BA (Hons) Graphic + Digital Design

OUR GRAPHIC AND DIGITAL DESIGN programmes balance active research investigation, practical experimentation and critical thinking to prepare students for careers in the creative industries. Students develop excellent communication skills, control of creative practices within Graphic Design, as well as in fields close to their discipline — spatial design, fine arts, animation.

Guided by our expert teams of academic researchers, practitioners and makers, students explore areas such as typography, visual grammar, data visualisation, narrative, branding, advertising, fine art practices, photography, motion graphics and moving image. Through a blend of lectures, studio-based workshops, technical tutorials and industry events we invite students to develop their knowledge and experience of design theory and practice.

Popular career options for our Graphic and Digital Design graduates include roles in creative teams and agencies, particularly those specialising in print, publishing, packaging, branding and interaction design, as well as those focused on animation and moving image.

During their time with us, students develop an appreciation of design as an area of intellectual investigation, critical thinking, creative visualisation and making — explored through active engagement and professional practice.

Fatima Alzaabi

Visualizing Déjà vu fatimaalzaabi23@gmail.com

In my studies I worked towards attempting to visualise the experience of 'déjà vu'. Despite all of the research and theories developed for déjà vu, it remains difficult to comprehend. However, by attempting to visualise the causes, reasons, and feelings associated with déjà vu through the use of symbols, objects and photography, it is possible to gain a better understanding. This subject has always piqued my attention, since it is a phenomenon, an experience, that we all have at least once in our lives. But it is always unlikely for the individual to recount what they saw, what they heard, and how they felt when these few seconds of déjà vu happened.

My passion as a multidisciplinary designer lies with the projects that address topics revolving around present, existing or imminent potential issues, with possible lifethreatening impact. What does humanity’s future look like? We jeopardise the existence of the entire planet due to the wasteful, destructive, toxic behavioural attitudes of humans.

What if a wall wasn’t simply just a wall, the roads were not there just for traffic? What if everything had a purpose beyond the obvious and became part of our eco-system by absorbing, containing, generating and transforming energy?

Design has the power to drive change. As such, us designers should think about the responsibility and meanings our designs carry and above all ask ourselves: ‘What good is my work or product going toserve?'

Designing just for aesthetics is a luxury that we cannot afford in a world of scarcity of resources and a severely damaged planet.

My practice takes design from analog to digital — to 3D — to analog repeating this cycle each time with added tweaks and enhancements to understand how to achieve maximum impact and socio–economical impact in each state of an artwork.

Andreas Arany Toth / Goldentoth Design

Functional Design in the Age of Climate Emergency goldentoth@icloud.com

Bakhtawar Essa Ayub

The Significance of Kinetic Typography in the Digital Era Bakhtawaressa@outlook.com

From clay tablets, to pen and paper, to computers and the internet, my research purpose is to trace the development of animated typography. The early stages reinforce the introduction of title sequences to the expressive power and influence of moving type in design, print and on-screen media today. It proposes and explores the typographic landscape and environment we engage ourselves with rather than reading simple text on paper.

These experiments show that designers can create qualified, specific, and controlled kinetic effects that would be programmed to be applicable to the type and text, conveying either an emotional, spiritual, psychological, or a simply creative feeling.

Does data dress us or do we dress ourselves? We are under the illusion that we have control over our own sense of ‘individuality' and fashion choices, but our identity is impacted by external factors more than we think. Data is all around us and information is simultaneously collected about us and ‘fed’ to us daily. Whether we like it or not data seeps into our subconscious and can be powerful enough to manipulate us and alter our perceptions.

Throughout my project I evaluated various forms of influential data examining their significance in fashion choices. In my outcome I took a personal approach, inspecting my own cultural data, heritage and experiences to show how data has swayed my fashion choices.

Sameena Bhangle

‘Masked’ and ‘Blinded’ by Data sambhangle@gmail.com

Handcrafted artefacts have piqued my interest since I was a small child. Looking back through history, it is apparent that all that has been produced and generated in the name of mankind has originated from man's clever and hardworking hands, and handwriting has always played a key part in humanity's growth. When I researched the topic, I discovered that handwriting and photography had a close link. When I write anything by hand, I capture a moment in time and place, in the same way that a photographer does when he / she presses the shutter button on a camera. A visual depiction of a thought or a moment captured by the human eye is like a handwritten piece of paper. By gradually replacing this natural and human function with something unhuman, we are ripping away a piece of our authenticity and individuality. We should examine the amazing heritage that our hands link and activate our brain; we should reclaim our history and incorporate it into the technological process; let us utilise technology rather than be used by it.

