhem, those hexed hooves of those perpetual ponies.’

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THE GUEST ACADEMY

TIFFANY GAN Authenticity and Artifice

Each year one art college outside the British Isles is invited to participate in the Student Medal Project, both students and teachers. This year BAMS has included students from Tyler School of Art, Temple University, USA.

TYLER SCHOOL OF ART & ARCHITECTURE, TEMPLE UNIVERSITY METALS, JEWELLERY, CAD-CAM PROGRAM PROGRAM HEAD DOUG BUCCI FACULTY JAMES BETTS CASTING DOUG BUCCI, BRAD LUNSFORD (TECHNICIAN)

‘This bronze medal features a pigeon on the obverse, representing authenticity and everyday resilience, while the reverse reveals a robotic pigeon, symbolising artificiality and modern fabrication. Through the contrast between the organic and the mechanical, the piece explores the blurred lines between what is real and what is manufactured in today’s world, questioning perception, authenticity, and the evolving nature of truth.’

SARA HICKS In the Waters ‘The circling motion of the koi fish represents both a personal memory and a universal motif, inspired by the Yin and Yang, rooted in Buddhist and Taoist philosophy. This ancient symbol of duality is not merely a mindset, but a principle of reality, one that has profoundly shaped my perspective. The rippling effects of water, represent the continuous flow of life, with a defined centre from which it emerges. They are a symbol, and a memory of childhood, the magic of the garden, when I briefly lived in a house with a koi pond.’

ELIZA KATZ Celestial Duality ‘This medal explores the interplay between light and darkness, symbolising the balance of opposing forces: day and night, life and death.

With its radiating beams, the sun represents strength and illumination, while the moon, surrounded by stars, embodies reflection and the quiet beauty of the unseen. This piece reflects on how existence is shaped by the unease and harmony between opposing yet complementary elements. My interest in nature and the WEST DEAN COLLEGE / THE GUEST ACADEMY: TYLER SCHOOL OF ART & ARCHITECTURE

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in-between spaces drew me to this theme.

This medal also aligns with my interest in themes of transformation, morality and symbolic meaning.’

KIRA KELLY The Lovers’ Organ ‘My medal explores the all-consuming nature of intimacy through the dual symbolism of the heart, both as an organ and as an emblem of romance.

In many ways, this piece reflects my own evolving understanding of love, not just as an idealised concept, but as something flawed and deeply human. On one side an anatomical heart is depicted in sharp detail, a raw and visceral representation. The other side displays an antique valentine with a lace-like trim, expressing the ornamental forms love has taken across time. The trim’s cracked texture unintentionally gives it a timeworn quality, reinforcing the piece’s relation to love as something enduring and imperfect.’

JESS ROSE LAURO Surfacing the Unsung ‘This medal is a commemoration of the support behind the labour and workmanship that goes into our processes in the medal world. As an ode to the tools that every metalsmith uses on a daily basis, I designed stakes and anvils to adorn this medal, as well as the planished texture marks we have come to know so well from smithing. These tools of the trade are designed to endure rather forceful processes. Let this medal be a way to honour the strength of those tools that are so essential in the lives of smiths.’

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KYLIE MITCHELL Twice as Many Stars ‘This medal was created in a 3D design software and inspired by the poem “Two-headed Calf ”, by Laura Gilpin. In the poem, a two-headed calf exists in a world of wonder, taking in everything around it with wide-eyed appreciation, unaware that its life will be fleeting. The calf, in its brief existence, embodies the idea that, despite knowing our circumstances may not be ideal, there is worth in the life we have right now.

This mirrors my own experience, living with a disability, where each day is a reminder to value the world around me; it becomes important to find beauty in the moments that we are given.’

KYA PARRIS Buried With the Olive Trees ‘The medal draws attention to the genocide and ethnic cleansing of the Palestinian people and their environment

by Israel, and calls for an end to occupation. For 75 years, the people of Palestine have endured living under constant threat and occupation. Now, in these last 16 months, we have all watched Israel’s assault on Gaza and other nearby places. This has brought pain and suffering to the Palestinian people, as we watch it all through a screen. This piece acknowledges the atrocities, through all of which the Palestinian people have stayed strong, refusing to leave their homeland. My work discusses culture and ethnicity as a mixed artist of colour living in the United States; it balances human figures and negative space to illustrate narrative while discussing an extremely sensitive subject.’

