MAC793 - MA Catalogue PDF

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Postgraduate Degree Show September 2011 This exhibition is the culmination of the excellent work undertaken by our Masters students over the last year or two and shows the diversity of creative thinking, skills and professional approach to practice that they have achieved in that time. Both full-time and part-time students have come from a variety of backgrounds and experiences to contribute to the debates and extend their individual practices, with a good proportion of international students to offer enriched cultural understandings of art and design. This is therefore, a particularly lively show from the three courses of Fine Art, Art & Design and Design for Advertising, with multi-disciplinary work ranging from painting, sculpture, print, illustration and photography to audio-visual pieces, animation, glass work and installation.

Our thanks go to the highly motivated and dedicated staff who have supported these students through the Masters programme. Dr Alistair Payne, Prof John Roberts, Lester Meachem, Pat Dillon, Dr Louise Fenton and the rest of the MA staff team are all experienced researchers and/or professional designers and artists in their own right, who have shared their knowledge and expertise with the students to deliver exciting and challenging opportunities for learning.

The result of their valuable input is clearly evidenced in the quality of the student work on show at The Public.

Following on from this exhibition and graduation, we wish our students continued success in their endeavours and future plans whether this is to further develop their individual practice, work in the creative industries, teach, or continue to research at doctoral level. We hope that the MA experience has left them well-equipped to prosper and make their mark on the world.

Prof Dew Harrison (Associate Dean for Research and Postgraduate Studies)

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ents 06 48 56 86 100

MA Art and Design MA Design for Advertising MA Fine Art PhD Research Artists Access to Art Colleges (AA2A)

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MA Art and Design MA Art and Design provides a creative platform for applied artists, makers and designers to question and develop their practice in preparation for their creative futures. Our 2011 graduates are presenting exhibitions in Animation, Visual Communication, Ceramics, Glass, Interior Design, Fashion and Textiles. The work you will see is the culmination of many months of concentrated study, independent research and technical enquiry, resulting in creative statements that inform current and future art and design practice. The work represents outstanding work in contemporary art and design.

This year’s cohort originate from various areas of the UK and overseas, including China, Germany, Cyprus and Bangladesh. As a community they have shared ideas and supported one another in their creative ambitions within the structure of the MA Art and Design programme. The School of Art and Design accommodates a full range of art and design practice within one building, allowing for interdisciplinary interaction and access to an excellent physical resource that allows our MA students to expand their creative, analytic and evaluative skills as designers or makers. They are supported by post graduate tutors that are themselves practitioners of national and international status. The students are now at the threshold of their creative futures and are confronted by a complex market place in a changed economic climate. They have accepted this challenge and have been proactive in preparing themselves.

The MAGIC Group is a business partnership that supports ceramics students in promoting their work. The group has shown in various venues across the Midlands. The V & A has supported a 3

month period of MA student placement in their newly refurbished Ceramics rooms Other students are already in employment and have used the MA to develop and expand their professions. Some students have been supported by the Universities business start-up enterprise, SPEED and others are associate graduates within the Universities Knowledge Transfer Partnership scheme. Many of our overseas students will return to their own countries and will use their experience to add to the growth and economy of their industries.

On behalf of our MA Art and Design finalists, I would like to take this opportunity to extend sincere thanks to Professor Dew Harrison, the Associate Dean for Post Graduate Study and Research, Lester Meacham, MA Art and Design Course Leader and the extensive team of MA tutors, technical and administrative staff in Glass, Ceramics, Interiors, Fashion, Textiles, Digital Media and Visual Communications for their support and commitment to students during their studies, ensuring them of an exciting and rewarding experience.

Finally, I would like to extend my very best wishes to all of our graduating students and wish them every success in the future.

Congratulations to you all.

Patricia Dillon Divisional Leader, Design and Applied Arts

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Rezwana Ahmed Textiles

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I seek meaning behind every occurrence and beauty in every imperfection. My work is about telling stories; it’s more about capturing a moment or recollecting-representation of some memories than aesthetic. My patched textile pieces, which I call Quilts are layered with memories (patched images and mostly deconstructed used fabrics by the people the stories are about). It’s my memories which have formed my sense of identity. I breathe, I speak and tell stories through my quilts; which represent a person’s life, culture and tradition; stories that heal or simply convey messages.

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Contact w: Rezwana@artlover.com b: Reztreatjamdanikhadi.blogspot.com

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Stephen Allen Illustration

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Throughout my work, I often draw inspiration from various classical authors. From fables to myths, I love to explore the elements that make up the tale as a complete whole as well as examining the various meanings behind the words. Based loosely around Dante Alighieri’s ‘Divine Comedy’, my own body of work called ‘Inferno’ explores the idea of a journey through the lower forms of Hell, specifically within the ‘City of Dis’, and focuses on the more desolate or ‘unforgiving’ aspects of the poem.

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Contact e: s.allen@longtrousers.co.uk w: www.long-trousers.co.uk

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Jon Banks Graphic Communication

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The body of theory that I have developed across this study concentrated on the question of the relationship between culture, society and politics and the effect of these upon design and design education.