Emma Bobarnac

Hand-marking-made Communication emmadotsdesign@gmail.com

The focus of my project has been to investigate how political design challenges the public’s understanding of the biases they may encounter when engaging with media. The purpose has been to construct designs that will enable the viewers to question and challenge these biases. Controversial propaganda pieces and zines have been constructed to illustrate the oversimplification of war in the media—into good and bad—neglecting the complexity of acts of war. Within my practice, experimentation enabled greater understanding and gathered experience of the processes that political artists may go through when creating political / social statements in their work. This artwork aims to grab the public’s attention to get them to question the narrative that the mainstream media promotes as opposed to them taking the media at face value. Is it hoped the artworks will encourage the public to dig deeper and do their own research before making up their minds using only a limited range of resources.

Thomas Callaghan

How can political design challenge the public’s perceptions of partiality in the media and newspapers? thomasacallaghan@gmail.com

Nostalgia is a feeling we all experience at certain moments through our lives, whether that's when we are gathered with our friends and having conversations about the past or when we are alone and reminiscing about something we cannot relive again. With nostalgia, we think about the people we have shared moments with, the places we've been, the objects we have held onto throughout our lives or even specific smells. There are many factors that contribute to our past but specifically throughout my research and testing, I have found our concept of memory to be the main factor. Memory is hard to be described or recalled and is a personal feeling which is hard to be visualised. Therefore, I have explored how memory can be visualised though the practice of a free, loose and unpredictable illustration style.

Designers often focus on using nostalgia as a tool to create a nostalgic user experience through certain games, packaging etc, that most of us can relate to. But how can we focus on our personal recollections and create something that is memorable for ourselves?

Miroluba Chakma

The Importance of Memory in Nostalgia mirochakma@gmail.com

From a sacral symbol of fertility and Earth, to sin and a dirty vessel, women’s representation started the evolution as the primary tool for prosperity. She was a Goddess and led many rituals.

The Venus Candle Holders concept is to recreate some of our ancestors' rituals. With that, I hope to bring back the magic reunion. Recreating the Venus cult into our modern life may help us regain some of the feminine energy needed for balance and harmony. The Venus Candle Holder can be a Ritual itself. It is smooth to the touch, so those in need can exchange energy when touching and lighting the candle, admiring it while burning.

Anastasia Coban

Venus Candle Holder anastasia.coban@gmail.com

By removing form from fashion through the use of external materials, you begin to see how form can be found through unconventional means. The use of objects to portray form within fashion allows us to see things from a different perspective, and whilst relating this to gender fluidity within fashion, allows me to understand that form comes in all shapes and sizes rather than other traditional styles with clothing. My work is a collection of collages created through using found objects and cut out pieces from catalogues and magazines to create an album of fashion collages. Whilst removing features such as faces and easy to define silhouettes, allowed for the collages to be difficult to identify and categorise them to a specific gender.

Jonathan D'Arcy-Smith

How the gender neutrality movement has influenced fashion & form jonathandarcysmith@yahoo.com

Freedom is the most topical theme starting from the World history, to current events. This term has many interpretations and for the research paper development I used Freedom of Choice aspect, in which I separated into three categories: freedom of existence, which talks about the people’s daily experiences related to this topic and investigates the reasons and understanding; freedom of art—analyses the power of creative industry and artists as being the subliminal messages carriers that spreads the word to the world in the most creative ways; paradox of digital freedom—this statement is quite radical and explores the fields of the internet, investigating the reasons, perspectives and the true meaning of freedom in this digital space.

Sandra Direikaite

Freedom of Choice: mixture of utopian illusion & dystopian reality sandra.direikaite@gmail.com

The 'Hallyu' wave has taken the world by storm through integrating the unique talents of South Korea’s music and drama scene into the mainstream. But how did this originally niche genre capture the hearts and minds of fans globally? Throughout this project I will be dissecting the appeal of K-POP and the practices used to attract and retain fans, with particular focus on design.

K-POP remains unique in how it markets itself, putting access to the idols at the forefront of the agenda. This access to otherwise untouchable idols through the mastery of frequent social media posts gives the illusion that these artists are within touching distance. This in tandem with a range of other factors including the no-dating rules heavily enforced by entertainment companies creates the image these artists are within reach and available, leading fans to form communities blindly devoted to these groups spurred on by a 'collective crush on steroids'.

