BAMS Student Medal Project XXIX Catalogue 2022 by MarcyLeavittBourne

BAMS STUDENT MEDAL PROJECT XXIX 2022 Contemporary Art Medals

GRAND FIRST PRIZE

JANA GRIFFITHS Interloper (obverse) University for the Creative Arts, Farnham. Winner of the Grand First Prize awarded annually by the Worshipful Company of Founders. See page 46. 2

BAMS—STUDENT MEDAL PROJECT XXIX 2022

GRAND SECOND PRIZE

JESSICA TROJE-TUCK Sleeping Foxes (obverse) Falmouth University. Winner of the Grand Second Prize awarded annually by Thomas Fattorini Limited. See page 42. 3

BAMS—STUDENT MEDAL PROJECT XXIX 2022

BAMS STUDENT MEDAL PROJECT XXIX 2022

Contemporary Art Medals 5

CONTENTS

BAMS—STUDENT MEDAL PROJECT XXIX 2022

FIRST WORDS MARCY LEAVITT BOURNE

EXPERIMENTATION IN CREATIVITY JESSICA IHEJETOH

THE STUDENT WORK ARTISTS’ STATEMENTS & PRIZE-WINNING MEDALS

MEDALS BY TEACHERS/MENTORS STATEMENTS

AFTERWORD

ABOUT THE BRITISH ART MEDAL SOCIETY

ACKNOWLEDGEMENTS CONTENTS

FIRST WORDS MARCY LEAVITT BOURNE

BAMS—STUDENT MEDAL PROJECT XXIX 2022

The British Art Medal Society celebrates its 40th anniversary this year, and over that time it has grown in membership: collectors, makers, curators, writers and lovers of the art medal can be very proud of creating together a Society that has commissioned new medals every year and brought to wider public attention this wonderful, surprising and powerful art form. The Student Medal Project was conceived by the British Art Medal Society twenty-nine years ago as a means of re-introducing the art of the modern medal into art colleges within Great Britain – through bronze casting – and it has grown to include a considerable number of UK institutions and one invited foreign academy each year, this year from Pforzheim University, making it an international Project. In 2022, 20 UK colleges took part, with students creating a total of 148 cast medals. It has become part of the curriculum in many colleges, in sculpture, jewellery and metalwork. Loyal sponsors provide prizes. For teaching the art of bronze casting, it creates a perfect module whether a college has its own foundry or sends work out to be cast. There are few experiences in the art world to match a bronze pour, and the skills learned – wax carving and modelling, ceramic shell or plaster cast making – can forever form part of an artist’s working life. In terms of the focus or the subject of a modern art medal, the themes are without horizons. A student may choose to examine their own feelings about a personal matter, or select a place of great significance; they may want to speak out in anger at political wrongdoing or celebrate poetry; abstract design and attention to the form and function of making a modern medal also feature as potential ideas. The parameters of two sides and an edge – a work of art held in the hand – far from being restraints, create possibilities. The prizes are based on engagement with the medallic medium, with several FIRST WORDS—MARCY LEAVITT BOURNE

specific areas, such as lettering, or current affairs. No theme was set for this year’s Project, only that students might consider ideas about which they felt strongly. Previous suggested themes have included ‘Black Art Matters’ and ‘Environmental Loss’. The results range widely, from personal beliefs to world affairs; from close examination of private thoughts to consideration about the planet on which we live; the medals celebrate and they despair; they are joyful and they are sad; they reflect on history and look to the future. However small it may be, the appeal of the modern art medal is its enormity of impact, its potential to state a case. Marcy Leavitt Bourne Director, Student Medal Project; Secretary, BAMS

BAMS—STUDENT MEDAL PROJECT XXIX 2022

FIRST WORDS—MARCY LEAVITT BOURNE

EXPERIMENTATION IN CREATIVITY JESSICA IHEJETOH WITH JANA GRIFFITHS

BAMS—STUDENT MEDAL PROJECT XXIX 2022

It has once again been a pleasure to take part in judging the BAMS Student Medal Project. Handling over 140 medals, in-person discussion and reading the accompanying statements has been stimulating and inspiring. Medals have focused on the pandemic, climate change, peace, music and the cultural impact of the meme. We have seen incredibly diverse and wonderfully surprising submissions. A common subject across many medals has been nature and our environment. When I came to write this introduction, it seemed a great opportunity to spotlight the Grand First Prize winner, Jana Griffiths. Her work, Interloper, embraces and embodies the brilliance and possibilities of the contemporary art medal. In a virtual conversation covering the virtues of long walks, the challenges of online learning, plants and jelly moulds, I learnt more about Jana’s artistic approach and her medal. Interloper is inspired by nature and long walks outdoors in the woods. Alongside providing ‘time to think and unwind’, as Jana put it, she took photographs. Her phone, full of images of weeds and nettles, ignited her thinking and research. She began ‘dabbling with watercolour and reading extensively’, including Peter Wohllenben’s, The Heartbeat of Trees. Jana began to examine her relationship with nature and asked herself questions about the plants that surrounded her on these walks: ‘What are weeds? Are they waiting to be pulled out? How does it feel to be unwanted in a space?’ She drew parallels with these plants and her own role as a student and artist. We discussed whether self-doubt and lack of confidence can spark or hinder creativity. This led to further thoughts on her experiences as a mature student, the freedom to experiment, push yourself further and building confidence along the way. Interloper is Jana’s first medal. As a Ceramics and Glass student, she was initially puzzled by how she might begin to work with metal. However, Jana explained to EXPERIMENTATION IN CREATIVITY—JESSICA IHEJETOH

me that she ‘approached this project as a ceramicist’, so began first working with clay rather than wax. After experimentation, a wax mould and bronze casting followed, leading to her finished medal. I was struck by her thoughts on the importance of continual learning and the role of experimentation in creativity. Much of this has resonated in this year’s medals and has fuelled so many remarkable submissions. Congratulations to all of the students who took part in the 2022 Student Medal Project. It has been a delight to see your energy, experimentation and creative spirit in your medals. Jessica Ihejetoh Creative Producer

BAMS—STUDENT MEDAL PROJECT XXIX 2022

EXPERIMENTATION IN CREATIVITY—JESSICA IHEJETOH

THE STUDENT WORK ARTISTS’ STATEMENTS & PRIZE-WINNING MEDALS ALL MEDALS ARE CAST IN BRONZE UNLESS OTHERWISE STATED

BAMS—STUDENT MEDAL PROJECT XXIX 2022

BIRMINGHAM CITY UNIVERSITY; CARDIFF METROPOLITAN UNIVERSITY; CARMARTHEN SCHOOL OF ART; CENTRAL SAINT MARTINS; CITY & GUILDS OF LONDON ART SCHOOL; DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN; UNIVERSITY OF EDINBURGH; FALMOUTH UNIVERSITY; UNIVERSITY FOR THE CREATIVE ARTS, FARNHAM; CITY OF GLASGOW COLLEGE; GLASGOW KELVIN COLLEGE; THE GLASGOW SCHOOL OF ART; THE GOLDSMITHS’ CENTRE COLLEGE; LEEDS ARTS UNIVERSITY; NORWICH UNIVERSITY OF THE ARTS; PLYMOUTH COLLEGE OF ART; SHEFFIELD HALLAM UNIVERSITY; SWANSEA COLLEGE OF ART; TRURO & PENWITH COLLEGE; WEST DEAN COLLEGE OF ARTS & CONSERVATION; THE GUEST ACADEMY: PFORZHEIM UNIVERSITY, GERMANY. THE STUDENT WORK

BIRMINGHAM CITY UNIVERSITY SCHOOL OF JEWELLERY HND JEWELLERY & SILVERSMITHING COURSE LEADER, SENIOR LECTURER DAUVIT ALEXANDER LECTURER KATY TROMANS BA JEWELLERY & OBJECT SENIOR LECTURER REBECCA SKEELS CASTING JHF JEWELLERY QUARTER, BIRMINGHAM All works are cast in brass.

