ACKNOWLEGEMENTS Kamal Gokhlani, St Maarten
Kartar Wire Industries Pvt Ltd. India
We would also like to thank all of the Fine Art tutors and technicians for their continuous guidance and support throughout the development of the degree show.
â€œThe content of this listings brochure is provided by final year Fine Art students. The University does not warrant or make any representation regarding the reliability or accuracy of the information and materials contained herein. In no event will the University be liable for any loss or damage that may arise from the use of such information and/ or materials.â€?
NOTE FROM THE TUTORS As another academic year comes to an end the studios in Coventry School of Art and Design are transformed into exhibition spaces by our final year students. The studentsâ€™ exhibitions engage a wide range of contemporary art practice, each student drawing upon their personal experience and ideas to produce shows of great integrity, originality and variety. They are progressing into an uncertain world, but the commitment and professionalism shown by the students, not only in producing their exhibitions but also in the organization, fundraising and publicising of their various activities over the year shows they have the qualities to succeed in their chosen paths. In developing their own networks and concerns about the world these young artists, educators and arts workers will impact on our culture in the coming years. On behalf of the staff who have taught them over the last three years, I wish our students success and fulfillment in their future lives; they have been a delightful and stimulating group of individuals to work with.
Graham Chorlton - senior lecturer, Fine Art
FINE ART/ FINE ART ILLUSTRATION 2013 Robert Alderman
Sophie Olivia Ford
Juliet Okadigbo Kane Oldham Rachael Owens Hollie Palmer Kathleen Perry Adam Pritchett Sean Proctor Jituli Punjabi Katie Rivers Minnesha Rhodes David Roman Rachel Shapcott Kerry Short Karolina Skowronska Hannah Sutherland
Jess Thornton Sherrie Villiers Suok won Yoon
ROBERT ALDERMAN email@example.com
â€˜Corporte headquarters of Ganymedeâ€™ 79cm x 45 cm emulsion, enamel, oil, acrylic paint & pencil on board My practice is in creating visually stimulating works, using twodimensional mark making methods. By using select architectural imagery to feed the work, it resonates with a strong link to 20th Century Post-War architecture and the social idealism it came with. By using references to Science-Fiction literature and imagery, I have allowed myself a personal accessibility to the source-material. The work discusses the idea of utopia and its failings which ultimately leads to dystopia. The shapes used within the work are referential to those implemented throughout early Modernist movements, particularly constructivism.
‘Blue’ Graphite, coloured pencils and ink 80 x 36 cm
My portraiture work is an exploration of the subtlest of qualities that makes every person unique. My images are closely-cropped to eliminate body language and environment, focusing on the features that make us irreplaceable. I enjoy creating these oversized drawings to call attention to the smallest of details. Our iris patterns, fingerprints, facial shapes and vein patterns are all unique to an individual and what makes us who we are. We are programmed to recreate a person’s presence from the organic contours and texture made by every movement of my hand. Our eyes are intended as a window to the outside world, but I aspire to use them as a window into the depth of the subject’s individuality.
JAKE BEVAN firstname.lastname@example.org
â€˜Raymondâ€™ 59x69 cm Oil on Canvas
Jake Bevan is an artist who explores the concept of existence through memories and identity. After a person dies their existence remains through people that knew them or knew of them, but once they forget, that person becomes just another face in a photograph, or another name on a list. Unless you leave a legacy beyond your family the likelihood of your name and face being of any significance to anyone else is unlikely. Using passport photographs as source material for paintings, the personal marks, occasional mistakes and consumption of the artistâ€™s time contrast against the strictly regulated photos, which are printed by a machine almost instantaneously. The artist is interested in the comparison of the length of time it takes to capture a photograph, against the indefinite period of time it takes to finish a painting, and the relationship they both hold with the subject they capture, especially as that person ages.
JAMES BIRKIN email@example.com
The Bar 115cx95cm Acrylic on Canvas
The work acts as a visual diary, documenting neglected aspects of the urban landscape. Working primarily from photographs, the work aims to capture a sense of loss and personal place that can be lost in the photographed image. 1950s reconstruction influenced the early paintings that aimed to capture run down aspects of once cutting edge architecture. Using Coventry as a source of imagery, due to itâ€™s large amount of dated modernist buildings, the work aims to ask if progress has really been made and if the cycle will happen again with subsequent architectural developments. Recent work has explored a derelict former nightclub in Coventry that is awaiting demolition. It stands as a rotting monument to the past, soon to be replaced by modern apartments. The series of paintings is a record of the abandoned Victorian building soon to be lost to history.