The relationship between written language and visual language, developed a logical and objective system of visual thinking in the research and development of this practice, determining how the projects were art directed.

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The work represents the personal beliefs and values I have regarding praxis, and the importance of design as an intention of engagement.

Contact e: jonbanksjb@blueyonder.co.uk w: www.artsthread.com/p/jonbanks

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Tolga Bogac Interior Design

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Through this project I have worked on the study and refinement of processes in dental centres focusing on creating a space where patients and doctors feel more comfortable. I have explored how I can change the behaviour of the patients by choosing appropriate colours, materials, lightening and other details, to help patients deal with their fears and anxiety. They should feel comfortable and relaxed so they come back on a regular basis.

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Cyprus Dental Centre Recently interior design is not only applied to domicile architecture also hospitals and clinics need professional interior design to provide comfortable atmosphere for themselves and their patients. Medical health centers also need a touch by an interior designer to create warm and welcoming ambiance for patients. Planning a dental centers seem to be daunting because of increasing complicated systems.

Clinics for medicine and specialities are more complicated than other offices types. I have tried to join my knowledge and my imagination with the needs in dental clinics. Finally with all these I have tried to create unique appearance places for dentists and for their patients which they can feel comfortable, psychological and physical relaxation.

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Lizhi Chen Interior Design

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In China there is a new generation of young white collars workers who have great jobs, they are }energetic, fashionable, and like to revel with friends together noisily. But they still cannot afford large urban apartments to live and relax with their friends. My work explores their lifestyle and the spaces designed for them. It is designed to utilise every square meter to create a compact but multifunctional space which is also modern, fashionable, open, and practical.

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Joseph Coulman Illustration

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Joseph Coulman is an Illustrator and Graphic designer with a particular interest in graphic novels and comic books, his work on display is an example of what can be done with the comic book medium when taken off the pages, taken from the comic book Brown Bread Joe has created a giant 22 foot wide painting which tells part of the story of a lone man struggling to write a book and survive an apocalypse at the same time. Joe wrote and illustrated the book himself and plans to write more books in the same series with this first one named welcome to Helford being the introduction to the series called Brown Bread.

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Joe currently runs his own Graphics and Illustration company called Coulimages in which he deals with a variety of briefs and clients he is also looking to publish a number of books including Brown Bread and is always looking for new stories to tell.

Contact e: joecoulman@coulimages.co.uk w: www.coulimages.co.uk

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Michelle Coxon Ceramics

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By taking religious icons and expressing them in contemporary terms I am confronting religious beliefs and traditions. The images I use are powerful symbols taken from the church and the story of Christ. I try to combine the profound and the playful by replacing religious figures with modern day iconic celebrities such as Gilbert and George or Grayson Perry and invite the viewer to reflect on how they feel about the changes. Does it shock or make you laugh? I want to evoke an emotional feeling and at the same time have some fun. Some of my pieces also comment on world politics as in my piece about Ai Wei Wei

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My spiritual style draws upon myths, symbols and works of art and embraces the elements of nature. I am using a powerful narrative which is ingrained within the history of art and religion.

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Laura Dicken Illustration

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For this project I have concentrated on reportage photography. My subject was my Grandma and the house that she has lived in for the past 50 years. I hope I have managed to investigate and communicate her life and surroundings objectively, as well as capture the true feeling of her and her home. I am increasingly interested in the subtle tell tale signs of a life lived that are incredibly intimate, yet at the same time universal.

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Contact e: gypsy.aesthete@gmail.com

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Gillian Dunkerley Visual Communication

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I have 40 years of experience in the design industry and, of late, teaching. I have always undertaken continuous professional development as I believe that we are never too old to learn. My main objective for the course was to get back in touch with my creativity. I employed photography, mark-making, printmaking and digital techniques to address subjects relating to the blending of the urban and the rural.

This has been finally realised through a number of illustrations inspired by song lyrics that form part of a CD package. In my research strand I looked at plagiarism in graphics, the stimulation of creativity and issues of commercialism and sexualisation through the prism of media induced moral panic. Having always thought of myself in commercial terms as a graphic designer I am indebted to the journey through the MA in re-defining myself as an artist.

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Contact e: kimberley.design@tiscali.co.uk

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Andrew Fellows Product Design

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My work involves research into new and emerging technologies such as motion sensing, stereoscopic 3D, gesture recognition and 3D projection. My studies have allowed me to investigate how these and similar technologies could be used within home and office based environments, and how these technologies could be used to improve living environments or make tasks a much more interactive experience for the end user.

I have designed a 3D CAD visualizer through the investigation and advancement of underlying technologies to produce concept ideas of how these could be used within modern CAD work environments.

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Judith Hammersley Textiles

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Having lived in Wolverhampton all my life, derelict buildings and overgrown urban landscapes are a familiar sight. The graffiti that can often be found in these areas is usually a stark contrast to the natural growth and decay, and it is here that I find my inspiration for working with the juxtaposition of texture and colour.