This baseline obsession, coupled with the design and release of 'photo-cards' and exclusive content when purchasing albums has launched K-POP to the masses, with each 'selca', post and TikTok only further adding to the addictive cocktail of dopamine, oxytocin and instant gratification that keeps fans on tenterhooks.

Noor Afshan Fazal

The K-POP KULT: How K-POP unified the world in a collective obsession of love, lust and adoration noorafazal28@gmail.com

In a fast-paced society where everything is carried out in a repetitive routine every day, people fail to observe and look over the things that cannot be immediately seen, yet contribute to the air we breathe, and the emotions we feel walking outside. The plants and trees we keep around us may have a systematic way of survival than just water and oxygen. The earth and its inhabitants function on balanced gravity but also frequency. A slight change in frequency could alter a person’s energy, emotion or even physical self. So, if plant frequency were visible to all in some form where humans could understand their plant besides looking for physical signs of damage, it could help the process of identifying eco solutions towards a better world.

Exploring the world of bees, I have been fascinated by the bees' navigational route towards flowers, and their odd tendencies to consume fungi mycelium. Everything is regulated through the magnetic field of frequency. Humans and every other living being is affected by frequency of some kind. Through research, I discovered out of all the plants, the mycelium is the most unpredictable in frequency – so much so that it vocalises to the sound like a language of some sort. If Fungi frequency communication were to be visualised, what would it look like?

Simin Fazli

Visualising the Language of Fungi siminfaz@hotmail.com

Despite the evidence provided to us by many scientists, researchers, designers and artists, we prefer to believe that our lives will continue to get better. We choose to believe that humans can endlessly produce and consume limitlessly and without consequence.

The postmodern world is an age where the 'old certainties' are gone; we must learn and accept that we cannot take our comfortable and convenient present for granted. We are now at the transition point, designing our destiny and impacting the future.

My field is an environment, and as a designer I am investigating how art and design can influence and help to change a viewpoint. Creating a disturbance encompasses action, in which design can be used to shape and develop new forms for a better understanding of sustainable outcomes.

In my research, I attempt to find the nexus between colossal industrial progress and the lack of responsibility for the natural world. Innovative design strategies we devour nowadays are still lacking versatile and adaptable structures. The flux of materials proposes a variety of components, and it is up to our environmental psychology and social behaviour if we use theem in harmony with nature.

Doodling is so much more than just weird drawings on a page. I found myself falling in love with doodling during the COVID lockdowns. What started as a pass time to pick up a style of illustration I once did as a child, soon became a practice I carried out day-to-day to escape from reality to enjoy a funny and creative world I’d rather be in. With more doodling, I found myself taking advantages of which doodling creates and with research, found that I had been doodling without even realising at times throughout my life. The modern-day definition of the doodle is outdated and irrelevant to the true nature of doodling and needs to be redefined. It plays an important role in becoming part of the extended mind in which we can rely on the practice to better ourselves with cognitive thinking and retaining information, as well as being a meditative practice. The temporal attribute of the doodle is one that can be shown, to visualize the time passing as doodlers make one mark to another and over time, the attachment to that doodle is lost – suspended in its time for that brief period of that spontaneous subconscious thought.

Adam Hall

Doodling: Beyond the Art Style adam.hall1225@talktalk.net

Within my design practice, I have explored different techniques. This includes mixed media and discarded materials as means to convey and tackle the issue linked with Climate Change. The project allowed me to understand the word ‘economy’ not in terms of market or market values but in terms of the cost of the planet and understand how materials could be implemented within my work that aims to show the impacts of discarded materials on the environment. Focusing on how we humans are being consumed by plastic and surrounded by these man-made materials around us.

I have created visual outcomes that have translated the problems the news and scientists are discussing. Using discarded materials as means of translating these issues into visual art that depicts all my research findings and explores the use of material physicality to merge into a visual illustrative painting that explores how plastic waste is creating a toxic and harmful environment to marine life and the impacts of man-made material to the natural environment. My intention is to construct outcomes that aim for people who might ask me questions about this and interact with my work, to discuss with me the issues of climate change.

