Fine Art Student Work Brochure 2021

FA21 — Roshni Ajmeria, Amber BradleyEvans, Holly Brandrick, Chloe Brown, Martin Cibik, Alice Diamond, Karese Fogoe, Maisie Foreman-Bates, Myria Ftellecha, Amy Goodwin, Emily Grimstead, Tim Hardman, Imogen Hardwick, Chloe Hill, Tammy Hines, Laura Holmes, Alex Ireland, Viraaj Jadav, Beata Jurek, Anya Keith, Pasha Kincaid, Alainya Knipe, Nenah Kumar, Polly Lam, Kristy Lee, Georgia Lindow, Becky Lomas, Aleksandra Majka, Sasha Marinelli, Regina Martins Silva, Laura McElwee, Rayanna McKenzie, Becky Moss, Lara Norman, Emma O'Brien, Emily Perrett, Kiril Prikazcik, Mohamed Azaruddin Rahatwilkar, Megan Rathbone, Roo Rodgers, Mingi Shin, Phoebe Shipman, Evangeline Smith, Ben Snazell, Rowan Taylor, Tarner Taylor, Kaye Thorne, Ash Tibbetts-Pountney, Milla Top, Aimee Turner, Merlin Varkey, Jaspreet Virdee, Tom Whelan, Shauna Whiles, Jessica Wilson, Lily Woodcock

Foreword

04 — 05

Roshni Ajmeria

06 — 07

Amber Bradley-Evans

08 — 09

Holly Brandrick

10 — 11

Chloe Brown

12 — 13

Martin Cibik

14 — 15

Alice Diamond

16 — 17

Karese Fogoe

18 — 19

Maisie Foreman-Bates

20 — 21

Myria Ftellecha

22 — 23

Amy Goodwin

24 — 25

Emily Grimstead

26 — 27

Tim Hardman

28 — 29

Imogen Hardwick

30 — 31

Chloe Hill

32 — 33

Tammy Hines

34 — 35

Laura Holmes

36 — 37

Alex Ireland

38 — 39

Viraaj Jadav

40 — 41

Beata Jurek

42 — 43

Anya Keith

44 — 45

Pasha Kincaid

46 — 47

Alainya Knipe

48 — 49

Nenah Kumar

50 — 51

Polly Lam

52 — 53

Kristy Lee

54 — 55

Georgia Lindow

56 — 57

Becky Lomas

58 — 59

Aleksandra Majka

60 — 61

Sasha Marinelli

62 — 63

Regina Martins Silva

64 — 65

Laura McElwee

66 — 67

Rayanna McKenzie

68 — 69

Becky Moss

70 — 71

Lara Norman

72 — 73

Emma O'Brien

74 — 75

Emily Perrett

76 — 77

Kiril Prikazcik

78 — 79

Mohamed Azaruddin Rahatwilkar

80 — 81

Megan Rathbone

82 — 83

Roo Rodgers

84 — 85

Mingi Shin

86 — 87

Phoebe Shipman

88 — 89

Evangeline Smith

90 — 91

Ben Snazell

92 — 93

Rowan Taylor

94 — 95

Tarner Taylor

96 — 97

Kaye Thorne

98 — 99

Ash Tibbetts-Pountney

100 — 101

Milla Top

102 — 203

Aimee Turner

104 — 105

Merlin Varkey

106 — 107

Jaspreet Virdee

108 — 109

Tom Whelan

110 — 111

Shauna Whiles

112 — 113

Jessica Wilson

114 — 115

Lily Woodcock

116 — 117

Statements & Thank You

118 — 130

05

Foreword

06

This year’s catalogue celebrates the graduation of our 2021 BA Fine Art cohort. The consequences of the global pandemic have had a dramatic impact on this group across the last two years of their study; yet as you will see, this has only sharpened their desire to succeed, and deepened their imaginative engagement across a diverse range of fine art practices.

On behalf of all our academic, technical, administrative and support staff It has been a privilege to have worked tahrough these strange times alongside these students, and it is a pleasure to introduce this publication as a marker of their hard work, dedication and potential for the future.

Congratulations to all our graduates as they face the next steps in their careers with such a confident assertion of creativity and aspiration.

Special thanks are due to everyone who has encouraged and helped to make this achievement possible: our teaching and technical teams, and staff across the faculty and university; the team at Moving for their guidance and expertise in designing this catalogue; to all the colleagues involved in showcasing and the Degree Show which some of our students and alumni were able to be involved in; and to all the members of the public, friends and family for their contributions and support.

Finally, many thanks to our student Catalogue Committee for all their work in bringing this publication to completion – very well done and thank you for this record of a unique and memorable year.

Andy Price Programme Leader: BA Fine Art

07

Roshni Ajmeria

Coping with Covid — Acrylic on Canvas — 42 x 59cm — 2021 Pray for a Better Tomorrow — Acrylic on Canvas — 42 x 59cm — 2021 Light of Hope — Acrylic on Canvas — 42 x 59cm — 2021

09

Amber Bradley-Evans

Baldachin of the Breathing Forest — Mixed Media — 2.5m2 — 2021

11

Holly Brandrick

Rest of the Day — Oil on board — 50 x 50cm — 2021 Dog Days —Oil on board — 50 x 50cm — 2021

13

Chloe Brown

Enter the Light — Oil on Canvas Panel — 28cm x 36cm Even More Boxes — Oil on Canvas Panel — 28cm x 36cm For Our Little Star — Oil on Canvas Panel — 28cm x 36cm Pillow Pile — Oil on Canvas Panel — 28cm x 36cm

15

Martin Cibik

The Realms — Digital Art (Video, 3D VR scene) — 2021

17

Alice Diamond

Ebbing Vitality — Acrylic Paint and Digital Media — 100 x 60cm — 2021

19

Karese Fogoe

Wine It Up — Lino Print, Acrylic Paint, Collage — 42 x 59cm — 2021 Parade — Lino Print, Acrylic Paint, Gold Leaf — 42 x 59cm — 2021

21

Maisie Foreman-Bates

Thoughts III — Mixed media on canvas — 30 x 40cm — 2021

23

Myria Ftellecha

Gustation — Photogram on c-type paper — 100 x 180cm — 2021 Audition — Photogram on c-type paper — 90 x 170cm — 2021

