The main focus of my project was the exploration into womanhood and what makes a woman. The main aim with my piece was to leave the viewer to their own interpretation, because what makes a woman is the individual themselves.

I’ve played with gender binding colours and stereotypically female symbols to almost smash expectations and completely leave the ever confusing question of gender and female identity to the imagination. 

This final piece explores the paradox in feminism and how there is no such thing as one singular feminism that exists because each woman has their own individual take on it based on their experiences. Each woman in this piece is dressed in either more masculine/feminine colours or more/less covered up. All four of them consider themselves as feminists, however what is liberating for one of them may not be liberating for the other, this is why they each represent their own feminism because multiple feminisms exist. However because there is this myth that there is only one type of feminism that you can prescribe to they all believe that the other has a degree of internalised misogyny. Whether it’s because one is perceived as rejecting their femininity because of the colours they are wearing and covering their bodies or because they are embracing it by what can be perceived as conforming to feminine beauty ideals and the male gaze.

I mixed old forms of editing (painting) with modern tools of editing (facetune) to create a new ‘generic sameness’ in the faces in my painting, like how most influencers and celebrities are starting to look the same due to trends in editing and how most portraits painted within a century look the same.

'You’re Losing Control Aren’t You?'

Mixed Media on Suspended Cardboard

43” x 60”

@hannaharcherart / hanarcher02.wixsite.com/website

This large mixed media piece shows my relationship (and maybe yours) with losing control, in both a literal and metaphorical sense. Each piece is attached by yarn and the whole piece is suspended from pins in the wall with fishing wire. The two bigger central pieces and the smaller piece hanging from the canvas frame are an interpretation of three songs with which I have strong associations, I no longer have control over how I emotionally connect with these songs. The smaller surrounding pieces convey how I feel when losing control or when I am scrambling to get it back. What about you? Are you in control? Do you even know anymore?

@andreea.asa.nache

Space, place and memory are the main focus within my project. Understanding the city I grew up in by experiencing it as an adult rather than a child helped me achieve my goal: to become content with my life in the present instead of dwelling on the past. I learnt numerous processes and skills in the past nine weeks, such as researching and experimenting with gelatin and its properties, improving my sculptural skills in a more construction-oriented manner, and learning how to minimise the waste my practice produces.

Inspired by communist blocks of flats, my final sculptures explore the boundaries between humanity (that the gelatin is symbolic of) and the intimidating appearance of the concrete buildings that dominate the city and remind me of where I grew up, which I used construction materials to imitate. My project celebrates the combination of innocence and maturity through making processes and understanding materials, concepts and morality.

'What’s your displeasure?'

'Nest II and Pencil drawing'

10x10cm

@pigsandpaint

During this project I have been primarily studying light. I’ve been working to personify and create creatures that represent light, and have used a fairly scientific approach to ‘discover’ how these creatures behave and whether they are malevolent or benevolent. I positioned myself as an explorer, gathering evidence such as the shadows left behind when my light creatures moved around. I have also spent some time studying and building nests, and theorising whether our homes are more than just a place we inhabit or whether they are, in fact, an extension of ourselves. For example, this womb-like nest reflects the creature that inhabits it - subtle yet striking, a thing of juxtaposition.

I chose to look at light largely due to the pandemic - having spent so much time in my room I began to really notice the slow background movement of light that I normally would never have seen. I wanted to bring this subtle beauty to the foreground - we all know light can be pretty, but how often do any of us really sit down and look at it?

@freyart_

The relationship between nature and humanity is often a hostile one. It is a battle between preservation of the natural world and the current state of human existence. Human destruction has taken control over Mother Earth and has impacted it to the point of near extinction.