TARA BROWN firstname.lastname@example.org
â€˜Saturated nudeâ€™ Photograph
I have developed a practice which I hope to later use within my intended career path of becoming a Secondary School Art Teacher. During my time at Coventry University, I have experimented with a multitude of photographic processes, drawing and painterly techniques, as well as print and mixed media experiments. My primary focus throughout my three years has been on the human form, using a number of different materials and techniques to portray the diverse and intricate details of different figures. Throughout my body of work, I have introduced and utilised the idea of painting onto figures rather than canvas, resulting in many engaging photographs.
MORGAN CAVE email@example.com
Interloping Tower 73x39 cm Perspex During third year I have experimented with mixed media to form an imaginary futuristic, dystopian world of my own creation entitled ‘The Drome’. Inspired by low tech 1980s video games, science fiction films/ novels; I have created a series of drawings, 3-D perspex sculptures, screen prints and collages depicting ‘The Drome’, to give the viewer a sense of this vibrant outlandish city. I enjoy using colour schemes from 1950s households, primary colours reminiscent of childhood play things, as many science fiction films which I am inspired by would typically branch off into merchandising. ‘The Drome’ is my attempt at imagining the twenty second century; a future which has halted in terms of cultural identity but is highly advanced technologically, so it borrows elements from different eras from the 20th century. I have really enjoyed utilising my imagination and skills to create this body of work and I intend to carry on making art work post University.
MICHAEL CHAN firstname.lastname@example.org www.mike-chan.co.uk
170 x 140 cm Oil on Canvas
My work looks mainly at ideas and imagery generated by the subconscious, and the process of painting in such as way that allows the unconscious mind greater control over the painting. The idea that the subconscious mind contains memories, emotions and desires that are perhaps unknown to the conscious mind is a large part of what my painting is about. I try and work in a way that allows the subconscious to dictate the painting rather than conscious decisions.Â
EMMA COLES email@example.com
The sculptural painting 142x98 cm Canvas, acrylic, resin
I am a sculptor who uses an array of materials to create three dimensional forms. As a sculptor the thrive for meaning in my work is dormant, for I allow the manipulation and transformation of materials to convey itself. My work is an integration of two mediums, painting and object making; consisting of paintings on stretched canvas, and reliefs through the folding of the canvas and even paint as its own sculptural material. Through recycling my old paintings and by shaping and recomposing, I have transformed them into new sculptural forms; cutting and stitching back together the canvas paintings in a patchwork construction. After university I will go traveling, to gain life experience, something which I will take with me further in my future studies for becoming a teacher of art at secondary level.
DALE MARSHAL-COLLINS Blood was spilt whilst an ego lay in ruins 100x 100cm oil and enamel on canvas finished in an anti-bacterial varnish
Within studio and gallery walls, Dale draws his inspiration from his surroundings and his personal experience of battling with mental health. Using text to form the body of his paintings, the works are multi layered, often heavily textured, utilizing a variety of mediums and methods with a strong emphasis on paint process and abstract mark making.Â His paintings continue to document his personal journey, his quandary of time travelling one's own past, present and future, and his intuitive abstract mark making as a representation of order and chaos. The text based compositions are painted from a variety of influences, most often from memory: gestural text, memories of the outside California road grid collides with recreated surfaces of his present indoor working environmentâ€Ś.a crumbling 1830's structure that formerly served as an institution. Dale chooses to erase words, or paints small hidden meanings in the works in the hope to maintain a balanced and positive future.
ANCA CIOBANU Evelynne 14cm x 21 cm Digital book
It took me three years to realise that I was in fact an illustrator. It will probably take just as long to find the area of the industry in which I truly fit. One thing I do know is that I am very passionate about illustrating and about my work regardless of where I am professionally. Right now my dream is to become a 2D artist working in the game industry and I hope that my skills, knowledge and twisted mind will help me achieve it.
REBECCA COUSINS firstname.lastname@example.org www.rebeccacousins.wordpress.com
â€˜A Note to Chrisâ€™ Mixed media Installation
Reality is a subjective construct. It is produced and reinforced through the collection of data or knowledge. To overload or to limit access to knowledge or data challenges and manipulates set principles, ideologies and social norms. The availability and density of data in an information age stimulates thoughts which can fester and attach to abstract trends. Narratives materialise which contradict preconceived notions of what is real and what is not. The power of possession and access overcomes all other authorities. Traditional connections are by-passed and freedom of thought is allowed. A space for open contemplation is a necessity. This space will be a stage where the boundaries between fiction and fact are hidden: where the intent is never to answer but to generate.