25

Amy Goodwin

Echoing Space — Photogram on c-type paper — 1198 x 841 mm — 2021

27

Emily Grimstead

Autonomy & Agency — Screen-printed Mini Flipbook — 10 x 10cm — 2021 Cognitive Dissonance — Cyanotype — 100 x 54cm — 2021 Mechanism of Self-Depiction — Deconstructed component-part of a Hosiery Machine — 11 x 10 x 7cm — 2021

29

Timothy Hardman

24PA — Mixed Media (Photographic Prints, Negatives, Misc Material) — 32 x 26 x 15cm (x6) — 2021

31

Imogen Hardwick

White Study — Yarn & repurposed material — 120 x 100cm — 2021 All By Hand — Yarn, wood & repurposed clothes — 400 x 240cm — 2021

33

Chloe Hill

Charles Street Through Rutland Street — Mixed Media on Paper — 179cm x 143cm — 2021 Fleet Street, Wharf Street South, Crafton — Mixed Media on Paper — 400 x 240cm — 2021

35

Tammy Hines

Floor 1 — Audio Piece — 2021

37

Laura Holmes

Physical Time— Painting Installation — 2021

39

Alex Ireland

We’ll Do This Your Way — Broadcast Monitors, Lūpa Players, Speakers, Rug, Plants, Lamps, Books — 1.5m x 1.5m — 2021

41

Viraaj Jadav

Untitled — Digital document — Variable Size — 2021

43

Beata Jurek

Trinity — Digital sculpture — Variable Size — 2021

45

Anya Keith

Odysseus’s Lost Mermaid — Mixed media — Variable Size — 2021

47

Pasha Kincaid

Blackboard Dialogues featuring Racism and Other Childhood Memories — Installation — 2021

49

Alainya Knipe

Remanence of Movement and The Artist — Video compilation of The Artist is Painting (In Fabric) — 300cm x 200cm — 2021

51

Nenah Kumar

Kaleidoscopic Escape — Video/Photographic Captures — 300cm x 200cm — 2021

53

Polly Lam

The Cycle — Modelling paste and acrylic on canvas— 50 x 100cm — 2021

55

Kristy Lee

Baby Steps — Plaster, acrylic paint — 20 x 12 x12 (Left foot), 20 x 11x 11 (Right foot) — 2021 Grandma’s Hands (po po ge sau) — Liquid latex, zippers, soft pastel, bedding, box — 33.8 x 24.8 x 10cm — 2021

57

Georgia Lindow

Untitled — Photograph — 200 x 90cm — 2021

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Becky Lomas

Collaborative Crochet and Knit Project — Yarn — 243.84cm cube — 2021

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Aleksandra Majka

Dollhouse 2 — Acrylic Paints On Canvas — 170cm x 170cm Cube — 2021

63

Sasha Marinelli

It’s Definitely Not Softcore — Acrylic Paint, Emoltion Paint, Graphite and Marker Pen — 119 x 170cm — 2021

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Regina Martins Silva

Apanha-o antes que fuja — Acrylic paint on clay — 16 x 24cm — 2021 Mudanças — Acrylic paint on glass — 16 x 24cm — 2021

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Laura McElwee

Hierarchies of Control — Photograph, Silver Gelatine Print — 20.3 x 25.4cm — 2020

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Rayanna McKenzie

Diakonia — Digital video — 08:06' — 2021 Play — Digital video — 07:53' — 2021

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Becky Moss

Contemporary Artefacts — Acrylic paint on broken terracotta, arranged on acrylic stands within a Perspex display case.

— Display case measures 24 x 24 x 24cm — 2021

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Lara Norman

Maybe Not :) — Oil Paint and Marker on Board — Display Case Measures — 175 x 95cm — 2021

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Emma O'Brien

House of Cards — Playing Cards, White Frames and a Green Baize Poker Table — 140 Cards, Varied Sizes — 2021

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Emily Perrett

View Of My Bedroom Door — Natural Oil Paint on Childhood Birthday Card — 26.5 x 19cm Approx — 2021

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Kiril Prikazcik

Distress — Gouache on paper — 40 x 28cm — 2021 C# Phrygian — Gouache on paper — 84 x 59cm — 2021 D Major — Gouache on paper — 84 x 59cm — 2021 C Phrygian — Gouache on paper — 84 x 59cm — 2021

81

Mohamed Azaruddin Rahatwilkar

Believed Truths — Video — 2021

83

Megan Rathbone

Jellyblobs — Acrylic on MDF — 62cm x 122cm x 0.6cm — 2021

85

Roo Rodgers

Seeing Sense — Oil Pastel on Mixed Media — 2.5m — 2021

87

Mingi Shin

Motion/Still, Still/Motion — Projector, Black and White Print — 85 X 60cm — 2021

89

Phoebe Shipman

97% — Mixed Media — 2021

91

Evangeline Smith

Photography — 2021

93

Ben Snazell

Photography — 2021

95

Rowan Taylor

Stills From O'sean O'nion (Shrimp Lake) — Video Piece — 2021

97

Tarner Taylor

Balancing Acts II — steel hollow tins, muslin, tea-stain, acrylic, oil pastel, double-knit wool, wire, and string — 46 x 33 x 23cm — 2021 Headspace — double-knit hand-woven wool nets, string, muslin, acrylic, soluble stitch, oil pastel, tea-stain, rust dye — 152 x 61cm — 2021

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Kaye Thorne

Was it something I Said?— Acrylic on canvas — 60 X 45cm — 2021

101

Ash Tibbetts-Pountney

UV Bodies — Digital Photography — 2400 x 3000px — 2021

103

Milla Top

Klumper som Hviler — Moving Image & Sound — 300x150cm Projection — 2021

105

Aimee Turner

Stick to What You Know — Wooden Sticks, Twine, Wire — 150cm x 250cm x 250cm — 2020

107

Merlin Varkey

Loss of Time through Automatic Drawings — A2 White paper, Acetate and Yarn — 110cm x 56cm — 2021

109

Jaspreet Virdee

Various Works — Digital Photomontage — 42cm x 30cm — 2021

111

Tom Whelan

Obsolescence — Denim — 152 x 99 x 47cm — 2021

113

Shauna Whiles

Riptide — Acrylic Paint, Cotton Fabric, Wax and Varnish on Canvas — 59.4 X 42.0cm — 2021

115

Jessica Wilson

Together Alone — 2021

117

Lily Woodcock

Riptide — Salt-Dough, Foam, Plaster, Chalk, Varnish — 300cm — 2021

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Statements Roshni Ajmeria My work this year has been centred around the pandemic in relation to the COVID-19 outbreak.