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Prize Winner LINDSAY SOVEREIGN PONCE Ducks Come on no Call, 55 x 65mm The ‘Best Guest’ prize for overall excellence in the medallic medium, with particular attention to detail and finish, presented

by Pangolin Editions.

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Prize winner

LINDSAY SOVEREIGN PONCE

Ducks Come on No Call ‘Inspired by the imagery of the Order of the Golden Fleece (an order of chivalry which shows a crest referencing a golden sheep bound at the waist) and themes of traditional English game hunting of ducks and fowl, my medal pays homage to the lives and deaths of birds. On the obverse, a captured duck, plump and full of feathers, is bound at its middle, caving back in on itself. The reverse shows an eroded form of what was once a specimen full of life, with the light of vitality shining from the earth below. This work reflects my inspirations from the natural world, and the worldly contexts I often find myself referencing. Made to honour and appreciate the natural world, and all it gives to us as humans, this medal was one full of passion, connection and admiration.’

The ‘Best Guest’ Prize for medallic excellence, presented by Pangolin Editions. The medal is shown on page 69.

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MEDALS BY MEMBERS OF STAFF

JANE BULLIVANT DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN Mountain Out of a Molehill ‘This medal is inspired by a family of moles that has been causing chaos in my garden. Every day more and more molehills appear. They seem to be enjoying their game, but several times I have tripped over them. This made me think of the phrase “making a mountain out of a molehill”, meaning to make a big issue out of a small one.

As my current artwork is nature themed, I thought this would be a good idea to pursue.

On one side of the medal, a mole appears out of a molehill; the other side shows a simple mountain and fields, while around the edge, a single worm moves through the earth.’

STEPHEN COLES WEST DEAN COLLEGE Bears in the Wood ‘If a tree falls in the forest, if a bear shits in the woods, if the pope... This medal is inspired by the malaphor that wraps the age-old philosophical questions surrounding perception and observation in silly humour. Using traditional greensand moulding techniques, the medal seeks to elevate an insignificant everyday sweet – the gummy bear – into something more poignant and lasting. On the reverse, the lettering asks: “If a bear falls in the woods, does it make a noise?”’

SARAH MACRAE WEST DEAN COLLEGE The Overview Effect ‘A radio interview with Frank White (author of “The Overview Effect: Space Exploration and Human Evolution”, 1987) led me to read his book. It focuses on the effects on astronauts of being in space and looking back at the earth as THE GUEST ACADEMY: TYLER SCHOOL OF ART & ARCHITECTURE / MEDALS BY MEMBERS OF STAFF

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this tiny, fragile, beautiful planet, a tiny bubble of life in the enormous expanse of space, and how the experience altered their perspective. From reading the experiences of the astronauts White interviews, and imagining the feeling of looking back at the earth, I have attempted to develop a medal as a contemplative object illustrating this effect.

As a jeweller, this is a departure from my usual practice, and learning a new process has been a new and exciting experience.’

bringing about a dystopian world to further their own autocracy. The “stormy world” side symbolises the toxic atmosphere in international relations: Gaza, Ukraine etc. All the metals used were cast into swirling channels. Then I made the obverse, after Trump returned, with a quotation

by Lin Yutang: “When small men begin to cast big shadows, it means that the sun is about to set.” This summed up perfectly the times we are living in, and tied together the themes behind the medal.’

RICH MAKIN & ELLA SIBLEY SPARLING HEREFORD COLLEGE OF ARTS

BETTE NUNNELEY WEST DEAN COLLEGE

Untitled

Dissolution of the Sovereign

‘This medal is based on “Conversations”, which is a body of work exploring the dialogue between shape, form and process in both physical and digital environments.