My project goes on a journey from the creation of the Earth in its organic state, to the Anthropocene era, when humans have had a devastating impact on the environment, and then finally to a future era of regeneration - a time of new life emerging from the wreckage. This is represented through my three sculptural globes. The moorland that the globes have been situated in has been denuded of vegetation due to industrialisation. Its barren state is striking and desolating juxtaposed to the vivid, boldness of the globes. My sculptures divert our attention and obstruct our view of the encompassing natural world, representing the creation, destruction and revival of our planet.

'4 Weeks'

Mix Media Performance piece

L 4.35m x W 1.51m (per piece)

00:03:04

@emma_artanddesign

‘Limitations’ has explored different ways I can strain myself and my practice, focusing on time, space and personal limits. Creating a number of pieces in various amounts of times. For this specific piece took four weeks to produce, starting in a lockdown and ending out of one, but documenting the whole process. This piece was a turning point in my project as I started to find time, space and personal limits more intriguing because the potential experimentation was endless. From extending my fingers to collaging areas with recycled materials found around the studio, I have been able to test my limits through time and space. Now displaying the stages of my art, you can capture the different times of day I worked on the piece through the numerous shades of white and cream. Alongside these large pieces the performance of each stage is played. Edited to black and white, and layered with different speeds and clips capturing the chaos which I call art.

cc296813.wixsite.com/website

For my final project I wanted to take the opportunity to explore myself further in my art, and how it forms around me mentally and physically. With this desire I decided for the final project I would be investigating my thoughts, emotions and anxieties throughout the weeks of the project, to almost track how factors like lockdown, coming to the end of a year in art and isolation has affected my own mind. In taking fro this I used various methods and processes to track my ideas and progress effectively, using diary entries, mixed media and influence from various other figure and expressionist artists.

Through the project I explored my physical self through the use of portraiture and figure drawing, as well as drawing my body and facial features completely dependent on my emotional state. In my emotions I collected them in various ways, though written way, quick expensive drawings and larger more sustained pieces. Overall the project is an amalgamation of my own SELF. My self shows itself in many different ideas and ways, allowing all ideas of confusion, happiness, relief and anxiety to exist in one space and moment.

'Does it make you feel uncomfortable treading all over me'

100% Acrylic yarn on stretched hessian

110x60cm

@badcarpetburn

How does it make you feel when you walk into the room and your first step will be on this rug in front of the door? Do you feel uncomfortable treading on it with your dirty shoes? Or maybe you think it’s fine because you don’t think your shoes are dirty anyway? Maybe you want to tread on it and see what it feels like? Maybe you feel like there is a pressure in the room to tread on it? Or maybe you don’t want to tread on it because you don’t want to bother it?

Inspired by oriental rugs and the designer Faig Ahmed, I investigated storytelling through rug making. I wondered how I could tell a current story, relevant to myself, in the style of a Persian rug. I thought - in 200 years, will we have any evidence of stories on textiles from the 21st century for people to see and admire in the future?

'Sourced from nature'

Microscope images

@lilsstudio

The connection between me and my practice has always been strong but the idea of someone else creating my medium has always left a gap in the relationship. The concept of creating my own medium sourced from my own childhood garden filled this gap. The initial concept of this project was to focus on motion and textures I was able to create with my media, I soon realised that I wanted my textures to be more unique to me as an artist so creating my own medium felt right. Using nothing but pigment, water and cornflour I created my own paints.

I also focused on the idea of microscopic photography which allowed me to create ambiguity in my practice. My fascination with forensics photography is what drew me to microscopic photography as I enjoyed the scientific aspect it gave my practice. The images I have captured are allowing my viewer to create their own reality and connection to my work.

@alicedisk

My work is primarily but not limited to investigating transitional spaces, small and large, and the movement which happens within them. I attempt to translate the complexity of both the space and experiences of them by mixing print, sculpture and performance. Materiality plays a central role in this. Allowing materials to decide outcomes and embracing their changeable nature is an inherent part of my practice. I use fluidity within both my ways of working and the physical process to uncover overlooked moments and connections. 