The intension of this work was to produce a cohesive narrative surrounding COVID, as it has had an impact on ourselves and everyone around us in some physical, mental, and social form. The aim was to try and evoke some of the emotions that people may have felt during this past year.

I also made some use of religious iconography within “Light bringer”, “Pray for a better tomorrow”, and “Light of hope” which was to represents some of my own coping mechanism, alongside this I had placed several light sources and created an agenda with providing some symbolism which is there to remind people of hope during these dark times and that life will return to normal. To intensify the feeling of hope and charity over the last year I included food. ‘Mask frustration’ give the viewer the frustrations, and confusion that was surrounding the use of masks during early Lockdown.

Amber Bradley-Evans My work focuses on experimenting with phenomenology and feelings of encapsulation derived in lockdown in addition to an environmental concern regarding human’s responsibility surrounding the decline of the planet in the Anthropocene.

The concrete and adverse weather renders the piece temporary, alike to the concrete jungle we inhabit, an environment within an environment presenting a viewing-box of the planet. Projections of nature and found objects act to place the work contextually in terms of how people are responding to the world in lockdown.

The aim of this is to present a biosphere where imitation of a threat is isolated in quarantine.

Feelings derived from Coronavirus manifest within due to the experience of enclosed flourishing growth trapped inside. The space outside the installation operates in an obstructed way, with a tank portraying arid conditions, isolate and destitute.

Holly Brandrick Holly’s practice is centred around reflections on life; those being very personal experiences as well as the more universal. The work is created out of a desire to represent or visually comprehend these experiences, emotions and thoughts; topics including anything from mortality to a childhood memory, the pressures of being a woman, sports competitions etc. The work - as it is seemingly ambiguous in intent - means that every viewer can interpret the relationships of images themselves, allowing infinite stories/understandings to be created - with the viewer as more of a reader.

Chloe Brown My paintings explore a sense of immediacy.

I use photography to capture images of my interior surroundings and everyday moments in my life which I identify with, I then gather them to produce paintings. The image alone does not convey enough about how each moment felt to me so instead I paint, as I can adapt the colours and brush strokes to mirror my personal vision at that time. As a collection, my paintings represent a narrative of my life. Each image individually, is a telling of a moment. Identifying small quirks and analysing them forced me to be increasingly more self-aware, therefore each small element of life became more significant.

There is something compelling about analysing my own interiors and belongings as I work. As a result of doing so, I have learned a lot about myself and the way I function as a person.

Martin Cibik My practice explores the variety of beliefs and perceptions surrounding the nature of reality, as well as the processing of information that synthesize our unique understanding of experience.

I see reality as a fractal system. We create a new, digital dimension, which is ‘inferior’ to our world. There might be a ‘higher’ dimension where our reality could originate from. These realities are parallel and mirror each other.

‘The Realms’ reflects on these perceptions and visualise the potential of art in relation to future techs. Future art will be immersive and interactive.

Encounters will be indistinguishable from what we understand as reality now. This raises the...

question of how would ‘travelling’ between various realities affect the human being. For example; after a temporary state from a kind of ‘cyber psychotic’ episode, one would see him/herself as an ‘individuated unit of consciousness’ rather than a physical organism. Living in a physical body would be only one of the options available This new position would not only let us explore the universe without physical limitation but potentially offer ways to communicate with other universes/realms.

Alice Diamond This work is presented from the eye of one who perceives the land and environment as a priority far above the desire for capital gain and explores the relationship between the environmental landscape and the Anthropocene/Capitalocene.

It seeks to expose the fragmentation of land, showing idealised landscape obscured by incomplete and intrusive compositions of industrial scenes and urbanised edgelands to highlight the distance that we must go to prevent this ecological collapse inflicted upon us by capitalism. It reflects on the isolation of the land being left behind and taken advantage of, as well as showing the beauty of the land as a reflection of its importance and vitality to all life on earth. The immersive audio-visual elements of this piece invite the viewer to realise that they are a participant of this destruction, whether voluntary or involuntary, and aims to create a bond between them and the salvaging of vitality.

Karese Fogoe “Celebrations” is a study of lino print pieces focused on figurative outdoor celebrations such as festivals and carnivals in and outside the UK. I want to express positive fun energy in my work, whilst vividly displaying the collective festivity we were able to enjoy as a community in recent years. My primary aim is to exhibit scenes of performances and blissful congregations. My prints are created to attempt in representing the harmony of people gathering together to vibe.

The work focuses on the subjects’ appreciation, passion and embracement of music, dance and proud performances. I have worked from online images of Pride Festivals and New Orleans Mardi Gras in the United States as well as, Notting

Hill Carnivals in the United Kingdom. After researching the background of certain carnivals and festivals I wanted my work to combine societies from different parts of the world and share their related joy in participating in these exhilarating celebrations of identities and culture.

Maisie Foreman-Bates My body of work is process-based; I'm concerned with creating abstract multimedia textured paintings inspired by nature and emotions. I enjoy the gathering of paint, materials, mixing, and configuration. I find excitement in the creation of my work. It's not just about the established work at the end. It's the journey. My knowledge of materials allowed me to respond to the nature of the chosen medium by learning how each material reacts through my manipulation.

This enables me to work freely with a chance of unpredictability, but in the same breath, I also use control and intent by setting myself rules; the tension between these two aspects drive parts of my work. The subject matter is the process.

Nevertheless, my work unconsciously takes on my surroundings, evolving every day to incorporate elements or objects I have seen; I think this is because nature is constant in our ever-changing lives.

Myria Ftellecha As an artist, I often look for avenues of the unexpected natural sights. An ironic twist to images or their combinations with extraordinary objects within them. In my perspective panoramas allows the eye to bend along with the image in order to show as much detail and tonal range as possible. My photographic arrangements are schematic, encouraging the observer to go into a region of imagination that conveys symmetry.