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I use tufted surfaces to represent shapes and identify areas of interest and have developed a wide range of pieces that can live outdoors or in. Some are designed to grow and decay with the landscape; others can be used as an accent to a space or simply as a decorative piece. The attention to detail in choice of material, scale and composition are what bring my body of work together.

Contact w: jude.hammersley@hotmail.com w: judehammersley.tumblr.com

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Sarah Head Textiles

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A visual representation of an autobiographical reflection of confidence portrayed through the medium of textiles and photography. Focusing on the emotional primary response to self confidence and self discovery. Reflecting personal emotions through abstract imagery. A juxtaposition of self awareness and self exposure.

The underwater portraits are reflected on translucent fabrics and narrative stitched with light absorbing iridescent threads to produce fine transparent reflections of autobiographical thoughts of self. Suspended isolated hidden emotions where stitched narrative is used as a subliminal response to convey the inner voice. Altering perceptions of the concept of confidence as the viewer moves through the images of a body exposed.

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Contact

e: sarah.head@sandwell.ac.uk

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Stephan Hoennekes Graphic Communication

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In my MA Project I planned and created a new pan-European cultural and multimedia-based magazine called Zwist. Because the news market has deeply changed in the last decade (digitalization, decreasing sales figures of printed newspapers), publishers must find new ways to sell their products.

Zwist found a new way: It’s not only a printed magazine, but also an idea, a statement and a social network.

Offline, online and mobile. Every parts of Zwist are connected (e.g. QR-Codes in the printed version).

While newspapers discard employees and the quality of journalism decreases, Zwist has got a high investigative standard. There is just one controversial topic in each issue. Two sides, one pro and one contra. The reader doesn’t get only a superficial knowledge, rather he gets all background information of a specific topic. From subjective to objective: By reading about the two controversial opinions (pro & contra) the reader is able to form his own individual opinion.

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Contact e: info@stephanclemens.net w: www.stephanclemens.net

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Tamara Joseph Textiles

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My creativity is driven by a love for fashion and photography. At the outset of my Masters study this was the path I anticipated I would follow, however, the challenge I set myself expanded to include an exploration of textiles and surface pattern. During the process I was also introduced to glass making and this has become an additional passion, which I have tried in a small way to introduce into my final outcomes. My work is inspired by Hussain Chalyan, reflecting on his ability to instil meaning and context into the fashion statements he presents. As a starting point I used photography to record and explore the decadence and decay of derelict buildings. The results were then interpreted through the use of alchemy, dye and heat to arrive at unconventional textile outcomes. Through experiments with iron filings, lemon juice and potassium permanganate, I was eager to achieve spontaneous imprints or impression on the surface of the fabrics that would evoke a sense of delicate decay. The final outcome is presented as nonstructured garments that evoke an essence of fragility and a ghostly dereliction.

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Contact e: design@tamarajoseph.co.uk w: www.tamarajoseph.co.uk

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Annelise Linneman-Schmidt Ceramics

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The equilibrium of the positive and the negative, the essence of masculinity and femininity are the fundamental factors influencing this collection. Within this work only the masculine exists, the negative space created represents the feminine. The weapons symbolize the phallus, the ‘negative’ space they create are vessel forms representing the vagina. In Nordic mythology, Odin was the God of War. He had the ability to morph, and metamorphosis is a fundamental characteristic of my work. Small changes in the positions of individual elements morph the overall form. To create the ‘Vi’, I have developed the technique of porcelain slip-casting for the multiple forms and the larger forms are slab-built. Odin’s garden, ‘Vi’, pays homage to form, balance and composition. The physical ArchiSculpture reflects Nordic faith and beliefs. And the shapes that are created by shadows add to the ethereal effect in which a story is told.

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Contact e: ahls@hotmail.co.uk

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Mengxuan Liu Ceramics

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As an international student I am curious about places outside my own country. The inspiration for my work originally came from watching gymnasts. I was attracted by the profiles of their legs. The leg started to become not just a part of my body but a bridge between me and the external world. This focus on the body can guide me through many streets, through cities, through countries in order to explore the world.

The stretch and interlace of bodies within space creates abstract forms which I express in ceramics.

During the time I have been studying in the UK I also had the opportunity to take up a student placement in the Ceramics Collection at the V&A Museum which gave me time to explore and research. Here I also observed the influence nature has on my forms and I became interested in the simplicity of the leaf, focusing on the essence of the form. I have attempted to combine these influences within this body of MA work.

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Clive Moore Graphic Communications

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My Masters research is concerned with the instability of visual perception. My work explores the uncertainty of the visual system and how this can be adopted in a pedagogic setting for learning how and why we see what we do. Illusions elicited by colour interactivity are well documented, but what is less understood is why context is so important, and why we see illusions. Exploring this question and relating it to models of pedagogy and learning is central to my research. By highlighting the relativity and interaction of colour, geometry, spatial illusion; and focusing attention on the incongruity of the visual system my work sets out to question our relationship with the world at large. Research outcomes have included the design of a learning pack that engages children in questioning preconceived notions of learned behaviour by enabling them to build and interact with optical illusions. A website/digital interface has also been developed where pupils can experiment with optical art and generative sound manipulation.