SOPHIE DEELEY email@example.com
Wendyhouse Installation Latex cast Through use of sculpture and media, I create work that reflects upon personal memories and absent spaces, as well as documenting the passing of time. This can include an absent space such as a derelict building, while also reflecting upon emotional absences within our lives, such as passed memories or absent loved ones. As with a person, an absent space has a story which can be hidden within its depths. I choose to use latex as a medium to reflect on these themes, as it encases all the history within, capturing a moment in time by creating a mould of its current state. At the same time allowing the hidden depths, such as layers of paint, which have been reapplied during the passing of time, to now be exposed.
ASHLEIGH DOBBINS firstname.lastname@example.org 07450469214
Dereliction within architecture 50x30cm Photograph
My work is explorative of time, trace, texture, history, surfaces and man-made materials. My artwork can be seen to address social, political and cultural issues. For me itâ€™s looking at everyday situations we as humans choose to ignore and over look in everyday life. I find beauty in urban decay such as the crumbling of abandoned places that were once inhabited. My work always starts from the photographing of buildings, which then leads in various directions. I have a very strong interest in exploring abandoned and derelict buildings. Over the past couple of years, my work has become a documentation through the use of photographic imagery, drawings, architectural research, found materials, sculptures, sound, projection and other inventions. I use mixed media, so as to not limit my practice.
KELLY LOUISE DUGMORE email@example.com
17th Century Candlestick 45x108cm Biro on Paper
My studio work is currently investigating the qualitative difference between 17th - 19th century decorative objects and the 21st century mass produced counterparts. The production of ornaments have become cheaper and faster in recent years, diminishing the quality of the product. I have contrasted methods and materials by using a laborious technique of using biro pen on a large scale to represent the time consuming decorative processes of the Baroque era, paired with the repetitive process of screen printing to relate to modern manufacturing of ornate home ware and the consumerist culture. My aim is to work my way into teaching art when I finish University; I feel that I have a passion for the subject that can be passed onto others.
SOPHIE OLIVIA FORD firstname.lastname@example.org
Untitled 150 x 100 cm Acrylic, emulsion and mixed media on canvas
I currently work in a contemporary style, incorporating many mixed media elements and popular imagery. Materials include textured papers, acrylics, emulsion, books, dollies, beads, wooden letters & numbers, and wallpapers. This year my work has begun to focus more on an ornamental approach, predominately images that deal with visual pleasure. I have experimented with wallpaper printing and looked in more detail at the basic image of the flower, using these to build up patterns and my own wallpaper prints painted on to large canvas’. These colourful images of flowers, mixed with images from popular culture, are all things that I enjoy painting. My main goal is for the viewer to like what is in front of them, to take pleasure from viewing them and be able to relate to my imagination.
JACK FOSTER email@example.com http://jackfostercontemporarypainting.wordpress.com/
Mt Sinai 50x35cm Oil on Canvas My paintings combine inferences of pilgrimage, prayer, superstition, sites that are important to the three major monotheisms, Skinner box pigeons and painterly abstractions. Deterministic philosophy, non theocratic morality, Darwinism, the materialist world view and anthropology inform my practice, as does religionâ€™s conflicts with the above. Largely, my work is intended to be exploitative of type 1 and 2 pattern seeking errors that are made by the brain. Anthropological explanations of superstition revolve around these types of errors - the false recognition of a pattern or relationship where there is none - failure to recognise a true pattern. While grouped, the paintings allow for the emergence of intentional and unintentional, real and false patterns, and relationships between and within paintings.
STACEY GOSS firstname.lastname@example.org
Gate 193x115 cm Plaster, paint, mdf, wood, wrough iron gate, varnish
I am a sculptor with a profound interest in the material plaster; the way it looks, its versatility and the process that is involved when using it. I have always had a passion for baking at home and in employment; and this is the inspiration for me when it comes to creating my work. The integration of this into my studio practice is incredibly fun and unexpectedly challenging. Juxtaposing my piped forms with found objects has become an obsession that has uncontrollable tendencies. I enjoy playing on human desire, and using baking tools to create edible looking work. I would like to continue practicing sculpture alongside studying to be an art teacher.