Nature evokes several senses that were not familiar to me before. The smell of the mud, the wind that blows through the moving leaves, the sound of singing birds, the smooth silence, the reflection of sunlight falling gently onto the trees, and so much more that cannot be described within a few words. Senses influenced the titles of the artworks such as “Vision”, “Audition”, “Olfaction” and “Tactition” as part of a five series photographs entitled “Sensations"...

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The work re-creates familiar visuals and aural signs, organizing them into new thematically layered pieces of concealed landscapes of their plain sight. The images aim to emphasize the contrast of nature’s beauty with the elements around and the work setting of sunlight in order to influence its relationship to the audience.

Amy Goodwin Since the advent of photography, street photography has played a big role in documenting society. We are living through strange, historical times and there is a need to capture the everyday and record how life has been transformed. This series was shot during the pandemic, a period of social upheaval, affecting how one interacts within a space physically, psychologically and legally. Society has a new relationship to time, space and notions of freedom.

As a street photographer and flâneuse, the artist uses the camera to capture opportunistic, candid imagery. The photography records and reflects the views and observations of the flâneuse, allowing viewers to share the perspective of the artist.

Emily Grimstead The work is a faculty of non-spoken discourse, scaffolding the dialectic of infancy and the subsequent function and suspension of child development. The depiction of language acquisition and the accessibility of child perception generates a cognitive dissonance, captured through visual, sound and metaphorical apertures; playfully contrived by the occupancy of space. The congruence that engineers this anthropogenic relationship together challenges the conventionally ‘concretised’ roles of the subject and the object, and invites language as a mode of renewal. French linguist Joseph Vendryes depicts this renewal as a “morphological system” defining a tautological process of appearing, disappearing and “interweaving” which poses as a protagonist within the work, extrapolating traditional expectations of representation; soliciting intentional transgressions of entropy. Adopting writings of Anne Carson, the ephemeral notes of the narrative aim to “undo the creature in us” (Decreation, 2005) and reconfigure an anatomical diaphragm, into a gestalt type of uniformity.

Re-framing ubiquitous traces of language, in spaces that would otherwise be without.

Tim Hardman This is a combination of elements that includes lens, sculpture, land art, performance and assemblage. After the photograph is shot, the

film is developed and the image printed, the negative is placed in the same container as the material. The theme and concept of this is to use these materials to create moments of interaction, observation and experience in time and space that cannot be recreated again. In doing this the different pieces are arguably also a form of selfportrait, as each photograph and related sculpture are the result of my interaction. The individual boxes contain objects, moments and references; all of the pieces present a question as to whether this series constitutes a work of self-portraiture.

All the interactions and collecting of material are my own and therefore suggest that I or a part of me may be contained in the boxes too.

Imogen Hardwick Inspired by the traditional techniques of tapestry making, knitting and weaving, the work strips back art to the process and exhibits the visual labour involved. Working with donated clothes collected from people around my local town, I deconstructed then reconstructed them to create a new abstract form. The approach inspired by Japanese Sashiko and their tradition of merging clothes together resulted in five pieces all incorporating the union of strangers’ clothes. Creating an exhibition that for me, symbolises the fusion of people.

Chloe Hill Chloe is an artist who explores and investigates the city and urban environments using walking and flânerie as medium for this exploration, being inspired by artists in the Surrealism, Situationist International and Fluxus movements, and is the major basis of their work. Through walking she explores the city of Leicester collecting sketches and photographs as well as found objects which go on to inform these large-scale paintings. The aims of her work are to explore aspects of the city such as journey, movement, the banal and the everyday. Materials are a highly important aspect of their work and using them in a way to show the materiality and physicality of the city. This is achieved by using objects collected in the city while walking and repurposing them in a way to incorporate them in her paintings, for example using pieces of brick as a red-orange pigment.

Tammy Hines My practice is often centred on my culture, identity and faith. It is deeply intimate, often portraying my perception of life, highly influenced by research and history. I use many documentary techniques through digital mediums, such as photography, videography and sound. My work is contemplative and aims to provoke thought within the viewer.

'Hotel 23' combines six audio pieces where I feature as the narrator of a script. The hotel is a metaphor of myself, with every floor presenting an element of me. I assist the listener on tour; the higher the level, the more depth and interaction they experience. Hotel 23 explores the theory that mind, body and soul are the makings of a person. All of which are represented through atmospheric spoken-word piece enhanced by music and ambient sounds.

This piece permits access and welcomes people whose interaction with others has been limited by the lockdown caused by COVID-19.

'Hotel 23' creates an enjoyable experience, a getaway and an escape from reality.

Best suited to solitary listening in a dark environment with over-ear headphones for the listener's full attention.

Laura Holmes This is physical time. It exposes you to a structure of thought based on my alternative perception of duration. My work investigates the parallels between the action of painting and the passage of time to create new measurements of duration. Unlike clock time, the units of physical time aren’t infinitely divisible.

I have no interest in conventional time. The time I have created exists beyond its own definition.

All I ask, is that you forget everything you know about time, and become vulnerable to the intense presence of its new physical form.

Alex Ireland I am a multi-disciplinary artist and aspiring curator with a keen interest in Digital and Optical art, the Psychedelia of the 60s, and the feminist critique of art history.

My artwork is autobiographical and explores the lure of escapism and complexities of the mind using photography, installation, and animation to create strange alternate realities that make your eyes vibrate.

My main goal as a curator is to continue to redefine the art history canon and diversify the arts by constructing a more inclusive space for BIPOC, LGBTQIA+, and female-identifying artists to create a community for all, not just the white, male elite.

Viraaj Jadav ‘Untitled’ is the development of a straightforward approach with straightforward materials. From here, a body of work can be created exploring

spatial interventions that adduce facets of liminal space and democratic design, but organised as a mental activity where understanding merges object, location and space. By way of diagrams, instructions and guides they exist in a conceptual space but are open-source and available for anyone to actualize or augment.

Incorporating basic skills in carpentry and joinery, as well as easily sourced materials, tools and fixings, this untitled series encourages a form of materialisation that freely responds to the nuance and unique understanding of the individual.