Hamad Hayat

How can we use material and visual art to confront, and address issues caused by the climate crisis? hamadhayat10@gmail.com

Louie Hendy

The Possibility of Emptiness louiehendy@gmail.com

Emptiness' and the idea of 'being empty' is defined as the state of ‘containing nothing’. Emptiness can instead be viewed as possibility. The empty bowl and empty cup can help to explain the idea, it is empty at this point where it is being described but the main function of the object is that more to be added to it. It is awaiting but it is not seen as likely anything will happen, just that it might. Emptiness is a state allowing for more and perhaps most importantly, when viewed at in a certain way can bring you into a space of thinking. There is not just one definition of what emptiness is or what it can be and there are multiple different concepts that work with similar ideas so trying to define what emptiness is definitively, as the dictionary attempts to do, simplifies the possibility of what emptiness can be.

The West End has always fascinated me as a place of performance being around every corner; every time you visit there is something new to explore. The theatres, the street art and entertainers, but also how the place is brought to life by the people who visit it. Exploring how places are documented and how items can hold memories, as well as the atmosphere of an event, I found my collection of tickets from the shows I have seen over 10 years, inspiring my solution. The tickets I designed are an invitation to explore the West End through a performance lens, to seek out the hidden details that you usually miss and find excitement for the place again.

This set of tickets allow you to document the place for yourself while also capturing the memories made. By holding onto them, you will be able to share your stories with others in the future, documenting the West End from all different perspectives for the next generation.

Lucy Hogger

Documenting the West End lucyhjane@gmail.com

In this project I engage in the study of my process as an artist and designer to strengthen the foundation of my craft and enhance my ability to deal with complexity in my working to aid future research projects. In my efforts to tackle myself as subject I consider the creators faith and myth of the hero artist, what the connection of the artist and designer is to their work as 'Thought-Objects', and the changing place of analog design in the modern world. The results of this project were achieved by thinking through the making of mixed media experimentation and led to the acceptance of my chosen method of combining collage with my notebook process. As such the final exhibition works on display are the culmination of my research findings, design thinking, critical analysis and academic writing realised in the form of a final book object that represents the journey of this project and the possibility going forward to develop this investigation further and push the concept of 'Research Art'.

Robbie Hunt

Being. Analog. RudeBwoiDesign@gmail.com

Craft and its industries are often overlooked in nature and underrepresented in the art and design world. In today’s view, it falls into a sector that is regarded as costly and unnecessary compared to its contemporary business rivals. Trailblazers in the craft community are unknown to many but have paved the way for countless designers and artists today. The UK, especially, is under a craft crisis, with many crafts in danger of becoming extinct.

Not until recently did I realise the contribution my own family has had on my journey to becoming a designer. After a short conversation with my mother, I found that my grandfather was a blacksmith who worked at a small, familyowned forge. With a focus on my family, I am attempting to discover the personality and journey that comes with craft and the influence this has on the industry.

Sarah Johnson

A Personal Journey with the Original Craftsperson: the decline of traditional craft & the rise of digital craft smj.visual@gmail.com

The project shows the exploration of experiences within LGBTQ+ culture, recording and documenting people’s lives in ‘queer spaces’. Looking deeply into the idea of queerness in all forms of expressions, identities, sexualities, and political connotations that have shaped the community for what we see today. Showing this through the lens of my life and experiences with the people around me, capturing these moments through photographic design solutions.

Exploring places where the community and culture lives and breathes, focusing on London and places like Heaven gay nightclub, gains a new perception and understanding of all different aspects of queer life. Being exposed to seeing and being around queer life allows you to express yourself, a place with no judgement to become who you are. Showing this form of expression through photography to expand a larger audience’s perspective of queer life.

Sam King

Queer Nightlife and Culture sam_king_a4@hotmail.com

Each city has its own unique identity, made up of many layers, which need to be explored one by one. A successful city is dynamic, constantly changing and influenced by time. This means that to fully understand it, both its past and its present must be taken into account. In my work, I deal with the definition of a city's identity and its exploration in relation to the capital of Poland, Warsaw, which I have chosen because of my strong connection with this city. I want to reach deeper and feel the real sense of this place. To discover layer by layer this city, its identity and space. Then in the next stage challenge it as a designer and design a solution that will be the first step towards changing it.

Oliwia Knez

Layers of division and unification oliwiaknez@gmail.com

The System Is Finite' seeks to explore the initiation, expectations, and limitations of finite and infinite digital life forms. It is driven to uncover the astrophysical, quantum mechanical, and logical applications of design. Through technological application, we can define and break down each component of our universe to view its cosmological evolution as a network. Within this, the focal point arises: the presence, absence, and existence of infinite states. When we begin to understand the characteristics of a state being infinite, only then can we discuss if infinite states exist within the physical world.