ABBIGAIL GRIFFITHS email@example.com
Colour for Reason Spray paint, wool, bamboo canes 600x200 cm
Colour is the key to my sculptures. From the beginning, the process of combining yarns of wool with other objects struck me as a new way of working; the process lead me from wrapping everyday objects to those which were more interesting and unusual, such as gymnastic hula hoops, foam cups and wooden sticks. I work with vibrant colours in wool and spray paints, my aim is to keep the forms of the sculptures simple, as the colour becomes the main component. I like to work with multiples of the same object, which for me makes the intensity of my work more interesting and eye catching. Whilst making my work, I always try to create the â€˜wowâ€™ factor, something which is a visual pleasure for me as well as my audience.
RACHAEL HADDOCK firstname.lastname@example.org
Constructions 30x24cm Photograph
My work comments on the relationship between ‘self’ and the society in which women are visually represented. I explore the relationship between the viewer and the viewed, and how women’s bodies are experienced through images. Digitally enhanced images of models in magazines perpetuate unachievable aesthetics, which do not resemble reality. These images, characterised by perfection, are internalised as standard. The female notion of ‘normal’ is therefore based on fictitious women, created in carefully constructed environments. My work examines such constructions, as my photographs reveal nothing of the subject; but the constructed nature of identity, images of ‘the real’, and popular culture. It is informed by theories regarding simulacra, as my work does not portray a particular woman, but instead, copies of women emulating standards of beauty. If sense of self is created by unreal images from the media, my work is a parody of media images of women, shallow copies of copies.
CLAIRE HARRIS email@example.com
Untitled 20x28cm (4) Mixed media on Paper
My work observes how accident, chance and the unplanned can be controlled, managed and manipulated. Taking two conflicting ideas and making them one within an image. A confusing notion which I try and reflect through intensity of colour, unconventional choice of media and unusual methods. I make use of found objects such as spray bottles and old boxes, to create my paintings. Through layering and movement, I create depth within the work, as well as portraying the physicality that is painting itself. All of this helps me produce a sequence of paintings with expression and spontaneity.
CHARLOTTE HARTLEY firstname.lastname@example.org
She’ll grow out of it Video Installation
The theme of my work is social anxiety and I explore this through performance documented with video. My videos involve me acting out actions I do to avoid feeling anxious in social situations such as biting my nails, with sound playing alongside linking to my childhood development. My work also focuses on me confessing how I feel and exposing myself in ways where I also protect myself slightly. I’m sharing my journey through social anxiety in which I hope the viewers can either relate to or learn from. By being completely open with the viewers of my work I’m making myself feel vulnerable which is something I hope to apply to real life situations.
LEANNE HORNE email@example.com
When the party is over 56x61 cm Textiles, wadding, wire
My practice is based upon creating soft sculptures made with a variety of stretchy fabrics varying in texture, pattern, colour and size.Â The cyclical process of their creation embraces the order of precise and sometimes not so precise stitch with the chaos of a random pattern.Â My work often employs the use of intuitive repetition and this is how I see the life cycle; each and every human in their complicated functional body is the outer shell of emotion. All of my sculptures to date have been created through experimentation of play resulting in biomorphic forms, their controlled positions are strongly influenced by emotions caused from body anxiety and insecurities. My inspiration for these is life and artists such as Louise Bourgeois and Sarah Lucas have influenced which materials I like to use.
ANAR HUSSAIN firstname.lastname@example.org Abstract Composition 117x150x43 cm Canvas, ink, gloss, acrylic paint
My abstract work represents physical movement within deconstructional and constructional methods. These recycled works are structured at every angle to result with strong perspectives, additional to the strong presence of textures. I have applied textures using mediums such as filler, canvas, inks, paints and PVA glue. The overall production of these contain many layering procedures which have been processed to result in crisp, strong dynamics. This allows my work to be three dimensional, with many focused areas highlighted with glossy drips. My work balances between mediums, and I am intrigued to know whether the viewer sees them as more painting or sculpture.
LUCY HUTCHINSON email@example.com lucyhutchinsonartist.tumblr.com
For Home and Country Mixed media Installation
My work is based on bicultural relationships and happenings within the family. Mainly situated between the UK and China, I explore the differences in culture and issues of identity which family interactions have highlighted. The materials used are those which have been developed through the trading of cultural goods between China and the UK, for example chinoiserie. I am interested in using what would usually be considered decorative materials such as wallpaper and fabric to portray both personal and generalised impressions of particular social and cultural groups, often in a negative light.
JOSEPHINE HYDE firstname.lastname@example.org www.facebook.com/Josephine.Hyde.Fine.Art
Anatomy 22x17 cm Stainless steel, perspex, oil paints
My artwork is about the head and facial area of the human body. I delve through layers of the anatomy, creating oil paintings from found images, situated on different surfaces that range in size, to produce a medical and clinical effect.