I have been inspired by land art and environmental art in this project, working with ideas of impermanence and ephemerality in my work. I wanted to challenge the idea of building art that lasts forever, instead my work is fully biodegradable, left out in the public to decay. I made the pieces out of handmade paper, embedding wildflower seeds into the paper so that once the work has been destroyed it will continue to grow and give back to the land.

'Angus and Honor'

Oil on canvas

90 x 120cm

My paintings take inspiration from the 15th and 16th century diptych format. I have updated the traditional composition with a contemporary subject matter. The male appears conventionally active, standing and chopping an octopus, and the female lies passively on the chaise lounge. Yet their gazes oppose this, the man’s gaze is non-threatening and subdued. Whilst the glint in the female’s eye makes her seem active, conscious and alive. Her gaze shifts her from object to subject.

'Untitled painting on Bin liner'

My recent project has been based around using destructive and chance based procedures to create intensely process driven works.

One of my main running concepts recently has been producing mechanisms capable of uncontrollably painting or drawing pieces. In this final project, I created a pendulum set up which hung a can, dripping paint through a hole in the bottom onto a number of make shift canvases such as tinfoil, bubble wrap, wood and a bin liner. I did the first run in white paint and after allowing the paint to dry I used some of the “canvases” again for another identical set up, this time using black paint.

The final piece I selected is a suspended bin liner with the fortuitous paint drips showering it.

‘Distortion of the Gaze’

Oil paints and pastels on plexiglass, video and projection

eg296518.wixsite.com/website

Using installation as an interactive medium, I created a space in which the human form, and the viewers gaze towards it, is distorted. The reflection of mirrors and the glare of plexiglass forces the viewer to participate in the work. Unwillingly, the viewer becomes a part of a social reflection, as the way in which they view the figure that is portrayed is fragmented, therefore, they must question themselves. The viewer must question the way they view people, and how they may subconsciously participate in the misogynistic ideals that the male gaze submits. Despite this, the viewer has the choice to determine the way in which they interact with the work. They can become part of the self portrait, as it is painted on a mirror, in looking at the portrait there is an involuntary self reflection. Alternatively, they can move around the installation, in the space between the 3D plexiglass paintings, and the 2D projection onto the wall. This liminal space becomes a heterotopia for reflection and self awareness. Finally, the video that is projected through the installation is a montage representing the fragility and ambiguity of the human form. This contextless video restricts the ability for the viewer to objectify and criticise.

'Drag is for Anyone'

Mixed media photograph, April 2021

@gxllrt

My work for this project has been focused around looking at attitudes toward queer identity, more specifically, challenging negativity around queerness. My personal experiences have contributed to the development of my work as a queer artist and this exploration has led to my own growth as an individual as well as the confidence to pursue my interests and incorporate my values into my practice. The culmination of this work produced my final outcome which attempts to marry the beginnings of my project to the later works to show that there is no definitive answer to what queerness entails-it is as free and limitless as the mind allows.

'Translation'

Oil on Canvas, Plaster

6x4ft

@dg296972

‘Translation’, a piece that resolves my recent body of work, explores the capabilities of the mind when bodily movement is restricted. Here, I focus on portal-like liminal space, between the physical, and the ‘other side’; being the hypersensitive and ethereal way of perceiving the same space.

Overcoming the barrier of the body through sitting still, with nothing but introspective thought processes for a period of five hours, I began to re-perceive the space I was in. Using the mind as a translating portal, I reimagined my surroundings, aware of the detail of the room. I use the motif of semi-abstract hands to reiterate the disjointed connection between the body and the enveloping space, loosely casting my hands, fingers and sheets of tracing paper in plaster. I looked to depict the mind’s transgression across the liminal cavity and into the alternate realm, which the translucence of the paper and the three dimensionality of the imagery reinforces. Through this piece and the wider body of work I want to encourage viewers to be fluid in their perception of their environment and so to reconsider and explore the ways they see a constricted space.