To inform my approach, programming languages JavaScript and Python have been used to determine each design computation. These code-led pieces aid me in reinforcing the belief that our universe is systematically designed. To ultimately encourage a re-evaluation of the nature of the universe we are placed within, and how what seems random, is wholly organised, and well within our subjective interpretation and understanding.

Eden Malik

The System Is Finite eden.malik@outlook.com

My project explores the concept of love and the feelings that a colour can trigger, matching the information of the two subjects and transposing these into a spectrum of colours representing the feelings of love. Putting in the same picture the feelings of the types of love with the feelings that a colour can trigger, selecting, matching the colours according to the types of love studied and presented can create a different perception for each colour that is composing The Colour Spectrum of Love. In the same time, the project is aiming to reveal a different perception for the colours that are not included in the spectrum and for the use and understanding the meaning of each colour. The main subject, ‘love’, was based on my willing to explore the meaning of own experiences and answer personal questions, while the colour was my chosen way to express my discoveries.

Elena Stefania Manghiuc

Exploring The Types of Love and overlap the collected data with The Feelings by Colours: The Colour Spectrum of Love m.helena.stephanie@gmail.com

What happens to plastic after it can no longer be recycled anymore? The focus of this project are the companies that manufacture plastic products. In total, there are 5200 of these factories in the UK alone that produce everyday waste, at least 10% of their production. Quite a lot of industrial plastic! My concern is how to re-use this material—strong as a stone. The solution I found is to use the plastic waste in building / construction. For this I created a brick with 30% plastic waste.

Mihaela-Ionela Mare

Plastic Waste mihaelamarei@yahoo.com

Nostalgia is something we feel throughout our lives which usually links to discomfort, but for this project, I have taken a positive take on it using gaming. Retro video gaming is a topic that has a wide capacity to evoke a range of emotions due to its nostalgic design and tactile nature, making a huge impact on pop culture in turn making us want to re-live the games that we don’t want to forget about.

Retro gaming is the one thing that I loved and grew up with mostly cause of how it was designed and how simple and fun it was, hence why my concept for this project is around feeling nostalgia towards retro pixelated gaming through the eyes of pop art and street art techniques. I went on to researching about street art and the messages that it portrayed and how it crossed over into vandalism. I also looked at how pop art has been influenced within design and how I would be able to use this as an approach to create a design piece. Throughout my observation of films, artists, and articles I have come across I managed to understand why there is nostalgia within retro gaming as whole and how this observation can be shown through design.

Manshi Mehta

Video game Nostalgia manshimehta14@gmail.com

While the way we experience gender could initially be thought of as an internal experience, our surroundings and actions are likely to affect it to some degree. From that arises the question of how different things might affect how we experience gender. Specifically, how does visual language and linguistics influence us, and how can we challenge it? By looking both at the language we use and are surrounded with, both in terms of the words we choose and the structure of the language we speak, the project explores the impact this has on how we experience gender.

Johanna Modin

Hey Guys! johannamodin.design@gmail.com

Inspired by the book ‘An Attempt at Exhausting a Place in Paris’ written by Georges Perec, I set out on my own mission, to find out what 'place' means and why being observant is important. I also wanted to train myself to become more observant and alert in my everyday life and to develop these skills towards becoming a better designer. Throughout this project I have been experimenting with different ways of observation and with different materials to gain a better understanding of place, focusing on a small part of Greenwich, specifically the area between the Cutty Sark and the design school.

I wanted to capture the atmosphere, feel and presence within a place, using multiple videos overlaying each other helped me to do this, each video is different and shows the different people and ways of moving through the place.

Catherine Anne Morrison

An Attempt at Exhausting a Place in Greenwich tatiekatie@2000@icloud.com

Appropriation—as using pre-existing objects or images with little transformation of the original—has influenced the practical artwork accompanying this writing, igniting an idea around the modern day ‘meme’. Taking classical paintings from the years 1520 to 1850, the idea of creating satirical value against serious pieces of artwork will appeal to digital and critical audiences, such as that of Instagram and Pinterest. This has inspired the accompanying practical work to be designed, which acts as a game for the audience to match classical art pieces with comedic statements indicating new meaning and notions as commonly defined by a meme. By using classical artwork and removing the intended meaning, the dramatics, tragedy, and passion as displayed in the artwork, can be reappropriated and decontextualised to a modern day feeling exhibited in everyday life.