ELLIOT INGRAM email@example.com www.epingram.tumblr.com/
Dine Emulsion on Board 40x60x15 cm
Elliot Ingramâ€™s recent works, focusing upon interior spaces, are the exploration of an idea that the mundane or often overlooked can be captured and simplified into visually engaging perspective paintings. The corner of a room or perhaps a piece of furniture against a wall can provide a series of angles that pique interest allowing for new paintings to emerge. This thought process and the simplicity of the paintings has allowed Elliot to focus upon the construction of these works, creating boxes as a means of not only framing the paintings but also serving as a platform for extending these created spaces. Elliot intends to continue creating work post graduation as well curate/co-curate further future exhibitions.
KATE ‘BRUSH’ JAMES firstname.lastname@example.org www.katebrush.co.uk
This Woman’s Work Installation Miexed media and animation
As a Fine Art Illustrator, my work has a unique fusion of the two disciplines. My current work is conceptually concerned with the feminine role in domestic space, using domestic craft in excess to conjure a humorous body of work that can engage with the audience on a number of levels. With both physical sculpture and animation, I have created an installation to make the viewer question what they consider to be weak or powerful within society’s gender roles.
VIOLETTA JARA email@example.com www.violettajara.com
Touching the moment... 40x30 cm Photographs on board
I experiment with different media such as photo collage, photography, installation art, especially performance and video art. I work spontaneously. I am an open person and my goal is to be close to people and places where I can find unique things and take inspiration out of them. I am a very emotional person, which means that I follow my feelings. I follow my subconscious and inner voice that allows me to catch ideas. I produce many things at the same time because I donâ€™t want to lose them. Through the nudes and portraits, I try to show spirituality, sexuality and coqueto. I strive to demonstrate the pureness which is hidden deep inside our bodies and which demands to come to light. I try to elicit the light and dark side of the human personality, the emotions; isolation, fear, dread, delight, euphoria, passion and love.
KIRAN KUMAR firstname.lastname@example.org
Green Composition 66x50cm Etching
My work consists of a mixture of abstract paintings and prints. These have been produced with mediums such as: oil, acrylic, etching paints, pencil and PVA glue. These mediums allowed me to present a sense of space within the application of textures that emphasise the continuous line. Repetition also appears within the use of shapes, lines and tones alongside the application of colour; another important factor in my work. The composition of the colours are based on my emotions during the period in which they were created, causing an overall personal atmosphere. I have thoroughly enjoyed printing and would carry on my practice down this path, alongside my abstract paintings.
ANNABELLE MADEJOWSKA email@example.com
Gracie Biro on Paper
I am a Fine Art Illustrator who has an interest in childrenâ€™s literature and illustration. I use pencil, fine-liner, biro and watercolour when creating my work. I hope to work as a teacher specialising in art and the creative subjects in the future and continue to educate myself in the arts and literature.
RHIANNE MASTERS-HOPKINS firstname.lastname@example.org http://rhiannemastershopkins.tumblr.com
Study Nine, 2013 29.7 x 25.1cm Pen, Oil paint, paper, paper clips
I am primarily an abstract painter who focuses on the idea of balancing elements within a composition, particularly through controlled and automatic gesture. The use of automatic gesture is derived from an early surrealist technique which requires one to draw subconsciously; I take this and combine it with a strict composition of rectangular blocks of colour. The colour palette is kept subtle to induce a calming contemplative state for the viewer which brings about ideals of beauty, of subtlety and transcendence. After University, I plan to work as a practicing artist and teacher, eventually becoming a lecturer.
ZOE MCHALE email@example.com
Human Nature 70x17x48cm Plastic bottle, Brass, pins, Candle wax, acrylic
For two years I have explored mass production and repetition which function together to keep up with our consumer society. Andy Warhol was an inspiration, stirring up deeper concepts and insight into how to tackle this project. This year I deviated somewhat and I looked into the waste we leave behind from products and coupled this with the idea of what we perceive as decoration. I wanted to create objects which were aesthetically pleasing, but made from rubbish to explore the way we view waste. I reflected on how packagingâ€™s only objective is to entice us, after which it normally becomes worthless. Looking forward, I will continue down this path of discovery where I want to unearth more about myself through art. I wish to sell my work in the near future and to work at various places which fuel my passion for art such as galleries.