‘This medal was made as an act of nonextractionist creation, by using history as the material. A bronze 2p coin from 1971 was expertly milled to 0.24mm thick, still thin enough for a pocket. The cosmic heat patina from the annealing process remains and is honoured through the careful mirrored finish of the piece, enabling the viewer to see their own face on what was once a coin, and to reflect on the present. The object that lived in a specific way for over 50 years is changed and saved, before our society goes wholly “cash free”, and the power of the coin is lost to the future.’

Transforming simple forms of folded paper into the digital realm tests possibilities and visual outcomes prior to manufacture. This workflow has generated dozens of playful outcomes that have allowed us to create collections that consider both positive forms/negative space and the connection within them.

The medal was a development of this previous body of work and an exploration into how the forms would transfer into bronze as a medium.

Because of the success of the cast, we are looking to further develop and cast the forms at a larger scale for a collection of work.’

RODDY MATHIESON DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN Dystopia (bronze, brass, silver, lead, copper, tin) ‘This piece is about disingenuous politics, the cynical and the selfish leaders who are actively 72

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LEE ODISHOW CARMARTHEN SCHOOL OF ART (COLEG SIR GAR) Untitled ‘This medal comes from a lifelong interest in anatomy, which plays a large part in my practice as an artist, inspired in some part by medical notes made by my mother. Striving to understand the human body and all its inner workings is in some way an avenue to understand one’s own inner psychology. The medal portrays a human silhouette: on the

obverse, the skull hovers in situ within the outline; the reverse shows a human head cut along its sagittal plane.’

NECOLE SCHMITZ WEST DEAN COLLEGE That Takes the Biscuit!

‘I love a bit of trickery in sculpture, a play with materiality and a haptic joke of how something catches the peripheral vision. I am hoping this piece makes the mouth water before one realises, art not food. It was made using the “lost biscuit” in ceramic shell method of bronze casting, with careful patination to evoke a slightly melty chocolate covering.’

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AFTERWORD

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Fourteen colleges within Great Britain produced 135 medals for this year’s Project, where they were joined by our ‘guest academy’, Tyler School of Art, Temple University, who sent 8 medals. This year’s judges were: guest judge, Patrick Davison; Greg Fattorini; Kate Harrison; Janet Larkin; Marcy Leavitt Bourne. As each college continues to use the medal to learn about bronze-casting, a tradition springs up, so that students look forward to their time of making medals at college. What with rising expenses and cost of materials for casting in bronze, it is wonderful to see such an excellent response to the Project. Keeping alive the art and craft of the foundry – at colleges or wherever the medals are cast – is also the aim of the Project.

The Worshipful Company of Tin Plate Workers alias Wire Workers sponsor two prize-winning students to attend the BAMS Annual Conference, and purchase the medal to whom they give a prize. The Worshipful Company of Founders sponsor the casting of their prize-winning medal to add to the Founders’ First Prize Winners Collection.

The Student Medal Project is by invitation, to college departments of sculpture, metalwork or jewellery in particular, but also from other disciplines. BAMS will often be able to have an introductory talk arranged at the college the first year, either in person or over Zoom, and there is an instructive PowerPoint on the BAMS website. Such talks will often be able to include an artist as well, speaking about the making process.

The Exhibition for the Project in 2025, which includes all works selected by the judges to comply with the definition of the modern art medal – two sided, easily held in the hand, not too large, weighty or 3D – was installed for the month of April at Hereford College of Arts.

AFTERWORD

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ABOUT THE BRITISH ART MEDAL SOCIETY The Society commissions medals which are available to its members to buy. Since its formation in 1982, the British Art Medal Society not only has commissioned medals but also holds seminars and workshops, plans exhibitions, and continues to encourage artists everywhere to take a fresh approach to the medal. For the past nineteen years (with one break) it has selected a recent art school graduate to join the New Medallist scheme, and awarded a travel and study bursary for them to continue their work with medals, sponsored by the Belvedere Trust. BAMS also publishes the twice-yearly journal The Medal, to which writers and medallists from all parts of the world contribute. On the Society’s 30th anniversary in 2012, it published a book, ‘The New Medallists’, which includes essays about its work and contains a list of its commissioned medals. A book celebrating the 40th anniversary of BAMS was produced 76

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during the anniversary: ‘Encounters with Medals, 40 Years of BAMS’, by Philip Attwood, Janet Larkin and Marcy Leavitt Bourne. The book, Making Modern Art Medals: A Rough Guide for Artistic Journeys (2024), full of professional artists’ personal tips on all aspects of making, is published in hard copy and is also online from Issuu. These and other publications are available from the BAMS website.