Beata Jurek Trinity is a series of digital sculptures that explore the themes of interspecies communication, hybrids and artificial evolution. They combine animal looking forms with cables, neon, and angular elements reminiscent of industrial and futuristic structures. The series can be seen as a depiction of the symbiosis between synthetic forms and living matter. Teratology and technology are the core elements that inform my practice via the concepts of metamorphosis, mutation and posthumanism. The presented triptych explores the premise of reaching the next evolutionary steps by using genetic engineering technology and cyberspace. In this imagined future, there is a possibility of humans and animals sharing life experience with each other. One of the concepts relating to that, is the idea of merging natural evolution with technology, resulting in the ‘artificial evolution’. My works draw upon many transhuman and posthuman ideas, like reproduction via technology and questioning human exceptionalism, to disturb and frighten the viewer.

Anya Keith In a shadowed, darkened room, you are entering the curiosity exhibit. The unique feature of this curiosity exhibit is ‘Odysseus’s Lost Mermaid.’

Accompanying the mermaid sitting in the bath, sits a piano. There is a sad reality to both here.

The bath represents the mermaid’s imprisonment on land, she is on display for all to see, this symbolizes the objectification of women.

I do not perceive the piano as an inanimate object, it displays the same feelings as the mermaid. This piano yearns to be played, yet once the invitation is accepted, the player sadly realizes no sound is offered. Two things are in common with the mermaid and piano, both can barely make a sound. Greek tales offer ideas of mermaids enticing sailors to their death. It was said that mermaids who failed to attract the passing survivor, would end their...

life. ‘Odysseus's Lost Mermaid,’ represents the fallen mermaid who failed to deceive Odysseus by her singing. Today, women’s voices are also lost, such as the rejection we may feel from reporting a sexual assault. How are we meant to be heard, when our voices are already lost?

Pasha Kincaid This installation gives intimate insight into racebased experiences in order to puncture barriers of denial and prejudice. It encourages internal and external dialogues about the inhumane treatment of people through the construct of racism.

Featured within the artwork, are sixty wooden blocks engraved with some of my children’s memories of racism and other childhood memories. Audience members are invited to sit and play with the blocks, to build and topple structures whilst contemplating their content.

Alongside these are also seven short videos that explore themes such as privilege, belonging, citizenship, overt and covert racism.

On the blackboard wall I have invited people to discourse questions such as why does racism exist and when will it ever end?

Alainya Knipe Surrounded by the remanence pieces and the voile fabric created surface texture throughout the piece whilst enclosing myself in the centre during the video production, which I then displayed side-by-side. Using various colours of emulsion and luminous paints, this would leave evidence of movement and track my progress across the works. Including voile and netting let the paint seep directly onto my body providing a continuous loop of transference between myself, the artist, and the artwork and as the video concluded, I would be semi-camouflaged within the piece of art. The space positively embraces my neuro sensitivities as I become taken in by this vibrant, messy, and expressionist artwork. I’ve made art because I can, rather than having to excuse what I have done, which is unnecessary, watching the installation would showcase the entirety of my project without the necessity of explanation or reasoning.

Nenah Kumar My work consists of moving repetitive pattern through video, to help those seeking an escape, find comfort from recognition of the pattern created from a kaleidoscope. The tool is used as a method of allurement to escape reality and transport one to a completely new state of mind. I have created my own kaleidoscopes and used them to create hallucinating effects within my videos. The theme of Escapism is

for those suffering with mental health issues such as anxiety/depression. There has been an increase in mental health issues during this past year due to the current pandemic we are all facing and not enough has been done to improve these figures and people may not always feel comfortable speaking up. My work is aimed to take a stressful mind, somewhere more positive as we all need a break once in a while.

Polly Lam This series attempts to depict the power dynamics or social structures within civilians and authorities in 1980-90s China through the iconography of 'bicycle' and the Tiananmen Square incident; Inspired by ‘Forever bicycles’, Ai Weiwei.

Is the seemingly peaceful life a result of the historical movement or a tactic to suppress its people from the next movement? Does history repeat itself?

'Bicycle' represents a way of transport as well as a component of the movement and the 'people' involved. In some generations, they share the same destination, to protest for their ideal world. On the other, it expresses an era where people are going separate ways and no longer share the same destination of their world.

Kristy Lee ‘Grandma’s Hands (po po⁴ge³sau²)’, ‘Baby Steps’ and ‘Stand Up’ are all part of a series titled ‘Her Passage’, in which I convey my journey of grief.

‘Grandma’s Hands’ is the first work of the series exploring the significance grieving had in my journey and delves into the visual images of her in my memories. ‘Baby Steps’ further examines the companionships I had to lean on through my bereavement. Lastly, ‘Stand Up’ conveys the attempted balanced and control I have internally. A relationship I developed with myself to have some order in this chapter of my life.

‘Her Passage’ is sombre and mournful. They create a sense of unease, which in many ways relies on empathic experiences, potentially allowing the audience to imagine the experience of bereavement with me. The works are a blend of intimacy, growth and innocence; a device that begs for interrogation and relatability.

Georgia Lindow By repositioning commonly seen and used objects and images, I use my work to force questions for the viewer about their own lives and experiences.

Most recently this has focused on our interactions with the natural world. Plant life and natural

imagery has long been associated with utopias.

But what about when that greenery is artificial, a poor copy of the original? What if it is irreparably bruised by every interaction? Usually, an artificial version is built to outlast it’s natural counterpart (fake orchids that bloom year round with no need for watering), but in my work the artificial is intentionally made to decompose or disrupt faster, to highlight the tragedy that simply by enjoying something the audience is causing damage.

Becky Lomas My practice focuses on participation by combining craft techniques, such as crochet and knitting with public collaboration. Following the Covid-19 outbreak in 2020, a sense of community and togetherness has never been more imperative.

My work represents the literal and metaphorical connections I make with the general public who have contributed. Literal in the sense that I have generated conversation between the participants and the artist; and metaphorical because of the way I am physically stitching together the work of a community of crocheters/ knitters who may not have met before.

A special thanks to; Catherine Ball, Cathy Lomas, Richard Lomas, Raig Quinn, Luke Lomas, Phoebe Shipman, Shauna Godfrey, Kaye Thorne, Margret Ball, Hillary Hardman, Cally Taylor, Gabrielle Martin, Glenys Falconer, Pauline Barker, Wendy Smalley, Kath McGurl, Sandra and Ray Smith for taking part in the project.