Large scale installation
I work to create physical narratives and build sculptures that represent realities that can be constantly altered. Building these narratives is essentially about freedom, both to create and alter planes of reality that stay malleable and open ended. I build worlds where I can be God to characters and creatures that play out my own dark comedies on backdrops of imagined architecture and broken set pieces. â€˜Sailing Planesâ€™ is a plane of reality empty of the creatures that perceived it, with only a shell of what an antagonist built to contain his narrative.
GIULIA NUCCI firstname.lastname@example.org giulianucci.co.uk
Victim of the System Mixed Media Installation
Giulia Nucci is an artist who explores the impact that consumerism has on diminishing the value of life. The artist works with already dead animals (mice in this instance). Lifeless therefore worthless the mice are turned into commodities such as: confectionary, ornaments and toys through sculpting, casting and video work. In doing so, the mice even though no longer alive, acquire value: the commercial value of money. The work often draws on ideologies of the Kitsch and how that plays a part in a consumerist society through the value it places on life. With references to the everyday, the viewer is drawn in by the familiarisation of the work. However, on closer inspection they soon come to realise the subversive nature of the work and itâ€™s darker motives and how imperfect the perfect is.
JULIET OKADIGBO email@example.com
Momma Blue Foam, Plaster, Clay Installation
My work is mostly based on culture, identity and family. I often relate my work to my heritage and African history and traditions. My recent pieces of work represent the home and womenâ€™s role in the house. Women are the heart of the home because they make sure that the home is a comfortable place to be, from nurturing, cleaning, cooking and much more. Women carry most of the family burdens because they are the care givers of the home; both physically and emotionally. I feel at this point of my life, Iâ€™ve only begun to discover what the world of art revolves around and hope to continue building more work relating to my identity through sculpture.
KANE OLDHAM firstname.lastname@example.org
Untitled 150x243cm Charcoal on Paper
My practice is centred around drawing through a methodical process that has been refined through experimentation with materials and their application. The drawings focus on the physicality and process of their own creation. The work reflects upon ideas of production and labour through specific methodologies - adhering to a rule of creation throughout each piece. The intensity of labour and time that can go into the work is embodied through the repetition of each mark. Through the accumulation of line the image is formed as an area upon its support.
RACHEL OWENS email@example.com www.rachelowenscreations.wordpress.com
Study- Untitled 29 x 21 xm Pencil and Crayon on Paper
Taking major influence from the surrealists and traditional illustrators from as far back as the Edwardian and Victorian eras, I work with the most basic of drawing materials to create an alternate universe, depending on which way you look at it... My work is based on childhood and itâ€™s immediate loss of innocence, right from the moment a baby is exposed to the world we live in. Throughout my work I look into our underlying animalistic personality traits, and how everyday situations influence a personâ€™s behavior. Nothing is what it seems, or is it just our minds challenging us? I will take you on a journey where everyone and everything can be questioned, and the outcome is never pretty.
HOLLIE PALMER firstname.lastname@example.org
The Body Project 160x40cm Digital Print These images are teaching us how to see. Filtered, smoothed, polished, softened, sharpened, re-arranged.” (Susan Bordo -Unbearable Weight. 1996) Advertisers use successful and attractive models to promote their products to women. Potential customers (women) are exposed to these advertisements everywhere, every day, through the magazines and newspapers they read, the bill boards they pass, computers they work on and the televisions they watch. Even though these images of beautiful women are unrealistic for most women, many still aspire to be like them. The message (sometimes blatant, sometimes subliminal) is ‘buy our product if you want to be like her.’ I have considered the pressures all women feel to conform to this perception of beauty and the ensuing psychological effect when they cannot attain this ideal. I focused particularly on how young women are influenced by this media driven notion of beauty and the debilitating effect it can have on their confidence, self worth and overall wellbeing.
JENNIFER PARDOE email@example.com
The Body Project 160x40cm Digital Print
The work centers around the hand-made mark and the significance of a human presence within it. Consequently, a lot of time is allocated to creating surfaces which lend themselves well to the subtlety of the mark-making. This emphasises the themes of process and time through obsessive repetition as perfection is striven for but never achieved. Imperfections are accepted as a necessary aspect in order for the work to be relatable and the element of chance to take effect.
VICTORIA PEAKMAN firstname.lastname@example.org
The smile develops gradually Video Installation
My work examines the relationship between aesthetic surgery and cosmetic dentistry; delving into the lucrative industry they have formed within today’s society. I aim to explore this through a range of media, through documentary, video and performance. I have always been intrigued by how people, admittedly myself included, can be so deeply affected by their own appearance and how the media and companies then prey and capitalize on this to create business. I have tried to expose the callous way these procedures and their marketing techniques are used and how advertising is involved, forming this detrimental effect on society. ‘Flaws’ which begin as inconsequential from an objective stand-point become magnified and convoluted through industry marketing campaigns, convincing the public they need to be rectified in order to conform. By incorporating my own research within the work, I allow the viewer to better relate to the subject area.