WILLIAM APPLEBY Bellefield to Bristol and back again... ‘The medal is in response to the Black Art Matters theme, and relates to the rediscovery of my family via music. Part of my mother’s family came from Jamaica, and as I play music I began to play reggae in Bristol. The music of Dillinger piqued my interest. I researched my family history and on the day I made contact with the Jamaican side of the family I was listening to his album.’

CHRISTINA CASSIDY Broken Smile ‘My inspiration was a quote by Robin Williams, how a fake smile will hide an injured soul. He was a man who made people laugh, while struggling with his own mental health. This is something I have struggled with myself in the past. I wanted to demonstrate how a smile can hide someone’s true feelings.’

HANNAH CONIBERE Thieves ‘The nautilus, who have lived for over 200 million years and survived several mass global extinctions, are now under threat because of us. We relentlessly exploit their habitat, which ironically we too cannot live without. The nautilus represents the downward spiral that we have created. We are thieves, and we are against the clock.’

BETHANY CORDELL Homelessness ‘This piece is about how much homeless people have to go through on a daily basis. One side of the medal shows how people just look past 18

BAMS—STUDENT MEDAL PROJECT XXIX 2022

and ignore them. The rest of the public can keep out of the weather, but not the homeless. They have no roof, and all they want is a home, a safe haven. This is a major issue in cities such as Birmingham where it is seen daily.’

TAMZIN KEOWN Chiaroscuro ‘My idea for the medal began with this Italian artistic term, which is used to describe the dramatic effect of contrasting areas of light and dark in an artwork. The sun and the moon are very contrasting, the two main sources of light and dark. It reflects their relationship, often talked about together, yet they are opposites. In the design, the biggest circle is the sun, then earth and moon. The focus is on how they move together and what they do for each other.’

AUGUSTA LAZENBY Only Dead Fish Go With the Flow ‘This phrase was said to me and my schoolmates by our headmaster, and until recently I paid no attention. I made the decision to study jewellery, going against what was expected of me, and found the phrase pertinent. It makes me question what it means to be individualistic, to go against societal norms and to think for myself. It applies to my creativity too; am I designing something authentic and original or am I just following a trend?’ This medal received a Merit.

LAUREN MURRELL Animal Liberation ‘My medal features a chicken in profile on one side, and chicken wire on the other, with chicken footprints around the side. The medal is an animal rights protest in itself. Chickens are well known to be abused and poorly

treated. I also think the chicken’s beady eye is quite a powerful image. The broken chicken wire represents freedom and liberation.’

XIAOYAN RONG The Wood Wide Web ‘I was inspired by the ubiquitous fungus. Fungi affect our environment, while trees would be nothing without their microbial sidekicks. Each tree looks like an individual, but they communicate with each other all the time through the “wood wide web”, the underground network of passing information and resources to and from each other through a network of mycorrhizal fungi. This can stand as a metaphor for human society, one to think about.’

ELAN RHYS ROWLANDS Perspective ‘The medal derives from the concept of illusions; why do we see certain objects and shapes and how the brain’s perception of an image can be distorted or tricked into seeing things that aren’t there. The pattern was inspired by the Welsh geometric quilting pattern “brethyn”. It is a theme in my work, not to let other people’s judgement influence you to cover your true self.’

SUSANNAH SHED The Beauty of Life ‘In Japan, the cherry blossom symbolises the fragility and the beauty of life. The story behind my medal is that while we go through life we have our prime time, when we are at our best, but as we get old we become fragile and occasionally dismal. Our memories from when we were younger stay with us and they help form our identities and help us cope with aging. My medal represents our journey through life.’ BIRMINGHAM CITY UNIVERSITY

CARDIFF METROPOLITAN UNIVERSITY SCHOOL OF ART & DESIGN DEPARTMENT OF ARTIST DESIGNER:MAKER PRINCIPAL LECTURER PHILIPPA LAWRENCE LECTURER HUW WILLIAMS CASTING DALLAS COLLINS

HELEN COULTON In Memory of Holly ‘This medal is a commemoration of my neighbour’s dog, who died in 2019, and who meant so much to me. One side is a map of the village, highlighting the houses of the people she affected, and through Holly I got to know many neighbours. On the other side I have added an image of the dog jumping up to catch a ball, her favourite game. Her eyes had this spark of joy.’

AMY JORDAN Nest ‘My piece is inspired by habitat destruction by humanity. Across the world we are the main cause of habitat loss, and the main reason globally is to increase food production. Locally, destruction of forests and meadows and other wildlife areas is to create new houses, destroying animal habitat for our own. The idea behind this design is a metaphor, of how we need to learn from animal habitats.’

ARIANNA MOLINA Complete Me ‘Love and relationships are a big part of our society, and there are a lot of established ideas of what it is supposed to look and feel like. Phrases such as “soul mate” indicate that you need somebody else to feel complete and happy. I wanted the medal to illustrate the feeling of being complete both in a relationship and outside of it, emphasising the need for autonomy, space and self-reflection.’

BAMS—STUDENT MEDAL PROJECT XXIX 2022

CARMARTHEN SCHOOL OF ART, COLEG SIR GAR SCULPTURE DEPARTMENT HEAD OF DEPARTMENT LISA EVANS PROJECT TUTOR LEE ODISHOW FOUNDRY LISA EVANS, LEE ODISHOW

SARAH ARTHUR The Face Within ‘Is it possible to feel a connection with someone you have never met? Is it possible to miss someone you never had the chance of knowing? I for one know it is possible. This medal honours Albert Edward Andrews, soldier of WWI and WWII, my great-grandfather, and those who fought alongside him. The medal expresses a portrait, not immediately apparent to the eye, to carry his legacy to future generations.’

NATASHA JONES Untitled ‘The medal is made to raise awareness about brachycephalic syndrome in pets, specifically the effects on cats. Where they have been bred to have flat faces, it affects their respiratory tract, their spine, their joints, and leads to skin infections. The appearance is usually seen as cute despite the negative effect it has on the breeds.’

MATHILDA WESTON Cradled ‘My medal is about parenthood, the support that goes into being a parent. On one side there is the classic mother and child imagery in the silhouette of a crescent moon. The crescent shape is mirrored on the other side of the medal on which there is an owl, whose talons hold the figure. The moon is a symbol of many different aspects of life, one of which is the menstrual cycle. It relates to other cycles too, the tides and the seasons.’