Aleksandra Majka The inspiration for work is today’s world where our privacy is very limited by technological reasons. The artistic vision of this situation is a dollhouse, which symbolizes our flats, houses in which we are exposed to the lack of privacy.

Due to collecting information about us, we experience many different threats, which in the painting are symbolized by fire. The dollhouse is a prison the dolls can’t get out of. Besides that, they are constantly being watched by the small eyes that are in every room and the big eye (”evil eye”) that penetrates all the rooms. The viewer looking at this picture also plays the role of an observer. The motif of the Egyptian right eye of Horus represents the concept of activity and the future in the painting. It aims to tone down the dark situation of the characters a bit, that is, to give hope for a better tomorrow, to counteract the effects of perhaps the ”evil eye”.

Sasha Marinelli My practice explores the connection between abstractions and figuration through a playful mix of drawing and painting. It also explores gender expression/ trans* themes, There is a chaotic sense of raw unhinged intimacy. I find human connection and intimacy to be extremely overwhelming. It is a thing I long for (in a strange metaphorical way). It is something I fear, but also something I crave. The figures you see within my work are lovers, even if there are more than two figures in the work, they are all still lovers. Within the painting it is not clear to the viewer how many figures there are on the first viewing, which may raise the questions such as: “How many lovers does the one figure in the middle actually have?” or “is there actually only one figure within the piece, are the rest of the figures just ideas of possible partners?”

Other questions raised by the piece include: “What’s actually going on within the piece?” and “Are the intimate moments shown within the piece sexual or sensual or are they both things at once!?”

As an autistic person I use visual cues and images to help process the world around me. The figures I draw are inspired by visual medias such as graphic novels and manga books; the poses are inspired by fashion illustration. When I create, I use a variety of materials, in this piece I used several types of paint, markers, oil pastel and other materials to draw. The paint was applied mostly with a thick pallet knife, giving me the freedom to create gestural textures and marks. The work I have created is inspired by expressionist work.

I work at large scales because it gives me more room to be expressive and not be confined by small boxes and boundaries!

Working at large scales give me room to move with and grow with my work.

Regina Martins Silva My practice explores the development and making of figurative paintings that deal with the themes of nostalgia, memory recollection and story-telling. The process of my paintings is born from photographs, drawings or solely from an idea of an event that has happened.

My paintings are essentially stories told by imagery. There is a visible and intentional playfulness and irony involved in the overall language of the pieces...

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The faux-naïf mannerisms involved in my work are fundamental to its expression and a result of the process of recollection that is included in my practice.

The titles given to the paintings are equally as comical and relevant as the paintings themselves and can simultaneously be the literal action shown in the work and an invitation for an alternative interpretation.

The exploration of different and unconventional painting surfaces originated from my interest in the materiality of these supports and the parallelism between the fragility of these materials and the ephemerality of the memories portrayed on them.

Laura Mcelwee My works focuses on the contrasting relationship of the man-altered landscape and nature, as well as the materiality of analogue photography through the film noir aesthetic. As I invite a sense of wonder and appreciation with those familiar mundane places we may disregard in everyday life. Finding the urbanity, solitude, and a sense of presence within the ‘picturesque’ quality of these intermediate spaces.

As they display patterns and forms with the light and shadows within and man-made alterations to the print; with a sense of the narrative and the Gothic being displayed. An occurring motif that comes across my work is that of windows and doors and intruding plants. Almost as though feeling trapped outside and not being allowed in.

Trying to capture the secret nooks and crannies of the everyday. We also question who owns this place or who did, who has been there, who has walked on this piece of land? Awaiting a ghost to appear within the beckoning shadows.

Rayanna Mckenzie 'Diakonia' is an 8 minute & 6-second-long film presenting the artist making dough for Jamaican fried dumplings with shots of a children's mug, plastic bowl, and a bowl of flour. Whilst this occurs, audio excerpts of interviews, focusing on the film's title, play in the background. The discussion was informal and involved the artist and her friends, who are leaders within the Church. Diakonia is a Greek term used in the New Testament of the Bible to refer to ministry.

I created this film to draw attention to the heart of service, a theme heavily spoken about in the Church but often misunderstood — a word used in the world but seldom spoken about in-depth.

The colour-grading and clothing choice add a candid quality to the video. These elements emphasise the interviewee's comments concerning the integration of ministry and lifestyle. Video is used to initiate dialogue between the interviewees and viewers. 'Diakonia' feels therapeutic and relaxing for the viewer.

Becky Moss Each piece is unique in shape due to the tendency of breaking pottery to be unpredictable and difficult to control; suggestive of our inability to control the factors that isolate us in modern society. Acrylic paint is used to render people who appear lost on a plainly painted blue background, situating all the different people in the same area which brings even more attention to the fact that they are separated where they may not usually be.

Critical to the work is our understanding of it as an object rather than just a painting; the result is a piece that resembles an artefact, and therefore establishes the desire for preservation.

The fragility and worn edges encourage the viewer to question the passing of time so that it feels as though we are looking back retrospectively from a distant future.

Lara Norman Lara’s work is continuously informed by moments in her own life. Due to the pandemic, this has evolved into something new as her life has changed under Covid restrictions. She has therefore depicted trivial objects, things that we may see in our day to day life. Her work documents these moments with additions of childlike symbols to represent youth culture. Alternatively, the additions present a significant oddness when combined with the mundane imagery and text as there is an ironic relationship between image and light-hearted colours. Often, she features young people or gives suggestions of adolescence, which illustrates a childish nature, thus reflecting the ‘in-between’ part of life many students are currently in – the transition from teenage years to adult life. The work is displayed in a series in order to create a charming commentary on their lives, simultaneously displaying youthful fun and the struggles they experience when attempting to navigate their place in society.

Emma O'Brien This project came about because I was trying to find ways of adapting to COVID-19 and I was attempting to find materials I could use around the house due to being in lockdown. The cards have a similar meaning to the architectural buildings in terms of that they have history, they both have many stories behind them.

I chose to incorporate the cards with the idea of a poker game and create a poker table using the cards as the hands. The poker table is a way of bringing the whole installation together as a lot of peoples first reaction to cards is casino and poker nights. The Poker chips indicate which hands I find are my favourite but that’s just my opinion.