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Contact

e: clive@cerebusnet.com

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Sarah Moran Textiles

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My work investigates notions of the Bottom Drawer, what it used to be, what it is now and what it could be, Lessons from the Bottom Drawer looks at why the process is as important as the end product and I look at marking time through constantly growing children and the importance of not wasting this precious commodity. I explore the mundane domesticity of women’s work using honest commonplace textiles.

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Elizabeth Morris Ceramics

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My work is inspired by 18th and 19th century marble sculptures which I studied on a recent placement at the Victoria and Albert Museum. Many of these sculptures have been made in memory of loved ones and it is through examination and drawing that the clothing and material has become the forefront of my investigation. Making traditional forms with feminine references I have used the philosophy ‘simplicity of line’ to capture unusual and exciting ways to express material on forms through throwing multiple components, cutting and altering in a unique way. Each form is made individually reflecting different personalities. Fluid undulating lines expresses the twists and turns each individual has to face; broken lines rough times; complicated lines express complexity of character.

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Gabrielle Rucinski Glass

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The credit crunch and the current anxiety about societies’ finances became the initial stimulation for my work in glass. The inconsistencies of the material glass represent the contradiction and irony implicit in the ideas I want to express about modern society. Looking closely at the very beautiful design of each money note, the style and arrangement represents to me, a culture of privilege. I have used elements of money note design as references to the rich in our society or ‘Those who have’.

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Then there are sections of society in modern Britain and the 1st world, who are or become, ineligible to the benefits which money can provide. My work points to the great divide in our rich society and may provoke thoughts about the relationship between money and the notion of power and control.

Contact e: g.rucinski@btinternet.com

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Andri Sheittani Illustration

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My project explores in depth eight Greek mythological creatures, Minotaur, Cerberus, Hydra, Unicorn, Hippocampus, Chimera, Gryphon and Pegasus. Memories from the past let me decide my theme. Past memories and books from the school trigger me to this theme. Through this project I desired to give emphasis on the story, plot, symbolism and all the small details of Greek mythological creatures. My aim was to create a book that children’s can explore their dreams and activate their imagination though the visuals. The combination of the different kind of methods, materials and creativity gave different feelings to the visuals of the book. A series of collages and 3D scenes help me built the book with splendidly results, giving contrast, texture and shadows. Each environment is reliant on the research of each creature living and character. The colourfulness photographs of the scenes help me build the book that could be also educational for the children.

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Contact e: andriii_S@hotmail.com

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Ulusal Sozen Interior Design

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Modifying car is an expensive hobby which it is very time consuming process. However the main problem with modifying from a customer’s perspective is that modifying different components of a car generally means involving several different garages. I decided to design a car garage and exhibition center which would combine many different modification canters, eliminating the element of customers having to go shop elsewhere.

I had an idea for the outside to resemble an octopus. The octopus concept inspired from an Exhaust manifold of cars because, similarity of their shape, some modifiers call the exhaust manifolds as an octopus. This design comprises of my own unique and creative ideas. An octopus head and legs are the basic structure of the building. The octopus head is the main focus point of the garage, which is include an Information Desk, Waiting Rooms, Driving Simulators & Cafe-Bar. The legs or tentacles lead to separate 7 different sectionsgarages which specifies in certain modification areas depending on the type of modification. Moreover tower car parking system delivers the customer vehicles with escalator type systems which this system is used for circulation of the vehicles from one garage to another.

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Rhys Thomas Product Design

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Trained as an Industrial Designer I have spent the last two years working in furniture design. Using the skills I have gained through my degree and work experience I have been able to apply them to my MA project. Through my work experience I have been fortunate to work closely to those with mental impairments and have taken great interest in ASD (Autistic Spectrum Disorder). Improving environments in which those with ASD live can have huge benefits for the individual and also those that care for them.

Through my MA work I set about designing an interior space, specifically for those with ASD. The bedroom is seen as an area of retreat for those with ASD and is an area where they may spend prolonged periods of time. By attending seminars on design for autism and also by speaking to those who work closely to those with ASD, I was able to apply my skills and develop a range of bedroom furniture that would meet the needs of those with ASD.

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Contact e: rhysid@hotmail.co.uk w: www.rhys-id.com (under construction)

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Sidney Turner Ceramics

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My work is about time and our experience of it; the apparent Stasis of the Form, the decay of that form and its minerals and the rebirth of that form within the fire when molten, as in a volcanic eruption.

Clay is responsive and it reacts to touch with appropriate resistance, flowing under the passion of the hand, as a woman. On larger torso pieces the surface topographically is alive, the textures heightened by glass I introduce in a powdered granular form. Rare metals crawl to the surface from the hidden depths released by the powdered acids of the molten glass. I extract the valuable from the debris of scrap electronics, computers and industrial waste and using the alchemy of fire let it burst forth anew.