CARDIFF METROPOLITAN UNIVERSITY / CARMARTHEN SCHOOL OF ART

CERYS ANNE WILLIAMS Industrial Heritage ‘Coming from a town steeped with industrial history, I’ve been exploring my ancestry in the men who worked there. Many of the techniques used in running a furnace and casting hot metal have an overlap in my own practice. I’m drawn to using found objects, such as moulds from manhole covers. My medal depicts a once rich and prosperous legacy, not forgotten, covered up and seen as an ugly scar.’

CENTRAL SAINT MARTINS UNIVERSITY OF THE ARTS, LONDON JEWELLERY DESIGN COURSE LEADER GILES LAST PROJECT TUTOR KATHI DETTAR LECTURERS ROXANNE SIMONE, KATY HACKNEY SENIOR TECHNICIAN CHRIS HOWES FOUNDRY ARON MCCARTNEY AT MCCARTNEY STUDIO

THE STUDENT WORK

AMINA BADYLBAYEVA

OLIVIA AUGUSTA FUSSENEGGER

Odni

We Have it in OUR Hands

‘The medal Odni explores the emotional consequences of cyber-balkanization on 5 January 2022 in Kazakhstan on citizens outside of the country. The obverse is a drowning metaphor – “the saving of the drowning is up to the drowning themselves” – of the panic that happens inside the country. Nameless faces clumped together by the media. On the reverse, a person like a lonely stone creates water ripples, symbolising a WIFI sign unable to reach home, courted by paranoia and guilt.’

‘A simple piece in your hands pays attention to the emergency of global warming and glacier melting. My passion about skiing in the mountains led me to recreate the structure of a mountain panorama on one side; however, the reverse is about the glacier disappearing, and a water puddle with melting ice floats in your hand: what might be left if WE do not take care of OUR mountains.’

LILI BARGLOWSKA

JIAYANG HE I Don’t Understand Art

‘The medal is inspired by observing someone throughout the stages of dementia. Focusing on the transition from clarity and reality to chaos and hallucination, the two sides portray the confusion and loss of identity that accompany this condition. The obverse is a clear face, the reverse just an impression, and abstract tendrils creep in from the edges. It was inspired by observing my grandfather.’

‘I have always been a little hostile to modern art. After I read the book “What Are You Looking At?”, I realised that modern art is something beyond aesthetic, something that inspires its audience into philosophical thinking. The appearance of modern art is consequent and necessary due to the development of modern society. It is not compulsory for us to fully understand and enjoy every art piece. The absurdity of some is the presentation of our time.’

FLORENCE DIGHTON

MIKAELA MIRADOR-GO

Mother of Pearl

Two Tales Within a City

‘Inspired by the painting “The Birth of Venus” by Botticelli, I wanted to depict the protective and loving nature of the Roman goddess Venus, as she is the mother and patron saint of all forces of creation. The medal shows Venus protecting the pearl as if it were her child, with a single tear rolling down her cheek to convey the pain of childbirth; there is no beauty without pain, no pearl without grit.’

‘Inspired by “The Tale of Two Cities” by Dickens, the medal highlights the duplicity within London, a city marred by classism and a severe wealth gap. I have experienced the highs and lows of this city and I wanted to represent that. On the reverse is a quotation from the novel: “Sow the same seeds of rapacious licence and oppression over again, and it will surely yield the same fruit.”’

Who Are You, Again?

CARMARTHEN SCHOOL OF ART / CENTRAL SAINT MARTINS

Prize Winner NINA SRDANOVIC The Meme, 100×108mm Awarded the Michael Roberts Memorial prize for the way in which the medal imaginatively takes the language of the meme, Drake, and transposes this two-sided dialogue into a medallic statement, creating an instantly recognisable, lively, image, with clear, bold shapes and good use of the wrap-around edge. The medal also succeeds in capturing the personality of Drake.

THE STUDENT WORK

Prize Winner

NINA SRDANOVIC

The Meme ‘Internet memes are an observation of our modern world and, just like medals, they chronicle events of our age. I found so many parallels between memes and medals: their use as propaganda, their two-sided dialogue, and the ability to be valued. Memes are now an international language. Anyone aware of memes will understand their purpose. They are bridges into foreign cultures, without knowing the language. I chose the Drake meme, as it was one of the most popular memes between 2020 and 2022. It depicts Drake repelling the last two years, dominated by the pandemic, and on the other side looking forward to 2022. My medal is a light-hearted, positive outlook, a return to some normality. The edge is paramount in my medal, as Drake’s puffer-coat extends all the way around, representing time frozen during covid, and he is wearing the same jacket two years later.’ Winner of the Michael Roberts Memorial Prize. Prize Winner

KEUMALA IRINA SUKMA

Common Thread ‘This medal is to honour the indigenous women across Indonesia, who have resisted and fought against land grabbing and the destruction of Mother Earth. The combination of weaving tool and textile fabric represents one story of a group of women who protested against a mining company by sitting on top of a CENTRAL SAINT MARTINS

mountain while weaving. The stories of these women have been carved onto the textile on the obverse as symbols of prosperity in nature and livelihood. On the reverse, the symbols of cut down trees illustrate the damage that has been done. There are other stories, as yet unheard, and we must amplify these voices.’ Winner of the the Bigbury Mint Honourable Mention prize.

PUNCH SUWANNAKIT 13 ‘Why do people believe in the unbelievable? Having been left with only two plates in my flat after my family had visited, I was inspired to make a medal about superstition: keeping broken and chipped dishes in the house will bring bad luck. Most of mine had been thrown out. It is a warning sign for bad omens, for negativity, like the number 13. Logically, it doesn’t make sense. My medal shows a chip and a mended plate.’

ROBERTA SWEET Get the Rot Out ‘My medal highlights the people who enter the police and use the power for their own twisted gain. How are women meant to trust the police after PC Wayne Couzens murdered Sarah Everard? Or after other police shared photos of two murdered sisters? Side one depicts the Neighbourhood Watch logo, a symbol of safety; side two shows a lone girl, now in the policeman’s grasp. The rot is buried deep within the organisation, especially towards women.’ 26

THE STUDENT WORK

Prize Winner KEUMALA IRINA SUKMA Common Thread, 79×83mm The Bigbury Mint in Devon awards the Honourable Mention prize annually. Texture is important in art medals, and here is a medal that utilises the texture and shape of textiles to create a strong statement about the women weavers of Indonesia, who protested against deforestation in their homeland. The structure of the medal echoes that of their looms, on which they make statements through weaving imagery.

NOAH WILLIAMS Total Eclipse of the Sun ‘My medal is inspired by the boycott of “The Sun” newspaper in my hometown of Liverpool, following the Hillsborough disaster in 1989. Since the now infamous front page, “The Truth”, which spread lies about the fans, there were campaigns to ban the newspaper from the city. Now, 33 years on, it is almost impossible to find a copy of the newspaper anywhere in the city. However, I feel it is still important to remind others of the lies “The Sun” told, and continues to tell.’