'Exchanges'

Amber Harrison

Collaborative project

amberharrison2000.wixsite.com/my-site-1

'Exchanges' is a participatory, Mail Art-inspired project conducted by Amber Harrison, completed by invitees responding to a creative prompt.

Since the pandemic, artists have adapted new ways of sharing their practise, with many exploring digital platforms, however this isn't complementary to physical work. An alternative response has been a resurgence of Mail Art, inspired primarily by the work of Ray Johnson. 'Exchanges' joins this movement, aiming to maintain and celebrate the materiality, spatiality, interactivity and community of our art practises, against all odds.

The ‘art’ lies in the process of the project, so it’s fitting to present it as a diary of documentation. This process is continuous as there’s no set end point or outcome; as long as invitation packs are available, the project continues to expand and welcome new contributors.

In collaborative projects, authorship becomes fluid and undefined. 'Exchanges' aims to champion inclusivity by granting invitees freedom to write their own accreditation. Whether the work is made by a practising artist, art student or someone with little art experience, this has no dictation on the shows curation. Works are displayed without hierarchy, in attempt to break down elitism and encourage the wider public to engage with art more comfortably. 

@ai.x._897_5_282_20052002

‘Mankind's days are numbered, all their activities will be nothing but wind’ (Sumerian proverb)

This quote became a jumping off point for a new line of enquiry into the future ruins of civilisation and the possible misunderstandings that emerge out of this temporal void. Misunderstandings are good when activating the imagination.

Due to this atemporal moment in history due to the absence created by Covid, it seemed poignant to consider different temporalities. I chose to make an installation where the architecture, sculptures, film and paintings could all be in dialogue and weaved together conceptually, akin to an ecosystem.

Set in one of Leys Farm’s out-sheds which had been partially collapsed by the wind (Leys translates as wind). The remaining structure was being held up by two tall planks of wood that echoed the cross bars of a painting. These crossbar-like pieces of wood framed the stars very well and the sand/rubble covered floor below shared that same sense of infinite scale which is often felt when looking into the cosmos.

The domestic context put my ideas about the real/unreal into relief very well; the domestic space enabled me to create work which at first seemed very familiar but would slowly begin to glitch and dissolve into the very imaginative, psychedelic but ultimately the unreal. Not only should the work travel into a psychedelic space but also project the viewer into the future. The viewer should feel they are discovering the relics of our Anthropocene as it stands right now.

'OURMAN'

@ourman_zine

'OURMAN' is an editorial zine that I have created which aims to give wider representation to gender identity and shows a wider spectrum of such. I wanted to emphasise that an expression of character is so important to an individual and it should not be constrained or construed by society's views of gender. I aim to show a wider audience that there is no one way to be a “man” or a “woman” and that it is not even necessary at all to identify with such if it is not appropriate for you.

In this issue, I show two “sides” to one individuals character as they embody a more masculine energy and a more feminine one. Colour symbolism plays a really big part in this as I aimed to mimic how colour is usually associated with a certain sex. I want to show how unnecessary that concept is, as gender is not just one colour but a whole rainbow.

‘Forever Armadillo’

Acrylic on canvas 100x110cm

‘Dredged Foil’

1.15 minute film and latex sculpture

‘Forever Armadillo’ and ‘Dredged Foil’ are the outcomes of a series of work exploring time, timelessness, and the way we treat the distant past and future as something separate to our present. Both pieces come from the observation of ancient relics and their problematic classification and robbery from pre-colonial cultures as a way to investigate how we no longer see time as a continuation of a natural state.

‘Forever Armadillo’ is exploring a sub theme of female sexuality in this context - in the sense that nudity transcends time (as do armadillo’s). Feel free to put your own meaning to the piece like an archaeologist would an artefact. ‘Dredged Foil’ is documenting time as an illusion and the dredging of our past.