Samar Nizam

Appropriation seen through Classical Paintings contact.here@gmail.com

The intention of my project is to find a way to represent re-connection through food within a design space. The way I did this is incorporating design methods and practices that have a synergy to the theme of reconnection and unity through kinship. I collected a few memories which all have a central point of food. The stories included are ones which have some sense of longing, linking the stories together through this feeling of familiarity. I represented them physically through using methods such as loom weaving, embroidery, book binding, fabric printing and sewing within a range of mixed media in order to expose the unity of different experiences. Fabrics are used throughout the project to further link to the aspect of comfort through reconnection, representing ways of bonding, such as quilting.

Crystal Patterson

Representing reconnection through food within a design space crystalpatterson65@gmail.com

My Final Major Project consists of 100 paintings that I made to communicate the challenging experiences I have had in my life. The first 50 images in black and white express my struggles with trauma, grief and depression, and culminate in selected colour images that express hope, love and joy. I was able to express these struggles in paint after encountering new genres of music which profoundly affected and motivated me. Through this narrative sequence of images, I want to demonstrate that you can confront your inner struggles and to encourage others to find the same release and hope.

David A. Rieckhof

Hardship and Hope drieckhof@hotmail.co.uk

I have always been mesmerised by the way humans perceive and experience the world. What is seeing and what forms our experience of seeing? Is our world a reflection or is our reflection our world? Where do we stand in all this? Uta Barth was a starting point of this exploring momentum, guiding me on, questioning and redefining terms such as perception, reality, space, light, presence, and time.

Through observation, I aim to understand and become more aware of my own perceptual process of seeing. I am interested more in how I see than what I see. Photography and writing have been the tools that assisted me throughout this process and taught me the beauty of seeing.

My main focus has been my house as my most intimate space. I wanted to understand in this phase the nature of this daily dialogue and teachings. There are many layers and levels in the process of seeing. For the purpose of understanding better what you see, I would suggest a pause for a moment and prolonged seeing by excluding any possible thought processes.

Stergiani Siourtou

The Beauty of Seeing stergianisiourtou@gmail.com

Sherif Soldatov

Concrete to fight gentrification info.ssoldatov@gmail.com

The concept of this project is bringing awareness to loss and the most heart-breaking experience for a parent—losing a baby.

My practice is aiming to shatter the silence that surrounds the loss of a baby and functioning as a platform for people to open and share their stories online, connecting through such a personal traumatic experience.

Following an abortion or miscarriage, disenfranchisement and grieving can be especially difficult. While society may reject this misery, the individual who is experiencing it may consider their own suffering to be invalid because it is the result of a decision they made, or simply because it was not a real born human being yet as such.

Technology's impact on society's response to bereavement has been thoroughly documented. Some people who want to express their condolences and support may be unsure how to react to grief over something that isn't commonly discussed, such as a cognitive impairment, major mental illness sterility death by suicide, overdo abortion miscarriage, the loss of a baby, or still birth.

Gergana Vasileva

Silent Grief Installation gerulina1988@gmail.com

What is the perspective of East London? Growing up in the East End, I have come to my own conclusions of how I view the area, but from the current affairs taking place such as the obvious gentrification, maybe I do not know the full picture after all these years living here. My project aimed to explore how multiple people view east London and find the core perspective that east London holds. By the end, it was clear to see that the perspective is consistently changing and evolving. Some hold many cultural significance, while some are being lost to the new idealised world.

Having a love for illustrations, I wanted to convey the perspectives through a series of drawings. Illustrations projects an idea of a subject rather than presenting a real moment such as using photography. This emphasises my project's communication that perspectives can never be something solid and still.

Aisha Vesamia

The Perspective of East London aishavesamia1@gmail.com

My work explores the notion that day-to-day activities and tasks leave traces in the form of marks on our bodies. These marks can come from leaning on the edge of a table, or from wearing a ring for an extended period of time, and usually taking around 45 minutes to disappear. I look at these types of marks, instead of more permanent ones such as scars or blemishes, to investigate how simple tasks that we overlook, which our bodies can adapt to in order for us to complete them.

My curiosity for this subject emerged from exploring why people get tattoos and how they represent stories and histories on our skin. This exploration further developed into the idea of how we can distinguish these semi-permanent marks to discover what an individual has experienced throughout their lives, in this case, a 'normal' day.

Talia Walby Patiño

How does everyday life leave marks on our bodies when completing day-to-day activities? aishavesamia1@gmail.com