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Hua Wan Glass

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I grew up in a seaside city and my work is inspired by everything related to the sea. The impressive surging, billowing waves that characterise the sea in St Ives, Cornwall have inspired my work whilst I have been in the UK. The powerful images are so dynamic that they stay with me constantly and I feel I must represent them in my work.

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For me glass expresses the shapes and qualities of the waves as they pour through the air. Glass bubbles imitate the sprays on the top of waves and the colourful crisps glass and glass powder within the glass, represents organisms that live in the sea. The rough surface of the glass can be seen as representing the beaches. I want people to look at my work and be transported to the seaside.

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Kayleigh Young Glass

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I enjoy making glass that is fun or quirky and if it isn’t fun to make then there is no point in making it! I am primarily a blown glass artist but I also cast a number of larger pieces. My current work is based around using glass with found objects to create something new and unexpected; I want to draw the viewer in to look closely at how the glass interacts with an everyday object.

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MA Design for Advertising The MA Design for Advertising Course is a unique blend of Marketing, Branding, Design and Advertising. It attracts students from a wide range of disciplines and from all over the world, giving it a strong international flavour. The current cohort comes from as far afield as China, India, Saudi Arabia, Malaysia, Greece and Germany, as well as the UK. The course gives students the opportunity to develop their creative design abilities but also equips them with marketing and branding skills and knowledge essential for a career in the competitive market place that is International Advertising.

The final submission for these graduates forms two parts: a dissertation that demonstrates their academic competence and knowledge of the subject and a practical project that illustrates their design credentials.

I would like to take this opportunity to wish all of the graduates every success for their future careers in the Creative Industries.

Lester Meachem MA Design for Advertising Course Leader.

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Muneer Hamed Design for Advertising

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During my study year, I came across an excellent module titled: Advertising and Promotion for the Web. Although I work in the advertising field back home, I was not yet aware of what advertising is and how it can be used specially in the internet. Therefore, this module was a starting point for my journey to learn more about Advertising for the Web especially social sites. After finishing this module, I became more interested in advertising through social media and I chose advertising for the web as the area of my MSc project. I enjoyed working on my MSc project because the topic was very interesting to me.

My project is about developing a website Saudi Arabia which aim to encourage people to visit Saudi Arabia as tourists and discover how surprising it is.

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Contact e: moneer97@gmail.com

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Kathryn Pitts Design for Advertising

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My work explores attitudes held by society with regards to mental health. I have set up a campaign to encourage a sense of appreciation and community around depression specifically, from which I intend to reach my audience through a variety of forms of advertising and communication.

Contact e: kpittsy@gmail.com

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MA Fine Art The graduating artists that comprise The University of Wolverhampton MA Fine Art program hail from around the country and the globe and represent markedly different backgrounds, attitudes and artistic practices. These disparate practices reflect upon one another in both an intimate and intense atmosphere producing sustained critical dialogue, a process, which has been supported by The MA Fine Art program’s interdisciplinary nature and the University’s extensive technical resources.

I would like to take this opportunity to extend my sincere thanks to; Professor Dew Harrison, Professor John Roberts, Ben Carpenter, Maggie Ayliffe, Su Fahy, Don Adamson, Sharon Raybould and Jo Mills, alongside the rest of the MA Fine Art and Photography staff team, technicians and student support, for the work they have undertaken to make sure that this cohort of students have enjoyed an exciting and challenging experience throughout the MA Fine Art course in either a full-time or part-time capacity.

The current cohort of MA Fine Art students graduating this year bring together the diverse and multi-disciplinary nature of the art world in its many different forms, from painting to video, sculpture to relational practices, photography to installation; a broad spectrum of art practice is represented within this exhibition.

Finally, I would like to wish all the graduating students every success with their future development as artists and hope one and all will prosper in their chosen field.

In these troubling times of economic uncertainty, these students find themselves in a challenging position. Some have already made decisions to continue their study with further research, others have employment beckoning, yet it has to be said that the energy and vitality of this group and their drive to further their careers will no doubt lead them all on to diverse and exhilarating opportunities.

Congratulations to you all.

Dr. Alistair Payne MA Fine Art Course Leader

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James Bettaney Fine Art

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Contact e: mrbettaney@hotmail.com

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Deborah Bryant Fine Art

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Like a piece of fabric, a written or spoken story may be spun, woven, knitted, quilted, sewn, or pieced together. We talk about the ‘fabric’ of society when characterising our collective ideas. Our thoughts and emotions can ‘unravel’, ‘tangle’, or ‘fray’.

Harrison and Young (2008, p.12)

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A renewed engagement with the cathartic side of the practice has resulted in a reconsideration of the relationship with the viewer. A possibility to manipulate the viewer by directing them within the confines of an installation and the use of wool as a medium furthermore enables the viewer to question the work.

Feminine or Feminist?

Contact

e: debbybryant@hotmail.com

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George Clark-Roden Fine Art

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Adopting a phenomenological approach, Georgie Clark-Rodens creative focus is concerned with the construction and development of responsive environments in the form of interactive sound installation.