'A Change of Environment'

@charlottelindley_ad

As an Artist, I find myself being heavily inspired by the world around me. This has been no different during the Covid-19 outbreak. In this piece, I forced a dancer into new, unnatural surroundings in contrast to the one she is used to. 

‘Dreaming Triptych’

Mixed media

@likkleart 

My project consists of the exploration of the human psyche and our behaviours. I have explored intuition, unconscious action, human mannerisms and have concluded by carrying out a series of studies based on dreams.

This piece specifically, looks at the arbitrary nature of the human mind and what happens when we fall asleep. The work exhibited consists of an amalgamation of narratives taken from dreams recorded throughout the week. They feature familiar imagery interwoven amongst raw primal marks and gestural brushstrokes, altogether forming the triptych. Hazy fields and meandering lines mirror the blurred memories and wondering accounts we experience.

We spend our lives responding to the world around us, but by documenting and producing art based on these moments, I am inviting you to pay attention to a part of you that would habitually go unnoticed.

‘Invasive Growths’

Photographed body painting/ performance

For this project I pushed boundaries through my exploration into using my body as a canvas. The idea for ‘Invasive Growths’ stemmed from my fascination with black mould. Through my research into the life of mould I grew to understand the damaging nature of mould. I thought it would be interesting to explore the negative behaviours of mould by taking a conceptual approach. By completing a series of experimental drawings and studies of home grown mould, I was able to monitor the characteristics and patterns.

I used printmaking and painting techniques as means to translate this research into art. Taking inspiration from Gina Pane’s ‘Azione Sentimentale’ I began printing onto my skin. This performance deepened my connection to this project by physically making myself become the art - I felt the ‘Invasive Growths’ became part of me. Through the course of the past year many have felt isolated and swallowed by negativity. This project was my way of taking control of the negative ‘invasions’ I have dealt with over the previous year.

'Fallenowa'

Installation

@chloe__maybury

Fallenowa is an alternate realm, instinctively named from distant sounds in a dream. A home to strange creatures and landforms. It is a personal mindscape, a paracosm from when I was a child, a place I see in visions that appear like fragmented memories.

I’m constantly travelling through this ever-evolving space, falling into a misty wonderland, escaping to somewhere only I truly know. Through my art I decide to make it come alive in a physical or visual form, to share this new world, so humans can immerse themselves in it - letting their imaginations dance, experiencing an untouched and wild magic. I hope to inspire others to be unafraid to see past what’s right in front of them, to not be limited by their everyday lives; to not fear the unknown. I believe there are adventures inside all of us: tiny seeds that are ready to bloom in our minds, if we water them with curiosity. 

My film seeks to illustrate the ways in which our minds and actions are confined by an established framework of understanding. I have been considering this framework as socially constructed, lacking any connection to an absolute truth or reality, and to contemplate the ramifications this has on our interpretation of the world, our social interactions and even our sense of identity.

I hoped to highlight the way we are complicit in our subjugation, perpetuating ideals that accumulate and evolve over time, by wrapping ourselves as well as each other and through the progressive nature of binding ourselves into the structure. I also sought to demonstrate the confining nature of these social constructions and the ways in which they are comforting, demonstrated by the use of soft wool, and bring order to the chaos, with the shot becoming increasingly clear. The background, serving as the initial confusion of the shots, depicts a site where nature has been tarmacked, with sprouts of plants resurfacing in an act of resistance.

Through this piece I wanted to confront one of my own socially constructed inhibitions and fears, making myself vulnerable by performing nude as well as using this nudity to present Elfie and myself in our rawest forms. The struggle at the end is meant to exhibit the possibility of releasing our minds, which can only be possible once we have become aware of the restrictions upon them and begin to actively deconstruct these constraints.