YUZHE ZHANG Two Metres ‘Since the epidemic, we have started wearing masks and set a two-metre rule of social distance, and such distancing causes us to believe that contact with others is potentially dangerous. It becomes a default inertia, that I am concerned may gradually replace our old world view and ways of relating. This medal shows two people trying to embrace each other within the restrictions, their fingers about to touch.’ This medal received a Merit.

CENTRAL SAINT MARTINS

TWO APPRECIATIVE VIEWS ELIZA SMITH & JESSICA TROJE-TUCK Eliza Smith and Jessica Troje-Tuck each made prize-winning medals that are reflections on the natural world, the debt we owe to it and how we should protect it. Each student was invited to comment on the other’s medal. ELIZA ON JESSICA’S ‘SLEEPING FOXES’:

‘Jessica’s medal is a beautifully layered window into a fragment of our natural world. The continuous flow of the foxes’ bodies takes the viewer on a journey around the piece. On the reverse, the brambles fiercely cover the surface to protect the nature within, the sleeping foxes and other biodiversity. I see this medal as a tapestry of nature’s hard work, the immense energy used to grow and survive. The brambles are woven with whispers of leaves and other foliage, the plants loop around each other like knitted twine or thread. It reminds me of the textile influence of my own medal.’ See page 42. 28

BAMS—STUDENT MEDAL PROJECT XXIXI 2022

JESSICA ON ELIZA’S ‘SAVE OUR SEEDS’:

‘Eliza’s medal is a timeless piece. The message of the two images on either side feels like gentle advice and, at the same time, a protest which is realistically urging us to be sustainable. The momentum of the cycle of life keeps going through the stitching, ploughing and the personal wool jumper with proactive words of hope for the future, embossed across the front. The hand-stitched edges are tactile. The medal feels like an authentic piece of craftwork.’ See page 74.

SIMILAR TOPIC: TWO APPRECIATIVE VIEWS

CITY & GUILDS OF LONDON ART SCHOOL HISTORIC CARVING HEAD OF DEPARTMENT HEATHER NEWTON, NINA BILBEY PROJECT CO-ORDINATOR RICHARD BARNES TEACHING SUPPORT KIM AMIS CASTING ALISTAIR BLAKE, JOSH VAUGHAN

FINN CONLON Life Buoy Ring ‘My medal has been brought about by the tragic loss of life in the English Channel and Mediterranean Sea, but also homage to those who risk their lives to help the lives of others. The new-born symbolises life, the new possibilities. The floating life jacket, void of life, symbolises the tragic loss of all life to the sacrifice of refuge. The baby is in the life buoy ring, and the medal is oval shaped and fits into the palm of the hand.’

PAUL FARMILOE Breakfast Like a King ‘The title is completed with the phrase: or, obesity, diabetes and the dangers of the Western diet. A traditional Western breakfast can be a major source of excess sugar, and it has been argued that we should minimise our sugar intake in the morning and regulate it throughout the day. Industrialisation, mass production, marketing all led to mass consumption of junk and processed food and drinks. Perhaps we should breakfast like a pauper, lunch like a prince, and dine like a pauper instead.’ Prize Winner

JOANNE GROGAN

For the Master’s Tools Will Never Dismantle the Master’s House ‘My piece is inspired by the work of Ava DuVernay, who directed the 2016 documentary film, “13th”, which explores the intersection of 30

THE STUDENT WORK

Prize Winner JOANNE GROGAN For the Master’s Tools Will Never Dismantle the Master’s House, 75×67mm Awarded the ‘Herbie’ Prize for a medal that engages with contemporary, political or social issues. The two sides of this medal complement each other, both in imagery and in the sense of political outrage. Using the higher relief of the bound hands, modelled in detail to confront the viewer, brings the issues of slavery and incarceration to the fore, and reminds us that, while centuries separate these issues, the same prejudice continues to fester in contemporary society. Lettering is an integral part of the medal, locating it in its historical context.

CITY & GUILDS OF LONDON ART SCHOOL

race, justice and mass incarceration in the United States, taking its title from the 13th Amendment, adopted in 1865, abolishing slavery. The film concerns the demonisation of minority poor to serve political ends, contributing to fears of minorities by whites and to problems of police brutality against minority communities, and fatal police shootings of unarmed minorities. I wanted to look at the role that Britain played in the transatlantic slave trade, when Britain was responsible for sending approximately 3.1 million Africans to the US between the 16th – 19th centuries. One side of my medal shows the design of a 1562 sixpence, used as currency at the time. Shackled hands burst through, palms upwards. On the reverse, the design is taken from a current US half dollar coin, and the hands are shown upright, fists showing defiance. The chains show an intrinsic connection from past to present, and the role that the UK played in the events that have unfolded since, which can often be overlooked when viewing the complexities of race relations in the US. The overall narrative is to highlight the battle that so many black people still face today, and that their history should never be overlooked or forgotten. There aren’t two sides to this coin, as there is no justification, both sides tell the same story. The title is taken from a quote by the author and poet Audre Lorde.’ Awarded the ‘Herbie’ Prize, for excellence in creating a medal of political comment. The medal is shown on page 31.

JUDITH LETCHFORD Festina Lente! ‘The Latin proverb, which translates as “more haste, less speed”, or “hurry slowly”, has a timeless quality. We have been living through a period where some people are impatient for life to return quickly to normal, while 32

THE STUDENT WORK

others feel cautious. Aesop’s ancient fable of the race between the tortoise and the hare also explores this theme, and I decided to partner the proverb and the fable, inspired by ancient coins.’ This medal received a Merit.

DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN UNIVERSITY OF DUNDEE JEWELLERY AND METAL DESIGN PROGRAMME DIRECTOR TEENA RAMSAY SCHOOL SUPPORT SPECIALIST, FOUNDRY AND 3D MAKING RODDY MATHIESON CASTING RODDY MATHIESON

WILLIAM DOCHERTY Clava Cairns ‘This is influenced by Scottish history on how our ancestors used symbols to communicate. Clava Cairns is a prehistoric site, and one side of the medal is based on it; the other side is influenced by Celtic and other symbols, and I intended to link the symbols to the landscape. The symbols connect to the trees on part of the medal. I was inspired by nature and it is documented from exploration in the landscape.’

EWAN DOUGLAS Changes for Our Future ‘My medal was inspired by COP26, the Climate Change Conference in Glasgow. I looked at energy as a theme, on one side renewable energy (wind farm) and on the other fossil fuel (coal mines). Reinstating coal mining seems like such a regressive step, whereas COP26 was a chance to make Changes for Our Future. This phrase is written around the edge.’

DEVINDRI SENARATH GUNASEKARA Sea the Unnatural ‘What lies underneath, so often goes unseen. The medal is made as a reminder that our world’s water bodies are ruined by human waste. The obverse shows waves and ripples, the pristine nature of water. The reverse is littered in protruding plastic pollution, disturbing the calm.’