You can choose which hand you think is your favourite, jot the number on the piece of paper and put it in the box on the middle of the table.

Emily Perrett My recent practice aimed to explore memory through using my family’s recollections as source material, sparked by the discovery of old family videos. Evidence suggests memory is much more malleable than people think. For instance (Loftus, 1997) managed to convince 20-25% of his participants of false childhood memories such as being lost at the mall.

I was curious about how my family’s memories of 125 Station Road, my dad’s childhood home, would be similar yet different. The bicycle still is part of a video where I combine original photos with chalk drawing created from my aunt’s descriptions. In the dictionary of obscure sorrows, ‘Olēka’ is defined as “the awareness of how few days are memorable—all the endless ordinary days that will only slip through your fingers by tomorrow, like cards dealt directly into the discard pile” (Koenig 2015). This idea influenced my series of paintings depicting everyday scenes from my home on leaves and cards using degradable natural oil paints and egg tempera paints.

Kiril Prikazcik The work that I present is a series of various expressions, masked as landscapes. All of them seem vacant, however, they can spark various feeling within someone. Some might find them to be hopeful or peaceful, while others might feel uneasy or threatened. The longer you look, the more the initial mood shifts and changes into a different one. Me and my work explore the diverse individuality of each person. Everyone is going to react differently to certain colours and scenery. No one ever feels the same emotion when they are introduced to seascapes, cloudscapes, cityscapes and so on. However, all of that can change depending on how the objects within the painting are placed, what kind of objects or what colour they are painted with. I find it interesting how minor changes of such nature can manipulate the emotional response.

Azaruddin Rahatwilkar The videos present objects made of playdough, plaster and clay, constructed through a process of blindfolded automatism reducing the artist’s influence. The work initiates the act of interpretation, offering the opportunity to absorb and project information in relation to these unfamiliar objects.

Varying interpretations were received for each object, reflecting the interpreters’ lived experiences, memories, personalities, and associations. These interpretations are characterised as voices, illustrating the varying truths of the objects, and creating a distinction between ‘actual/complete’ truths and ‘meaningful/believed’ truths.

Megan Rathbone The abyss of the ocean is something that humans often forget about. I have moved through combinations of collage and painting, making one element more prominent than the other (and switching it around). Continuing my practice in a more political/environmental way, has motivated me to change my consumerist ways and lead my art to a stronger position.

By depicting the ocean, I am trying to remind viewers of the importance of the ocean. Creating work in a more abstract way may mean viewers ask more questions about where the pieces are situated and where the creatures I have created come from, which is what I want to convey.

Roo Rodgers The intent of my practice was to create a vessel for processing and exploring emotion. I was curious to understand the significance of human emotion through their assignment to arbitrary shapes and patterns. The significance of the artwork lies in its interpretable expression and the range of emotion it can depict, despite consisting only of line and colour.

The canvases display bold line work in various forms of linear abstraction, ranging from tight enclosed tangles, to controlled flow of ease. Each design is unique from the last, although they hold a clear narrative of a series in abstract geometric line designs, each fills the canvas and allows itself to be manipulated by objective emotional interpretation.

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Mingi Shin “Photography does not create eternity, as art does, it embalms time, rescuing it simply from its proper corruption.” - Andre Bazin Inspired by Andre Bazin’s text “what is Cinema?”

I made work about registration of time and representation of stillness and motion. By making combination of still work and video work, I wanted to talk about the relationship between still and the motion (photography and film). Layers of still images are the process and frame of film work, however it cannot be processed like video does. Video cannot exist without the still images. Video only can exist when multiple still frames are there. In regarding to that, film (video) saves still photography from embalmment, and photography becomes significant element of film. In conclusion, they support each other.

Phoebe Shipman On display is a series of photos containing a rag doll created from white bed sheets, this material reflects the sexual nature of the project because of the bedroom being associated as the usual location for sexual activities. Her limp form resembles that of a corpse. Trying to create something as far from attractive as imaginable, even when in the revealing outfits, subverting the viewers expectations. There is a juxtaposition between the alluring and promiscuous outfit and the wearer, who is intentionally designed to be unnerving and disturbing. This area of photography has an underlying message of consent. The title, 97% is directed at the number of young women (18-25) according to an investigation by UN women UK, who stated to have experienced sexual harassment or assault in some form. Throughout this series there is a helpless, yet strong relationship with the feminine form within the work.

Tarner Taylor Balancing Act I & II are steel tins wrapped in muslin and wool, tightly bound to rest precariously on one another. They are gritty and unsightly, an amalgamation of bright tones and dark themes. These sculptures are the manifestation of my worries of standing on the edge of the unknown, the fear that if I balance them wrong or do not put enough tension on them, they will inevitably fall. On the contrary, there is also the fear that too much pressure will cause the collapse of an already delicate structure.

It begs the question of when will it be too much?

When will I try to balance too much weight?

In many ways, these sculptures are a sad parody of a figurative form, an abstract concept of a self-portrait.

Ash Tibbetts-Pountney The series of images created are of sculptures, created using modelling wire and clay as a base. These sculptures were then moulded into different visions of the female anatomy, each piece a different shape and size, representing people in reality.

Working with sculpture led to photography, in which these pieces really became interesting, the use of Ultraviolet lighting only emphasising this.

The use of lighting and photography creates a sense of ambiguity, encouraging the viewer to look closer and, therefore, deeper into the images.

The photographs were enhanced slightly in Photoshop, each image made to be the same size, and the contrast increased and the brightness decreased to bring focus onto the shapes seen in the images.

Milla Top “Klumper som Hviler” is a moving image and sound installation. Observing the forms in the film allows the viewer to catch glimpses of something on the cusp of familiarity yet still ambiguous.

The ambiguity of the scale paired with the way the stacks appear to be shape-shifting means that there is a sense of mystery to what you are seeing. Largely motivated by dreamscapes; inspirations are drawn from numerous sources, one of which being Norwegian folklore.

The installation attempts to transport its viewers to someplace else, though where exactly is unclear and largely relies on what the viewer can see, hear, or feel.

Aimee Turner This series of sculptures explores the ways in which we perceive obstacles. The three ‘trap-like’ structures were created out of cheaply sourced or found materials such as: fallen branches, twine and wire. Due to the materials chosen, this work has an ephemeral quality to it and plays on Minimalist views with its repetitive geometric patterns.