Acrylic and mixed media on canvas

1 30x40cm canvas & 1 63x63cm canvas

For my final outcome I have photographed two of my paintings in different natural environments. I have experimented with frenzied, expressive brushstrokes, trying to capture the excitement, movement and spontaneity of our natural world. Our modern lifestyles with technological advancement seem to have created a disconnection from the natural environment, especially during lockdown. So, it is more important than ever for art to help connect people with nature, to reawaken curiosity, appreciation and respect for nature. I essentially wanted to create a sort of outdoor gallery, where someone can experience nature, whilst simultaneously looking at art in a gallery space.

The development of my artistic vision has been influenced by the expressive, spontaneous composition and feel of abstract images. How artists use shape, colour, form and gestural, unblended marks to evoke an emotional response rather than realism in their work. Often, they can appear rough and quickly created, but effectively capture the atmosphere, directly placing their inner impulses onto the canvas. I have discovered art doesn’t need to be overworked or highly polished to show emotion or capture a moment in nature.

My proposal explores the portrayal of life and death through art and how the colours chosen contribute to the emotions and associations of the audience due to the atmosphere set by colour. Coming to the conclusion that death is something we almost know but remains a mystery to the living, and life is all we can know and thus the colours used tend to portray this as a demonstration of life.

I decided to do a self portrait with one side being the parts of my life I’ve lived being in coloured watercolour pencil, colours reflective of my moods and emotions at the time of drawing, the other side represents the parts of my life lived through and yet to live. I have no memories of my life in the future as it hasn’t happened yet, therefore I have no idea the colour to best represent the future due to the absence of life shown by the lack of colour in the work. Meanwhile the lack of colour in the faces and the portrait create a feeling of cold and lack of warmth, hence symbolic of death or misery. The green bubble wrap represents personal growth and nurturing of the self, while the boxes at the side were meant to inspire childhood nostalgia to toys, displaying familiar bright colours.

'Mental health adaptation'

Acrylic, tissue paper, card and markers on canvas.

3x A3 canvases, 3x 6x6 squares

@lucypeel_lau

This is the final piece for my project where I looked at representing mental health through abstraction. I have a big interest in psychology and therefore I chose three disorders to deeply research and translate as a visual representation. This project idea spiralled from the effect of lockdown on people’s mental health. It is so interesting how an abstract version of disorders could be so truly accurate and visually understanding to lots of people. With the help of many people through Instagram, I was able to research what colours were associated with the disorders. It was very informative to discover that people’s colour association to a disorder was extremely similar with very little anomalies.

'Fly on the wall'

I feel as though my final piece nicely sums up my project. I think it is clear by its layout that it is not as simple as I thought I would make it in my proposal. My mind was changed. However, the narrative of subversive humour in life remained. I was surprised with how much I could get out of the idea of a fly trying to be swatted. I like that the piece is multimedia as it created a chaotic sense and its layout reminds me of Jack Kirby's comic books.

'A Western Wabi Sabi'

Oil on Fence Panel

www.youtube.com/playlist

I hope a viewer learns nothing from my exhibit. My intention is not to inform my audience of anything they don’t already know but to stimulate them to reconsider their existing perspectives. Reflective attitudes of this nature have undoubtedly infected us all during the past year and I hope to highlight this particular mentality by drawing attention to the importance of the mundane and everyday.

I feel that this short period in our lives will reveal a time where we have experienced the most similar lifestyles from one another that we ever will. With this in mind, I wanted my project to celebrate the reconceptualisation of our lives brought about by this standstill, with particular criticism of Western and Hellenic ideals that have induced an inability to “take time and smell the roses”.

My research has investigated Japanese and Zen teachings of wabi sabi, encouraging one to reconsider what they inherently see as ‘imperfect’ and instead glorify that aspect or thing in life due to the manner in which it emanates beauty in unconventional ways. Thus my project takes the title of ‘A Western Wabi Sabi’, an adaptation into a contemporary context that in its fundamental translation would advocate a need to “wake up and smell the coffee”, in this imperfect situation. Thanks to lockdown lifestyles, mundane and uninspiring tasks such as drinking coffee or taking a shower, have now acquired new-found significance to our everyday lives.