HAZEL HUNTER Fluidity ‘Can a hole be used to connect the opposite faces? This was the question I posed myself, CITY & GUILDS OF LONDON ART SCHOOL / DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN

and it inspired the whole design, my first project working in bronze, and it has been a great learning experience. I welcomed the challenge to produce a new piece of work that links art and science. Delivering to an open brief yet with constraints was very helpful. A crashing wave was a natural starting point; the reverse shows water molecules; the rim connects both.’

GUENDALINA ROTA Utere non numera ‘The idea of the medal comes from my current project which considers the concept of time from a phenomenological approach, trying to highlight the importance of being there. Hence the use of a landscape on the one hand, that becomes nothing on the other. It’s up to you how you look at this change, this metaphor of how even the most rocky reality will be flattened in the long run. The Latin inscription suggests using the hours instead of counting them.’ Award Winner

LUCY SMITH

Precession: Seeing the Unseen ‘This medal is part of my research that considers the role of art in communicating the fascination and beauty of mathematics and science to those of us who do not have an advanced algebraic vocabulary. The medal shows the effect of latitude upon the daily precession angle of a Foucault pendulum. Pendula of this type demonstrate the Coriolis force, which causes objects to be 34

THE STUDENT WORK

deflected from their paths due to earth’s rotation. The reverse of the medal shows an engraving of the bob of the Foucault pendulum, made as part of a range of sculpture on this theme as part of my research. The contours of the medal on the obverse show the pendulum’s precession, mathematically spaced, and aesthetically stepped at 2-hourly intervals across latitudes from the equator to the poles. Through innovative art research, the goal is to promote conversations in education about the value of art in aiding the communication of science.’ Winner of the Kate Harrison Award, a visit to an artist’s studio.

ERIN TOSH Observatory ‘As an illustrator, most of my work is flat drawings, so I really enjoy the opportunity to make something different. The medal is based on the Mills Observatory in Dundee, which I discovered while on a walk, and had no idea it was there. I looked into it more and found it interesting and inspiring.’

YU WANG Tai Chi ‘Human emotions are diverse and colourful, but recently, surrounded by social media, they seem to become more extreme. I prefer to see a network where everyone can express their opinions freely. So, I adopted the concept of Tai Chi from Chinese culture. In the Tai Chi pattern there

Award Winner LUCY SMITH Precession: Seeing the Unseen, 89mm This medal receives the Kate Harrison Award, which was created to enable the student to visit the studio of an artist/ maker. It is designed both to remunerate the working artist and to give the student the experience of a discussion outside of college, about setting up a studio and about medals. The winning medal is a reflection on research into how the juxtaposition of art and science benefit each other. The medal exemplifies how the two sides create a whole, with the carefully balanced and calibrated obverse – polished and patinated – in contrast to the texture of the reverse, suggesting movement.

DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN

are two parts, Yin and Yang, but the two parts are not separated from each other, each is inside the other. I want to use my works to express that many things are not black and white, but need to be viewed objectively and rationally to understand people’s opinions. The two sides of the medal are two faces, but the lines continue and join them.’

UNIVERSITY OF EDINBURGH EDINBURGH COLLEGE OF ART JEWELLERY AND SILVERSMITHING HEAD OF DEPARTMENT JENNIFER GRAY PROJECT TEACHER, ACTING CO-PROGRAMME DIRECTOR MIRKA JANECKOVA CASTING UIST CORRIGAN, ECA FOUNDRY

THE STUDENT WORK

HOLLY SOPHIE ANN DICKSON

CHANG HE

Terra omnis est nec omnes

Jingwei

‘Land is everyone’s and no one’s. We were born with the right to roam free and cherish what the land does for us. Over lockdown I passed through many golf courses on my daily walk, which was illegal to do. I took an interest from then on to look into what makes land private and how capital can acquire it. It is greedy to hoard vast sections of nature just because you can.’

‘The design concept of the medal comes from the traditional Chinese myth of Jingwei’s reclamation of the sea. On the obverse of the medal is a bird taking off; she has the spirit to persevere, day after day, to fill the sea with rocks. The reverse of the medal is the turbulent sea, layers of waves as high as mountains. They symbolised difficulties and obstacles, but these did not stop Jingwei. The purpose of the medal is to encourage women to be themselves in the face of gender prejudice; they can prove themselves with their ability.’

HONOR DODD The Orange ‘The medal is inspired by the poem “The Orange”, written by Wendy Cope in 1993. She uses the orange as a metaphor for enjoying the simple things in life and growing to be content with your surroundings. In the world of the poem, everyone is treated fairly: everyone receives a slice of the orange, and all is well in the world. It felt pertinent to the current global situation where we may not be able to physically share the same orange with loved ones.’

MICHELLE FULARA Teardrops of Grief ‘The medal is about grief from the perspective of either a pet owner or the pet. On one side is a dog, and on the other a person, each a stylised teardrop in shape, so it appears as a teardrop within a teardrop. I want my medal to be connected with, viewed and appreciated from either (or both) the owner who has lost their pet or the dog who has lost its owner. Both experience loss.’

JIAHUI HUANG Rebirth ‘The medal is based on the theme of sexual identity, inspired by a historical figure, Wu Zetian, whose beauty and intelligence helped her to be the only legitimate female sovereign in the history of China. She became a legendary character who subverted gender antagonism and inequality in Chinese feudal society. This paved the way for future women’s status, and the medal expresses my appreciation and respect. There is still a lot of discrimination against women.’

TALLULAH JUDD 42.7% ‘My medal highlights the isolation felt by the unvaccinated during the Covid-19 pandemic. For various reasons, including vaccine hesitancy, only 42.7% of the global population has been fully vaccinated. On one side of the medal the vaccinated are holding hands in a circle, portraying their ability to socialise. In the centre is a barcode taking

DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN / UNIVERSITY OF EDINBURGH

you to the NHS. If you are not vaccinated, you won’t be able to fully integrate into society and will potentially feel isolated. The reverse depicts a stylised Coronavirus.’

ZOFIA KLIM The Damned ‘Fear of judgement, hiding, someone always watching; The Damned is a feeling and a state of mind encapsulated into a medal. It is a visual representation of a day-to-day life of an individual suffering from social anxiety, based on my own experience. It is a keyhole – the shape – into the mind in which social anxiety traps us. Throughout the past decade mental health has gained a greater awareness and mental illness in young people has become treated much more seriously.’

RAMSAY PAGETT Cruelness of Society ‘The medal fits closely in the palm of your hand. It focuses on the idea of social exclusion, how before birth we are untouched by society, but once born are affected by our environment. On the medal are fingerprints, into which your thumb prints can slip as you hold it. It can be clutched between both hands as if holding on to something tightly, holding on to hope.’

HÂF THOMPSON Cofiwch Dryweryn ‘The title of the medal pays homage to the destruction of the Welsh village, Capel Celyn, and means “remember Tryweryn” in English. It relates to the drowning of the Tryweryn Valley in 1965 to provide a water reservoir for Liverpool, which bypassed local Welsh authorities. The title has become a symbol of 38

THE STUDENT WORK

Welsh resistance and nationalism in the years since, reminding people of the tragedy. On the reverse of the medal is depicted a traditional farmer’s wooden chair, floating on the waters. Nothing like this should happen again.’