KATHLEEN PERRY email@example.com www.professionalpanda.tumblr.com
Socially Acceptable Video Installation Kate Perry is an artist working primarily in the film and photography fields, though has been known to expand into installation work. Her present work features the effects of everyday life on emotional and mental health which she attempts to express in an artistic format, using a combination of academic research and personal experience to help guide her. Some of her main influences include: Vincent Van Gogh, Sophie Calle and Tracy Emin. After being inspired by Andy Warhol’s ‘Screen Tests’, Kate has replicated it as part of her practical research and is now producing short films with herself as the subject. She aims to further her study in Coventry University by applying for Contemporary Arts Practice before applying for Art Psychotherapy in two years’ time. Afterwards, she intends to work for the NHS as an art therapist so she can put artistic practice to use in a psychological field.
ADAM PRITCHETT firstname.lastname@example.org apritchett.co.uk
Walk With Them mixed media installation
Textile sculpture artist, specialising in strange and uncomfortable forms. My work is about the mysterious and unknown, aiming to unnerve and make the viewer question exactly what, or who it is that they are looking at. My sculptures are always situated in an installation format, while each form is stationary – the way they are arranged allows for interaction in the environment with them. Always hoping to evoke a reaction towards the sculptures; be it intrigue, or alienation. After university I plan to go in to either gallery work, to eventually become a curator, or I am also interested in art journalism writing for a creative magazine.
SEAN PROCTOR email@example.com
Concealed 84.1 x 59.4 cm Photograph
Negative spaces and the invisible worlds are the spaces in which we do not inhabit. This space is used as a container; for emotion, memory, the aura’s and forces given to us by the people we choose to surround ourselves with. The hidden forces of life associated with the invisible world and negative space can be seen through opening our minds and allowing ourselves to be free in every sense. To truly see or interact with this world you have to have no pre-supposed idea of what is and isn’t logical. We have to address these theories and concepts in a way which is free from logic and spirituality, toying with the ideology based around the influential world and superstition and fear. “One is apt to realize that life is highly unpredictable and largely mysterious in its course” (Sri Aurobindo,1990)
JITULI PUNJABI firstname.lastname@example.org www.facebook.com/Jituli.P
Who am I? Live Performance Installation
Art has always had a purifying effect on me. It is not just a medium of communication or escape route from reality but a refuge to experience something divine. Being Indian, I have a culture and background of spirituality. Through the medium of art, it is a humble approach to answer the questions of why, when and wherefore of this world? Questions like who am I? What is my purpose in this world? My work titled “Who Am I?” is expressed through the medium of an interactive performance. I see my engagement with the audience as the biggest strength of my work. As an artist I would like to explore the possibility to experience the infinite number of expressions. I want to immerse myself in the journey towards seeking Enlightenment.
KATIE RIVERS email@example.com www.katierivers.tumblr.com
Wordbop Installation Performance
Most of my work uses performance and participation as a way to explore and create human interaction. I have often used painting within, or as inspirations, for my projects. However, I consider the experience to be more important than any physical result. Recently, I have been using modernist forms to create a platform for my performances. I often work in collaboration with another performance artist and we are looking to put on more shows at events around the country within the summer months.
MINNESHA RHODES firstname.lastname@example.org
Memories of a daughter 47x47cm Acrylic paint, glass, vanilla essence
I am inspired by family and the diverse relationships held within them, in particular the mother and daughter bond. Real life concepts have been the foundation for most of my practice. Taking something personal and making it universal as translation is imperative when creating visually. Part of my practice is based on the raw materials that I use. Different types of wood, alongside plaster construct the heavy duty feel intended, which relates back to how important family is. I consider myself a painter with a sculptorâ€™s hand. My journey as an artist has just begun and it is vital that I focus on the process rather than the ending.