'Untitled'

Self-portrait series of mixed media  

32x73, 26x70, 45x60, 45x31cm (left to right) 

@shrprtwrk

This compositional series shows the gradual and continual change and movement of the bodies condition to its environment. Each of the four are hand sketched around my own body, being life-sized, to the condition. Each is individual in being orderly and sporadic in its mediums and appearance given to show a gradual growth between life and death in sequential order, starting from full development, to decay, to death, to re-birth.

www.rubymaybe.com

My greater body of work is based around adolescence and femininity. For this course I decided to narrow my focus and hence the exploration of spirituality during teenage years began. I take inspiration from many places, aesthetically I love more traditional oil paintings and the way this medium has been manipulated throughout time. However, most of my inspiration comes from less literal places like punk music and my own mental breakdowns. I want to document these formative years in a less perfect way, showing its duality rather than the rose-tinted view we gain through the passing of time.

'The hallway window view and the neighbour’s window too'

iPad Drawing

@idoublezy.art

My final project titled 'Confinement' discusses the mental and physical disconnect that can be caused due to confinement, and the ways in which we are able to expand our spaces and escape our confined spaces.

‘Topless dancer'

Sculpture, interactive sculpture, clothing, starting point.

@christianswiftart

'Roma Parallel Series'

Church Bell Towers + Water Towers

30*45 CM

Medium: Photography

Material: Plexiglass

maireadtroadecbellb1.myportfolio.com

Each image is made up of two plexiglass plates. The image has been printed using a semi-transparent adhesive with no white background. When two images are paired, a single image is created due to the transparent adhesive. The images become a set. 6 SetsS. 12 Images total.

My project is based in Rome, I focused on documenting Rome and what it's best known for, as well as its parallel, an industrial and hidden wasteland that no one knows of. I wanted to unmask Rome, and desensitise it to the stereotype of being a tourist haven, and reveal certain aspects that are just as interesting about this city - yet they are obscured. I explored Rome and its different potential “categories”, I documented it in digital photography as well as analogue, and used varying materials to print out my work such as plexiglass and aluminium.

“The Purpose is” Detail

620mm x 450mm frame

600mm x 430 mm canvas

Acrylic on canvas

Perspex on frame

Text printed acetate

@milky_images

My project focuses on the life cycles of materials through deconstructing and reimagining abandoned objects. Looking both into the past and future from the present to envision the hidden processes of production and disposal, in order to better consider the social and environmental impacts of our consumption.

My final piece, working with an old shop till, imagines the initial extraction of the materials from the earth, in simultaneity with their eventual decay, return, and rediscovery in an imagined future. It is an attempt to portray the mystified and invisible exploitative labour behind our cheap mass-produced goods, whilst equally highlighting the physical impact our everyday lives have on the earth itself. The deconstruction was a collaborative process, as I wanted to recreate the excitement of discovery for others.

Working sustainably has been central to the project, and almost all of the materials used were previously abandoned; salvaged from the street, skips, or scrap boxes. In working with the disregarded, I hope to draw attention to the value inherent in the worn and used.

'Untitled'

Installation

This piece resolves my recent body of work, exploring the concept of the conscious mind through light. Investigating its materiality and focusing on the reasoning between painting with light and constructing light. ‘Untitled’ encompasses the elegance of the handmade mobiles with the idea of sculptural art and film. By using a video of the mobile, harnessing the sun’s natural light, the presence of consciousness and life is communicated. Therefore, this aspect of the piece is autobiographical, it is telling a story. By presenting it in this dark environment, the projection is juxtaposed with the concept of life after death. The mobile becomes disembodied when projected onto the muslin sheets, mimicking a near-death experience.

This piece fluctuates between two and three-dimensional. The audience is able to walk around the work to view the projection form both sides, which imbues the sheets with a rich sense of immersion, whilst demonstrating further the physical contrast between life and death.