CADENCE YANG Water Dragon ‘In ancient Chinese traditional culture, the dragon is an imaginary beast. Chinese culture is also related to water. The traditional Chinese dragon king is the deification of water. People respect the water dragon. Sacrificing to the dragon king and praying for rain is a traditional Chinese belief and custom.’

JIA XIN CYNTHIA YANG Hate is a Virus ‘Recently, negative connotations towards people who have an Asian ethnic appearance have exponentially increased everywhere. This is not something that has affected just one part of the world, though minimised in some areas. The social media hashtag “Hate is a Virus” has been widely used to speak up against hate crimes that target Asians, which is why I have used the phrase as a key element in my design. I have placed it to convey the idea that we – humans – are strong enough to surpass this global challenge, to crush the words and hate itself, and embrace mutual respect.’

FALMOUTH UNIVERSITY FALMOUTH SCHOOL OF ART FINE ART COURSE LEADER JONTY LEES PROJECT TEACHERS LUCY WILLOW, TOM HARRINGTON SENIOR TECHNICIAN TOM HARRINGTON

SONIA MUNAWARA AHMAD Ummun ‘The title is Urdu for “peace”. In 2007 in Lahore, I was held at gunpoint, about to be robbed. I was a newly married bride, going in my marriage jewellery and driving my brother’s new car. Fortunately, I escaped without injury or loss of possessions (it involved confusing the robber and a high speed reversing of the car the wrong way on a busy street). In memory and in gratitude I made my medal, showing a pistol over broken glass on one side, and on the other an embossed peace dove flying freely. Ummun calls for the need to stop gun violence.’

ESTHER BERRY The World in Our Hands ‘This medal represents the damage we as humans are causing to the earth. Addressing issues of climate change and pollution, through the image of the world melting on the front, juxtaposed by the image on the reverse of tall chimneys pumping gases into the sky. The text is an ambigram, and reads “I’m fine” one way and “Save me” upside down, representing our ignorance over the current issues of climate change. The world may look stable, but reality is different.’

EDDIE BOVILL A Companion ‘This medal is representative of our innate need for connection. Where might our meaning be found if not in those we share this life with. Thus through companionship we ripen each other’s seeds for we cannot grow nor learn without another’s helping hand. Art is a platform to bring people together, having community projects at its UNIVERSITY OF EDINBURGH / FALMOUTH UNIVERSITY

centre. The process of making the medal has introduced me to the endless possibilities that come with workshop-based work.’

EMILY HO YING CHAN The Love Language ‘Imagine a world where every culture and disability would be welcomed and included. That is the earth’s inclusion. With this design I wanted to imagine an ideal world of acceptance. The hands represent the word “together” in sign language, and the word “love” is in Braille. It is an ode to hearing disability awareness. The green and yellow colours represent freshness, hope, safety, nature, all are symbols on the earth of love.’

JACK CLARKE Without Them We Have Nothing ‘The medal is made to draw attention to the issue of pollinators, specifically bees, declining in the UK. The title and text refer to the vast negative implications that a loss of pollinators will have on food production and biodiversity. We rely so heavily on bees, and if measures are not taken to protect them there will be serious consequences.’ Prize Winner

YAY-AN DAVIES Goodbye Northern White Rhino ‘This medal depicts a Northern White Rhinoceros on one side 40

THE STUDENT WORK

and its fossilised remains on the other. This is designed to be a stark reminder of what we have done to this species and what we are doing to countless others. Northern White Rhinos are functionally extinct, the reason for this is down to man-made causes; the edge relates to the ivory trade, which is the primary reason for their loss, with “goodbye” written in Swahili, English and Mandarin, a scene of poaching, and the five animals that are traded for ivory. My work practice is influenced by climate change and ecological collapse, and the medal follows closely to my work themes. I wanted the same image mirrored on both sides with a simple difference. This life-anddeath works well with the medal aesthetic. I gave it a flat bottom because I also wanted it to stand on its own.’ Prize presented by G W Lunt.

LILY MATTHEWS Everything All of the Time ‘One side of the medal is a memory card and on the other a double helix: a representation of digital memory and biological memory. I wanted to look at the duality of these two ways of storing information, and to explore the relationship between them. As humanity becomes more reliant on digital data storage, the question of how this affects our idea of ourselves, our ability to think and remember, becomes more urgent. The line between our digital selves and biological selves is becoming increasingly blurred.’

Prize Winner YAY-AN DAVIES Goodbye Northern White Rhino, 73×87mm G W Lunt has given this prize, which has been awarded for the contrast between the two sides, which creates a narrative that focuses on the concept of life and death, value and loss, in a clear and concise form. The rhino on the obverse has depth and weight in the modelling, and in its fossilised remains on the reverse it is a stark, bare statement of the results of human greed.

FALMOUTH UNIVERSITY

AUGUSTA STEWART Medusa ‘For my medal I knew I wanted something to wrap around from the obverse to the reverse, in a way to consume the medal. My initial ideas were to use tentacles, snakes or hair for this wrapping round notion, and classical history is something I love, so I landed on using Medusa as the subject. Her story is so tragic and misunderstood. Bronze is such a perfect material to use, as she is illustrated on Athena’s breastplate. While her gaze turned people to stone, she also faced being this monster in exile. The whole process has been amazing, great fun.’

ALISTER STREET Dick Medal 1 ‘The medal is a critique on contemporary masculinity as well as gender assignment at birth. It considers ways in which gender awards certain cultural privileges as well as disadvantages. I hope to subvert current systems and establish a dialogue that is beyond categorisation through this piece. I highlight the ways in which masculinity is embodied through performative functions, a façade of toughness, and subvert the notion of the phallus as a symbol of power.’ Prize Winner

JESSICA TROJE-TUCK

Sleeping Foxes ‘The baby foxes are sleeping inside the hedge, unseen by passers-by. 42

THE STUDENT WORK

Prize Winner JESSICA TROJE-TUCK Sleeping Foxes, 92mm Grand Second Prize, awarded annually by Thomas Fattorini Limited, for excellence in the medallic medium. The imagery of sleeping foxes and their bramble patch echo each other in the creation of a textured, swirling pattern across each side of the medal, a natural, untamed rendition of nature, which suggests to the viewer a version of the natural world attempting to protect itself against human incursion and control.

Brambles are difficult to climb through, the thorny branches protect the family while they sleep. Brambles also naturally protect small trees until they are strong enough to survive on their own. The ways in which the fragile and complex balance of the biodiversity of all species have been altered by corporate landscaping and pest control is my concern. In my art practice I respect the resilience of wildlife.’ Winner of the Grand Second Prize presented by Thomas Fattorini Limited.