Structurally, this latest work consists of a multiplicity of suspended nylon rods, each with a capacity to deliver a sonic response on contact, mirroring relationships formed between body and sculptural object.

Sensory awareness and potentiality concerning interactivity is further enhanced via film projection into the object transforming flat surface video into three dimensional spatial form.

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Interests include conscious and unconscious experience and phenomena beyond human bandwidth.

Contact e: www.georgieclarkroden.com w: info@georgieclarkroden.com

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Christophe Dillinger Fine Art

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Christophe Dillinger’s work is varied, ranging from sound installation to sculpture and photography.

This enables him to chose whatever practice he feels is the best adapted to the problems and concepts he decides to deal with. The bulk of his artistic research is about the redundancy of information, the way it ages and crumbles and the way it gradually becomes useless and scelrosed. He queries the world of words and images, trying to capture what is not said, modelled or photographed.

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Contact e: info@cdillinger.co.uk w: www.cdillinger.co.uk

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Matthew Evans Fine Art

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Interrogate the image/object Decipher the codes Although seemingly naive and frivolous they demand closer attention

Contact e: bears10@hotmail.co.uk w: www.10bearsart.co.uk

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Simon Francis Fine Art

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Normally a painter, for my MA I have been using the media of photo-imagery and film. My final photoimagery work comprises three grid arrangements of individual transformations of interior spaces whilst leaving a trace of the original image. Objects become all but unidentifiable allowing a viewer to engage with a surface and illusion of space in a new and unusual way. One grid arrangement uses paintings of Vermeer interiors, another uses Thomas Struth’s photographs of museums and churches and the third uses the artist’s own domestic space. My film work centres on the exterior and is mainly about our relationship with landscape spaces, especially their immersive quality. I have made abstract interventions, duplications and subtle distortions in order to communicate what that relationship may be saying about us.

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Contact e: smfrancis@mac.com w: www.simonfrancis.info

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Sahdia Kauser Fine Art

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My interests are looking at how the human mind can use their imagination to represent and interoperate any narrative, this ability to form mental images, sensations and concepts, in a moment when their are no perceived through sights hearing or other senses really fascinate me, also i am interested in the juxtaposition between reality and fantasy. My practice is focusing on the theme of Dantes inferno representing the narrative of the 14th century poem of the Divine Comedy tells the journey of Dante through the sequences of events. Manipulating and reconstructing the everyday, to signify personal and universal experiences.

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Sarita Maharjan Fine Art

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In my works I am trying to seek the aesthetic pleasure that underlies in the beauty of an artwork. I am exploring with the repetitive textures, forms and layers in different material with different techniques. I want to create something that appeals a viewer and make them feel its essence rather than the concept behind it. I love to give more emphasis to the practice of making artwork which would speak out for themselves. In this case, I have used bright colours onto the blocks of wood which try to adapt onto its surface and tries to bring out the best of its bounded peripheral.

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Sanjeep Maharjan Fine Art

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Learning more about the tendency of growth in nature and following the Fibonacci sequence has made me realise that repetition is the key factor for formation of each and every simple and complex natural shapes. More interestingly, I believe that when this mathematical sequence occurs, it creates a space between the accuracy and the approximate. This precise space is the state that enhances the organic aesthetics in any formations. For my current works I am simply chasing the elegance of this approximate by repeating basic units (shapes and lines) in both strict and carefree manner. I just accumulate units made up of different materials using relative techniques, and the rest is done by the units themselves.

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Contact e: mj_sanhritt@hotmail.com

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John O’Hanlon Fine Art

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Johnny O’Hanlon has worked as a freelance artist since 2001 alongside running his company HamFisted!

HamFisted! is an experimental arts company that aims to put smiles on people’s faces.

Kaizen- Continuous Improvement Taking inspiration from the theories of both relational and dialogical aesthetics, this installation is a continuing experiment in these fields. Working on some levels as a secular confessional, this calm and gentle experience considers memories and is constructed from entirely discarded and found materials.

It’s all up hill from hereMotivated by children’s games and mechanical contraptions this is an interactive artwork based on cause and effect.

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Contact

e: johnny@hamfisted.org.uk w: www.hamfisted.org.uk

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Marinos Thoma Fine Art

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Since 1974 war and the invasion of Turkish in Cyprus, the island has been divided into two different nations, Turkish North and Greek South Cyprus and conquered by many foreign rulers.

In human terms, the worst consequence of the Turkish invasion in Cyprus in the summer of 1974 is the tragic humanitarian problem of the missing persons and their families. Furthermore, over 2000 prisoners of war were illegally taken to Turkey and detained in Turkish prisons. Some of them were not released and are still missing. Hundreds of other Greek Cypriots, both soldiers and civilians (including old people, women and children) disappeared in the areas under Turkish occupation and are still missing.

Also more than 25,000 thousand of Cypriots were forced to leave their properties after the second invasion of Turkish in Cyprus, leaving back their belongings and being separated from their families.

Today, Mr Melios Chrysostomou and Mrs Marina Chrysostomou shared their own story with us, helping to present evidence into this exhibition. Also in this gallery exhibition, the artist presents a mixed media of photographs, films and found objects of the remainings.