The Society offers an advisory service to potential patrons, institutions and individuals on how to go about commissioning a medal.

BAMS is also associated with the Fédération Internationale de la Médaille d’Art (FIDEM), which holds an international exhibition and conference every two years, and in 2025 this will be held in Munich, Germany.

The British Art Medal Society welcomes new members.

Further information can be obtained from: Janet Larkin, General Secretary of BAMS Email: generalsecretary@bams.org.uk Or consult the Society’s website: www.bams.org.uk Follow us: @britishartmedalsociety @british_art_medal_society For information on the Student Medal Project email Marcy Leavitt Bourne: marcyleavittbourne@gmail.com ABOUT THE BRITISH ART MEDAL SOCIETY

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ACKNOWLEDGEMENTS

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The Goldsmiths’ Centre supports the Student Medal Project with its administrative costs, including those for exhibitions and symposiums held at universities around the UK, and the online Student Medal Catalogue, which is free to all participants. It contains photographs of the winners, and a statement from every student, edited for clarity and space.

Sponsors of the prizes have continued to be very supportive and we cannot thank them enough. The Worshipful Company of Founders awards the Grand First Prize for the medal that most successfully makes use of the medallic medium, and continues the tradition of paying for a cast of the winning medal for the Founders’ collection. Thus their prize is a validation and celebration of the student’s work. The Grand Second Prize is presented

by Thomas Fattorini Ltd. The Worshipful Company of Tin Plate Workers alias Wire Workers has set aside a fund each year to purchase the winner of their prize to add to their collection, and supports the educational aspect of the British Art Medal Trust, through student sponsorship.

This year other prizes were awarded by: the John Herbert bequest; Philip Roberts, the Michael Roberts Memorial Prize; the Ditchling Prize, Joe Cribb; the South London Foundry; Pangolin Editions; G W Lunt; The Bigbury Mint. Kate Harrison has created an award for a student to increase their knowledge of medal making.

ACKNOWLEDGEMENTS

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THANK YOU TO OUR SPONSORS

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Thank you to our sponsors, those who have presented prizes, and whose generosity makes this Project and its catalogue possible: The Bigbury Mint (See page 29) Thomas Fattorini Ltd (See page 36) The Ditchling Prize, Joe Cribb (See page 63) The Goldsmiths’ Centre (Catalogue and administration) Kate Harrison (See page 34) The John Herbert Bequest (See page 18) G W Lunt (See page 60) The Michael Roberts Memorial Prize (See page 54) Pangolin Editions (See page 70) South London Foundry (See page 27) The Worshipful Company of Founders (See page 22) The Worshipful Company of Tin Plate Workers alias Wire Workers (See page 48)

THANK YOU TO OUR SPONSORS

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COLOPHON

Published by the British Art Medal Trust, London 2025 BAMS c/o Department of Money and Medals British Museum, London WC1B 3DG Design by Two www.twodesign.co.uk Typeset in Bureau Grotesque Condensed and Signifier Photography by Stephen Dodd © the publisher, artists and designers All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publishers.

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BIRMINGHAM CITY UNIVERSITY; CARMARTHEN SCHOOL OF ART; CENTRAL SAINT MARTINS, UNIVERSITY OF THE ARTS LONDON; CITY & GUILDS OF LONDON ART SCHOOL; DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN; FALMOUTH UNIVERSITY; FIFE COLLEGE; CITY OF GLASGOW COLLEGE GLASGOW KELVIN COLLEGE; THE GLASGOW SCHOOL OF ART; HEREFORD COLLEGE OF ARTS; LEEDS ARTS UNIVERSITY; SHEFFIELD HALLAM UNIVERSITY; WEST DEAN COLLEGE; TYLER SCHOOL OF ART & ARCHITECTURE, TEMPLE UNIVERSITY.