FALMOUTH UNIVERSITY

TWO APPRECIATIVE VIEWS LEO LANGER & JOANNE GROGAN Leo Langer and Joanne Grogan both won the ‘Herbie’ Prize, for a medal that engages with contemporary political or social issues. Their subjects are different, but both are so pertinent that two prizes were awarded this year. Each student was invited to comment on the other’s medal. LEO ON JOANNE’S FOR ‘THE MASTER’S TOOLS WILL NEVER DISMANTLE THE MASTER’S HOUSE’:

‘Joanne’s statement about her medal made me very mindful of how things that happened a long time ago can still have a persistent and pervasive impact, even today. On the one hand this is upsetting to admit, but on the other hand I read it as a wake-up call for everyone to engage more in changing the system and society to a non-violent and non-racist one with real equality of opportunity. Joanne chose a similar motive for both sides, which is a surprise and delivers the message really strongly. I chose a different motive for the reverse side. Both approaches carry a surprise effect. We both have a medium which 44

BAMS—STUDENT MEDAL PROJECT XXIXI 2022

directly connects the front and reverse: for Joanne it is the chain linking the cuffed hands, while for mine it is flying dollar notes. The chain connects the past with the present and modern forms of enslavement. The reverse, with its raised fists, made me think of resistance and rebellion against ongoing injustice towards minorities and people of colour. The relief on Joanne’s medal is high on both sides, with a surface and rough edge that give the medal an antique and used look. The contrast between the polished handcuffs and the dark hands emphasises the original message.’ See page 30. JOANNE ON LEO’S ‘PEACE IS UNDER-FUNDED’:

‘Leo’s medal delivers a very timely and poignant message. In the weeks since the medal was submitted, we find ourselves viewing the horrors of the destruction of Ukraine before our eyes. It is hard to justify the money that is spent in aiding such devastation, and the amount Leo states defies belief. I find the use of the darkened holes on Leo’s medal – from one side to the other – very clever, for they represent not only a sense of wastefulness but they suggest a sinister uncertainty, a blackened hole of humanity. What will be left? The use of the quote and the way it has been etched into the design is very powerful; it feels raw and full of emotion, like graffiti in public spaces, demanding answers, wanting justice, but all we can do is scribble things on walls while bombs keep dropping. Although our subject matters take on different approaches, there is an underlying connection between our two pieces: the unprecedented rise of disaster capitalism.’ See page 77.

SIMILAR TOPIC: TWO APPRECIATIVE VIEWS

UNIVERSITY FOR THE CREATIVE ARTS, FARNHAM JEWELLERY, CERAMICS, GLASS HEAD OF DEPARTMENT DEBRA ALLMAN CASTING, TECHNICAL TUTOR, JEWELLERY & SILVERSMITHING DAN SEDDON

AISLIN BOXALL Fragmented ‘I want my medal to raise awareness of habitat fragmentation, which can undermine the integrity of whole ecosystems. It can have disastrous effects on wildlife, caused by deforestation and urbanisation. My medal shows the fragments and broken areas of the habitat. Connecting these areas will help improve species diversity and keep ecosystems healthier.’

HAZEL CROMPTON Unbroken ‘The medal is a comment on mental health. One side shows the barred window of a prison cell; the wall is cracked; there are tally marks on the wall, counting time served here. This is how my mind perceives depression and anxiety, my world is shrunken and my mind its own prison. The other side shows life in the form of a climbing plant on the other side of the wall, symbolising how better mental health, life and growth may be much closer than one knows.’ Prize Winner

JANA GRIFFITHS

Interloper ‘My love of forest walks led me to a recent fascination with wild plants. In this medal project I am using them as a metaphor for my feelings as an art student. Thriving in my own environment, but my insecurities and the lack of confidence giving me the feeling of an interloper. The way I imagine a wild plant feeling, when it slips its natural habitat, gate-crashes our cultural, domesticated environment and becomes an undesirable weed. Waiting to be plucked out and thrown on the compost heap. The obverse depicts a wild plant creeping through a gap in a brick wall, into a civilised domain. The reverse 46

THE STUDENT WORK

Prize Winner JANA GRIFFITHS Interloper, 98×88mm Grand First Prize, awarded annually by the Worshipful Company of Founders, who also sponsor the casting of a medal to add to the Founders Medal Collection of their firstprize-winning medals. The prize is given for overall excellence in the medallic medium. Details of leaves, both incuse and in low relief flow from one side to the other, incorporating the edge as they do so. The rougher, higher relief of the wall on the obverse – the domestic side – contrasts with the flowing movement of the wild plants on the reverse. In this way a narrative is created. In the hand, where texture is an important part of an art medal, the story becomes physical in its bronze reality.

UNIVERSITY FOR THE CREATIVE ARTS, FARNHAM

is a play on the subject of the interloper, a brick invading the natural environment. The wild plants are creeping over the edge, suggesting the imminent triumph over my insecurities. “...a plant whose virtues have not yet been discovered” (R W Emerson, 1912).’ Winner of the Grand First Prize, presented by the Worshipful Company of Founders. The medal is shown on page 47.

SERA HARPING Inner Thoughts ‘I tried to do a medal around my transition last year, but found I was a bit too precious about it. This year I moved over to my inner thoughts and mental health. The dysphoria I experience is a big part of this, which is why a lot of the words are there to invalidate me. The medal is a representation of this, representing me as the girl/heart.’

BELINDA HITCHENS We Make Our Mark (pair of medals) ‘I have always been fascinated by graffiti, ancient and modern, anonymous hands making their mark about love, loss, protection, or just as a colourful creative outlet. Anything is a canvas. Whatever the initial meaning for the marks left behind, we take our own meaning. They capture a moment in time and reflect a feeling, whether it is from hundreds of years ago or yesterday. They create a palimpsest, an ever-changing canvas of life, evidence of our presence.’

INDIA PANKHANIA Plastic ‘The meaning of my medal is that plastic bottles are still being advertised and wasted for single use – especially 500ml ones! My medal is a bottle cap, reusable, made of metal that won’t break or 48

THE STUDENT WORK

deteriorate, but as it is inscribed with writing that goes through the metal, it becomes a useless item, unable to retain any liquid. It says “what a waste”.’

CLAIRE QUICK Remembrance ‘The concept for the medal came about due to the timing, when we were thinking about ideas in October. The poppy has been used for 100 years now to depict Remembrance Day, and it is the main feature of the medal that can sit comfortably in the hand as an everlasting reminder. I have added texture to represent the veins in the poppy and the structure of the stem. On the inside of the poppy is a soldier, in a quieter, more tranquil time.’

LINNEA THUNING Keys to My Fear ‘This piece is a symbol of domestic violence against women. When walking alone at night, concerned for their safety, women often clutch keys in their hands forming a fist with keys protruding between their fingers. Unfortunately and ironically most violence against women occurs in the supposed safety of their own homes, behind closed doors, worsened by the pandemic.’

MARTYNA ZIELINSKA Mother of Earth ‘Showing the mother of bees on the obverse and the earth on the reverse is symbolising how related is the future of our world and the future of pollinators. Decline in the global population is a global issue, and with my work I wanted people to think about our little friends who work hard for us all to pollinate the plants so we could have food. We should take care of them, and learn what helps them and put it into practice.’