Merlin Varkey My work is about exploring the cognitive aspect of art focussing mainly on the concept of passing time using mark making. I represented this through the exploration of automated drawings.

The work features drawings made while blindfolded in a limited time frame. I chose to research this topic because I wanted to learn more about how people pass the time by doodling or scribbling. I chose automatic drawings to approach the subject because I was fascinated by how our minds generated involuntary unexpected mark makings without looking at an object but with a limited amount of time.

Jaspreet Virdee I explore through fabric, sculpture and jewellery the relationship between virginity and marriage.

The taboo of sex and sensuality is unraveled in my images, they challenge the concept of Izzat (honour) and Sharam (shame) and what it means to be a South Asian woman who is told that the honour of the family lies between her legs- inhibiting her own choices and decisions. Sensuality and sex are discouraged, and the concept of virginity is put into the forefront of South Asian women’s lives. My digital montage delves into reclamation of one’s sexual rights and to make your own decisions with no need to feel shame.

Tom Whelan The aim of this work is to continue the prolonged discourse surrounding the systemic issues within fast fashion. Through manual and machine sewing I manipulated whole garments to highlight the material and production process behind it, rendering the denim unwearable and leaving the red thread to emphasize the conflict involved at every stage. The very process of creating these works initiates the obsolescence that products of fast fashion are designed to undergo.

Shauna Whiles Shauna Whiles is a Leicester based artist working with photography and paint, observing the emotional connection between human life, the environment, and the varying effects it has on us individually throughout our lives. Her studies focused her attentiveness of flowing water from a young age, primarily the sea and the positive emotional influence it had on her, as well as delving into the darker emotional connection people have had with water.

She produces pieces which focus on the unknown of what lurks beneath the surface of the abyss, encapsulating the audience’s eye.

Acrylic paint, cotton fabric, varnish, and melted wax applied in thick layers creates a textured surface, forming a unity of one flowing wave.

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Contacts Amber Bradley-Evans amberbradleyfineart@gmail.com amberbradleyevans.wixsite.com/amberbradley Holly Brandrick hollybrandrickart@gmail.com hollybrandrickart.wixsite.com/home IG: hollybrandrickart

Alex Ireland a.kerri.ireland@gmail.com alex-ireland.wixsite.com/portfolio alexireland.art Beata Jurek jurek.a.beata@gmail.com jurekbeata.wixsite.com/my-site-21

Chloe Brown chloejeanbrown.com IG: chloejeanarts

Pasha Kincaid pashakincaid.com IG: pashakincaidart

Martin Cibik Cibo@hotmail.co.uk CiboArt.co.uk IG: ciboman

Alainya Knipe alainyak@outlook.com alainyak.wixsite.com/artist IG: allis_arts

Alice Diamond alicediamond11@wixsite.com IG: sketchy_alice linktr.ee/alicediamond

Polly Lam polly1605@gmail.com polly1605.wixsite.com/website IG: polpuipulpoipoy

Karese Fogoe misskakf.wixsite.com/my-site-1 IG: koolio.xart

Kristy Lee kristylee1231.wixsite.com/mysite IG: kristylly_art

Maisie Foreman-Bates mfb-art@hotmail.com maisieforemanbates.com IG: maisieforemanart

Georgia Lindow georgia.lindow.artist@gmail.com georgiailindow.wixsite.com/webp

Myria Ftellecha myriaftellecha@yahoo.com IG: artisticmyri

Becky Lomas beckyal2000@gmail.com rebeccaalomas.wixsite.com/artist IG: beckylomas_art

Amy Goodwin goodwin1999@outlook.com goodwin1999.wixsite.com/my-site

Aleksandra Majka alexandramajka.wixsite.com/works IG: alexandramajka

Imogen Hardwick mimmyh.wixsite.com/website IG: imogen.hardwick

Sasha Marinelli sasha-marinelli.wixsite.com/website IG: stutter_punk_art

Laura Holmes lauraholmes125@gmail.com lauraholmes.co.uk IG: lauraholmesart

Regina Martins Silva reginam33.wixsite.com/reginasilva IG: regy.art

Laura McElwee lauramcelweephotography@gmail.com laurasmcelwee.wixsite.com/website lauramcelwee.photo Rayanna McKenzie rayannamckenzie@gmail.com rayannamckenzie.myportfolio.com crtvcrnr.contact@gmail.com IG: crtv.crnr Becky Moss mossbecky017@gmail.com beckymossfineart.wixsite.com/mysite Lara Norman laranormanart@gmail.com laranormanart.wixsite.com/home IG: laranormanart Emma O'Brien emma.obrien0712@gmail.com emmaobrien0712.wixsite.com/my-site-1 IG: architectureprintsbyem Emily Perrett emily.perrett31@gmail.com emilyperrett31.wixsite.com/website-1 IG: emilymadesomething Kiril Prikazcik kirilprikazcik.wixsite.com/expressioscapes IG: prikazcik.art TW: Prikazcik_art

Mohamed Azaruddin Rahatwilkar marahatwilkar.wixsite.com/website IG: _ace_of_arts Roo Rodgers ryaanrodgers.wixsite.com/ryaanrodgers IG: Ry.sydny Mingi Shin mgshin033199.wixsite.com/mysite IG: nonamedg99 Phoebe Shipman IG: art_phoebe_shipman Tarner Taylor IG: __tarnertaylor.art Aimee Turner aimeeturnerart@outlook.com alt0902.wixsite.com/website IG: aimeeturnerart Shauna Whiles shaunawart.wixsite.com/my-site-4 IG: shauna_art_account_ Jessica Wilson jessicawilson.art IG: jessicawilsonartist

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Thanks The Fine Art 2021 Catalogue is the result of this graduate year’s handwork and determination of three years. This academic year has been significantly hard on everyone as teaching was mostly conducted online. Students had to adapt and improvise the best they could. Despite this, we all pushed through the hardships and rose to develop our practice.

We would like to thank all the students, tutors, designers and the print department for their involvement to create this beautiful catalogue. Our team worked hard and diligently to produce what we hope would represent the year group.

We hope that students, tutors and family members alike can look at this catalogue and be proud of what we all achieved during the hard times of the pandemic.

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