DAVID ROMAN PRIMAL Oil on canvas
My work explores the male body from a fitness perspective and revolves around strength and movement. The paintings are inspired by my personal fitness journey and aim to draw parallels between people working out and wild animals in action. Personally, I see my workouts as a context stripped of culture, that allows me to get in touch with my raw, primal instincts. By associating images of men performing physical exercises with images of wild animals hunting or fighting, I would like to challenge the views on fitness in todayâ€™s society- aesthetics or functionality? After the as an artist.
final year I will editorial illustrator
RACHEL SHAPCOTT email@example.com
New Light Photography
My work is an exploration of over-looked beauty within the everyday. My role as the artist is to recognise and capture these unnoticed instances – in doing so raising their status from the quotidian to that of ‘art’. I use photography as a method of collection rather than creation because the art is pre-existing and the photographs are unedited, as flaws in fact indicate the reality of the images and their beauty. Using traditional methods of composition and inspiration from abstract paintings I arrange my subject - natural light – to create a photograph which displays the beauty of the banal whilst simultaneously extending the lifetime of the ephemeral. Through my work I hope to alter my viewer’s perception, inspiring them to see their surroundings in a ‘New Light.’
KERRY SHORT firstname.lastname@example.org www.behance.net/KerryShort
Calliphoridae 37x30x14 cm Leather, wire, sugarpaste, beads and mixed media
Kerry Short is a hardworking individual, striving for excellence within the creative industry. Her love for the weird and wonderful is expressed in her work, taking imagery which some may consider to be ugly, and creating something beautiful and unique. Her choice of materials encourages people to consider the subjects in a different light. Having already seen some success in the production of her work, Kerry sees herself progressing to a career in illustration.
KAROLINA SCOWRONSKA The experiencing time 100x90cm Oil on Canvas
Karolina Skowronska shows in her paintings her own experience of time. Everyone of us has their own definition of experiencing time. Karolina is a very busy person; the mother of two children, the housewife and the student. Through her art she decides to freeze time or just slow it down for a moment. The basis to create paintings where collages consist of elements and objects that the artist passes in everyday situations. During the painting, the first recognisable elements start to become more abstract forms. Every painting by the artist is an abstract landscape, so she has chosen gently stretched dimensions of a canvas. Fresh and pure colours give the paintings positive energy.
HANNAH SUTHERLAND email@example.com www.cargocollective.com/hannahsuthersart
Reqiuem for a news anchor Video Installation
Combining radical notions of personal identity with news media as a modern philosophy, my practice interrogates the endless oscillation of the human involvement with current affairs. Internet culture has changed the way we interact with such media, allowing us to have more control over the information we receive, dissolving our reliance on televised news bulletins. Ultimately dissipating the news anchor importance altogether. I use video art as my medium to assist the viewer, along with the content, in posing questions about these ideas. The content of my video work is made up of found video clips, all sourced from YouTube, which have been edited together by me to create a new narrative. This process that I work in is a new media version of assemblage art and a technique that mirrors the ideologies in the content.
MIRCEA TELAEGA firstname.lastname@example.org www.mirceateleaga.com
Execution IV 182x150cm Oil on Canvas
I am interested in exploring the history of certain places and seeing how that history could be shown in a painting without the use of narrative. This interest has appeared when I have started finding out that places very familiar and close to me, served as both spectator and stage for very problematic issues regarding twentieth century history. I paint landscapes that bear clear marks of their troubled past. Avoiding a very descriptive or self-explanatory approach, I intend to show distortions or scars in these landscapes. I am actually painting portraits of these places. I am exploring these spaces from the point of view of the person who has lived there, not knowing the past events and juxtaposing this with the point of view of the person who is fully aware.
JESSICA THORNTON email@example.com
Untitled 50x 70 cm Monoprint
My work shows the exploration of film stills, and the interest of entering into a fantasy world through fictional film. Every single one of my images involves combining and collaging contrasting stills, in an attempt to create an imaginary dream environment for the viewer to experience. Predominantly, I have used charcoal and printmaking to create my final images, to show technique and layering of materials, similar to how I have created my collages through the layering of film stills. “Dreams feel real while we’re in them. It’s only when we wake up we realise something was actually strange.” (Inception, 2010)
SHERRIE VILLIERS firstname.lastname@example.org
Feeders Thread and textiles Installation
My work is about the manifestation of fat cells. I started to research into what a fat cell looks like because of my ever growing obsession with weight . I also wanted to look at how fat was stored in the body. I want to continue with this research further investigating different parts of the anatomy and how they work.
SUOKWON YOON “AVALOKITESHVARA”. 2:51 Video
Born in Seoul, South Korea. Before studying at Coventry University, I studied photography from BFA to MFA level in Keimyung University in Korea. I transferred to the Fine Art department of Coventry University about two years ago. During my study at Coventry University, I have learned high quality academic knowledge, as well as having professional experiences at art festivals, exhibitions, and art fairs. Recently, I took part in ART PARIS 2013 with Sarah Myerscough Fine Art Gallery.