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John Thomas Fine Art

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My work is reminiscent of half-lit natural history displays of taxidermy preserved specimens contained within vitrines, with mounted texts of further information pertaining to their habitat, habits, age, binomial nomenclature and geographical locations. There is a sense that you have walked in on a body of work and research (a gathering of information) that manages to amuse without being patronising, a feeling that this is a celebration of the amateur passion - a genuine interest leading to an informed grounded knowledge.

Where books can tell us the facts, an observer can bring them to life.

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Josie Wallbank Fine Art

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My practice is looking at the craft of weaving. Is craft just a synonym for art? Or is art just another word for craft? Perhaps craft and art are the same – I perceive them to be the same. My current practice involves using the medium of wool, which has been used before. Some wool was acquired through friend’s woollen clothing; some were purchased on the high street primarily charity shops. My work looks at the different aspects weaving can presented, for instance, through the usage of a loom or many other various ways. My main aim is to bring the old tradition of weaving and produce a diverse kind of fine art.

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Contact e: j.wallbank@wlv.ac.uk

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Cassandra Woodland Fine Art

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Humans and all their constructs are interdependent and ephemeral by nature. With this piece of work Cass Woodland is examining this relative ephemerism by means of multiple exposure. The multiple exposures combine the several ephemeral entities into one frame. Each entity’s position in time and space is captured at the moment of exposure and represents the fleeting passage of humans against the more durable edifice. The people and the building are co-dependent, without people to construct and then care for the building, it would decay; in return people receive shelter and a place to evolve and thrive protected by it.

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Contact e: imagesbycass@goooglemail.com w: www.imagesbycass.com

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PhD

PhD Research CADRE (Centre for Art, Design, Research and Experimentation) at the School of Art & Design currently has 19 students undertaking doctoral research, both part-time and full-time, and all at different stages of their study. Their projects are highly creative, innovative and diverse, some theory-based, some practice-led, but all challenging in their unique approaches to the contribution of new knowledge across art, craft and design.

This exhibition has an array of work from a number of the practice-led research students, those who have outcomes ready to show and are not concentrating on either the preparation of their Confirmation of Research, or on the writing-up of their final thesis.

Prof Dew Harrison Associate Dean Research and Postgraduate Studies Director of CADRE

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Nsikak Bassey

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CADRE PhD Student

Adaptable/Intelligent Agents in Serious-, Learning- and Computer- Games.

Enhancing existing architecture to improve believability in resource bound domains.

Carina Brand CADRE PhD Student

The Artist, the Tourist and the Tourist-artist: Cultural Producers and Consumers.

Sarah Browne CADRE PhD Student

A social, historical and musical analysis of Oklahoma, West Side Story and Hair.

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CADRE PhD Student

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My paintings connect with the social spaces that we inhabit. I am involved with the spatial possibilities of painting and the infinite ways that space can be altered upon the surface. Painting can find ways to offer a universal, nonhierarchical and democratic language that falls outside of social, cultural and linguistic barriers and this is the point that my painting reaches toward. Painting can move beyond our familiar thinking and spoken language into something newly forming. I attempt to find the rupture of major influences by infecting it with impurity through the abstracting process. Through impurity, change can germinate and lead the way toward a new becoming. Through an engagement with a set of marks or abstract form I am making a journey toward a relationship with a visual sign, where it becomes known, acceptable, even familiar; and this has come about from a point of alienation, unfamiliarity and avoidance.

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Caroline Cleary

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Carol Cooper

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CADRE PhD Student

The development of architecture in the Black Country in the 20th century for art, design and visual media use; using the context of contemporary influences to analyse success or failure of a variety of projects completed during this era.

CADRE PhD Student

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Bringing Expression to Performance with Digital Musical Instruments

CADRE PhD Student Determining the Indeterminate: a composition portfolio

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Christopher Foster

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Mathew Dalgleish

Robert Grose

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My practice explores situations and narratives as artistic forms. This photograph documents a work I made with artist, Chris Poolman. We spent several hours kicking a football into a tree until it got stuck. We signed the ball because ‘proper’ artists like to sign things and we are ‘proper’ artists. Chris then placed advertisements in a local shop window offering to pay somebody to retrieve it. There were no serious takers, but weeks later we found the now muddy ball nearby. It had lots of other signatures on it and cryptic messages written in marker pen. This completed the artwork.

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CADRE PhD Student

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Simon Harris CADRE PhD Student

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The paintings presented in this exhibition form an integral part of my PhD research. Pictorial structure is at play within the interior of the surface, whilst the illusionistic chromatic tensions on the surface are heightened through the objecthood of the paintings.

The constructed realities within the paintings provide an examination of sensation, decadence and figurality questioning the limitations of conventional formalisms.

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The pigment and binder are layered at a diaphanous thickness in a labour intensive process that challenges the authorial brush of the artist. As the viewer encounters these objects they can discover their own painterly moment.

Contact

e: sijharris@hotmail.com

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Antje Hildebrandt

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CADRE PhD Student

The reading of a Performance - Language, text and spectatorship in European contemporary performance

Fiona Jardine CADRE PhD Student

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The artefactual nature of signature, the readymade as a mode of recognition and the possibilities for active aesthetics and ad hoc artistic practice

Marcus Leadley

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CADRE PhD Student

The Language of Aural Space: Exploring the Relationship between Environmental Sound, Perception and Language.

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Xin Li CADRE PhD Student

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An investigation into glass as a recyclable material both in terms of its manufacturing systems and material properties from the specific perspective of a designer and maker in the material.

Lorna Moore

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CADRE PhD Student

The impact of the phenomenology of the digital ‘other’ on lived experience.

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Everlyn Nyangiro CADRE PhD Student

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My work involves the use of food to produce artworks. I’m interested in the physical characteristics of food, its ability to provoke emotions and to convey meanings. The physical characteristics of food enable it to be explored by all the five senses thereby defying the prevailing preference for the visual sense. In my work taste, smell, touch and audition are equally important elements of the work. I’m also interested in exploring emotions provoked by the physical status, the representation chosen and the associations we make of different types of foods.

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Contact e: enyangiro@hotmail.com

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Richard Poynton CADRE PhD Student

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Corporeal docility and sociological scarring: the Intermedial performance work of Jasmin Vardimon Company.

Nicola Schellander

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CADRE PhD Student

An investigation into the part played by the particular nature of hot glass in the creative development of glass production technologies and their resulting products

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Benedict Seymour

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CADRE PhD Student

The Time/Money Image: Fictitious Capital, Film, and Social (Non)Reproduction

Katarzyna Warpas CADRE PhD Student

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Designing Dream Spaces: exploring digitally enhanced play for children’s engagement with objects in the conventional museum context.

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AA2A

Artists Access to Art Colleges (AA2A) The AA2A project is a national scheme, providing visual artists and designer makers with the opportunity to undertake a period of research or realise a project, using workshop and supporting facilities in art and design departments of Higher and Further Education institutions. This gives participating artists and makers the opportunity to use equipment which otherwise might not be available to them, as well as benefiting the institution by bringing in ideas and techniques which may not otherwise enter the university environment.

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Holly/ leaf and berry

The Hunt/ Triple Goddess

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Jo Naden ‘Artists Access to Arts’ Artist

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A Year and A Day

five forms evoke the elemental story of Sir Gawain and the Green knight.

Introduction Simon Armitage’s translation of the poem, as presented by him on BBC television, where he described the alliterative form as: - the warp and weft and believed the sense of the poem to be directly located in its sound, inspired me to begin my own journey through the fabric of the poem with the intention of developing a story in medallic form.

The fourteenth century poem has never been attributed to the authorship of anyone person, however recent research locates the linguistic diction to the Staffordshire/ Cheshire /Derbyshire borders and aspects of the topography have been identified within lines of the poem. The three counties borders is a location that is part of my own childhood heritage, and visits to Three Shires Head, as we called it, are well remembered. Speech forms within Simon Armitages’s translation are recognisable in voices of Derbyshire families where the recollections of life stories lives strongly at the heart of social gatherings.

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Story It is Christmas time in Arthurian Britain. When the story unfolds the Knights of the Round Table are enjoying seasonal festivities. Suddenly the merrymaking is halted by the appearance of a knight. His huge stature commands the space; however his presence is all the more extraordinary by virtue of the fact that everything about him is green- skin, hair, clothes, even his horse is green. In one hand he hold a sprig of holly and in the other a green axe. He proposes an absurd challenge taken up by Sir Gawain. The challenge spans a whole year and passes through the inner reflective world of Winter, journeying through wild places, experiences of romantic encounter are juxtaposed with the hunt; both worldly and mythical and reaching climax within the ravenous location of the Green Chapel.

The poem is strangely relevant today as we continue our evaluation and understanding of the natural world and our effect upon it. It is a story on many levels where the world within could be said to manifest in the outer world; it draws on huge territories; myth and folklore bound within cyclical time.

The Medallic Forms The generally two-sided medal with its obverse and reverse orientations lends itself to interpretation of the contrasts and polarities experienced within the poem Sir Gawain and the Green Knight.

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While the poem is divided into four Fitts, I have defined it within five medals, with the subject of the additional division being the holly. My own journey through the poem leads me to believe that within the context of the medieval world the holly tree underpins the understanding of the whole poem.

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ADDA FAPhD

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Other MA Art and Design graduates Niki Constantinou Graphic Communication Eleni Nicolaou Graphic communication Yue Zhou Graphic communication

MA Design for Advertising graduates Sumaiya Chachia

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AA2A

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MAC793

PublicView Sunday 25 September to Sunday 9 October 2011

at New Street, West Bromwich, West Midlands, B70 7PG.

The School of Art and Design University of Wolverhampton MK Building, City Campus North Molineux Street Wolverhampton WV1 1DT Tel: 01902 322058 Email: art-design@wlv.ac.uk Website: www.wlv.ac.uk/artanddesign