CITY OF GLASGOW COLLEGE CRAFT AND DESIGN DEPARTMENT CURRICULUM HEAD, PROJECT TEACHER LISA MCGOVERN PROJECT TEACHER DAVID FINLAY CASTING RODDY MATHIESON: THE MOBILE FOUNDRY

LAURA GRACE CALDWELL RE:CYCLE ‘This was inspired by Manda Brockman’s 5-minute provocation for the Royal Geographical Society’s series of “Climate Emergency Summits”. Circles, cycles, mother nature, women, this medal is a tribute to the women at the forefront of the climate change movement. Women are disproportionately affected by climate change, often dependent on threatened natural resources. A lot of solutions being discussed and trialled are inherently feminine.’

ZULAA FLEMING Curiosity Killed the Cat ‘This satirical medal represents the rich who hoard all the resources for themselves, aka capitalism, and the effects of mass production on the earth/ society, as statistically this causes most of the problems we face today. The cat with cigar and top hat represents the rich on the obverse. It reflects on the idea of “fat cats”. The reverse contains an empty landscape, except for some skyscrapers.’

ERYN GLASS Protect Our Ancestry ‘I wanted to focus on deforestation, using the tree of life to represent forests as well as a family tree. As deforestation continues, we risk destroying everything, including what makes us human. My medal is to show it isn’t just physical damage to the earth, but irreparable damage to our humanity. The loss of forests is the loss of life.’

BETHANY LACEY Corporate Greed Costs the Earth ‘In basing this medal on climate change, I was interested in the question of “who UNIVERSITY FOR THE CREATIVE ARTS, FARNHAM / CITY OF GLASGOW COLLEGE

is responsible?” I think the real problem needs to be identified for an appropriate solution to be found. In researching, I found that only 100 companies are responsible for 71% of global emissions. The earth and our future are being sold out for the short-term financial gain of the few.’

GARY LOGUE Saving Monarch Butterflies ‘My medal design is about climate change, inspired by butterflies, in particular the decline of the Monarch butterfly. Butterflies are important as they have a role of keeping plants pollinated and without them population would decrease. I put the words “change” and “think” on the medal, as we all have to change our ways and think about protecting nature.’

reuse, recycle”, changing it more to fit the constant, “reduce, reduce, reduce” of our trees. I made it textured like tree bark, plus a portrait of tree stumps: the aftermath.’

FINLAY MCLEOD Planet Gas ‘My piece is about climate change, and it all started by listening to songs I associate with it, such as “The Hunter” by Slaves. I realised that climate change is a war, a world war, and I remembered a line from a poem by Wilfred Owens, “Dulce et Decorum est”, which is “he plunges at me, guttering, choking, drowning”, because it would tie in with gas masks. If we don’t stop what we are doing we will be choking and drowning, and I used the imagery of a gas mask.’

LINDA MAHONEY

BOBBIE PARKS

Some Things are Black and White

Skimming Stone

‘The concept I followed on my medal was that of two opposites – growth and depletion – echoes of cause and effect. The fossil fuel industry has chartered the course of global warming with the growth in fossil fuel usage leading to the melting/depletion of our polar ice caps. The medal symbolises that relationship, whereby one is dominant and the other a receding gaping hole. This issue is black and white: coal and ice.’

‘Our theme was climate change, and I settled on exploring rising sea levels. I knew I wanted to incorporate words, and stumbled on the quote “stop, sink, drown”, which led to the concept of turning the medal into a skimming stone. The idea behind it is, much like a skimming stone is jumping above the water trying to stay afloat, we too are trying not to sink and drown as sea levels rise. I carved the wax into a stone shape, with one side to look like the earth.’

RHEAGAN MCLAUGHLIN

DAMIAN RAMSAY

Reduce

Ignorance Fuels the Fire

‘When considering climate change, I chose to look into deforestation, and this drew my attention as it affects our landscapes and wildlife tremendously. I went with a play on the words, “reduce,

‘I wanted to highlight the end result of global warming, not just the present struggle, as humans are naturally selfish and want something only if it affects us. The front of the medal depicts a person wearing a blindfold,

THE STUDENT WORK

and the reverse shows a corpse, which could be mistaken for a landscape, and it reads, “turning a blind eye will cause us to die”.’

ANNE RICHARDSON There’s plenty more PLASTIC in the Sea ‘Being brought up on the west coast of Scotland means I’ve always had a love for the sea, therefore it’s only natural that it appears regularly in my work. With COP26 being held in Glasgow in 2021, it made me think about how we are affecting the sea. Research shows we are at a point where there is almost more plastic in the sea than fish. On one side of the medal are shown only fish, and on the other one fish and a lot of bottles.’

CLAIRE ZIMMERMAN Decadence ‘The word “decadence” encapsulates two seemingly opposing yet deeply linked ideas: luxury and decline. Consumer capitalism and material accumulation have a dark underside, which is eating away at our planet; it is this duality that this medal portrays. On one side, bright, shining facets take the form of a gemstone; the other depicts the stepped decline of one of the pit mines that would produce such stones. Luxury and decline are inextricable. As we build up material wealth, we strip away the enduring prosperity, beauty and life of our planet.’

TABITHA WEIR Death and Silence ‘There is a recording of the song of the last O’o bird, singing his haunting song, and then silence, as there is no other bird left to respond. That moment captures the grief my generation feels because of climate change, deeply sad and deeply angry. The medal depicts the last bird, a nest, and is in the shape of an egg, a symbol of life and hope, and there is still something left to fight for.’

FAITH WYLIE No Going Back ‘The thing I took away from COP26 was the urgency for our actions to change. We must move forward with a positive outlook and all do our bit to help the planet. I wanted to make a medal that looked dramatic, to grab people’s attention and be able to get the message straightaway. No going back is a clear message that we have to do better.’ CITY OF GLASGOW COLLEGE

GLASGOW KELVIN COLLEGE DEPARTMENT OF JEWELLERY LECTURER KATHLEEN DUNCAN TECHNICIAN IAIN BAIRD

SARA BROWN Fly Tipping is Litter-ly Global ‘I live in the central belt of Scotland and like many areas globally we have an issue with fly tipping and littering. It makes me so angry with society that the problem continues. My local community has taken action to clean up our area, with litter picking and notifying the council of larger items. This medal is a call for action! If every local community across the world cleans their area and educates the community then maybe we can save our world, instead of relying on corrupt governments and money-hungry organisations to solve the problem for us.’

KERRI-LEE MURRAY Behind the Mask ‘My medal is about mental health and well-being. Especially since covid I feel it has become even more important to be aware of mental health. My medal represents the idea that everyone has something going on. The gears and cogs portray the different types of illnesses; the mask of half a face is to show the face we all try to put on, especially as social media is becoming bigger. People hide how they are doing more. It is important to include everyone, so I have included Braille on the back.’ Prize Winner

JAKUB ODOSZEWSKI

HOPE (brass) ‘The scattered letters symbolise the mess, problems and chaos that 52

THE STUDENT WORK

Prize Winner JAKUB ODOSZEWSKI HOPE (brass), 80×60mm ×20mm thick The Ditchling prize is awarded for the use of lettering, in which the theme of the medal and the lettering are integrated to create an inseparable whole. The scrambled letters do include the word ‘hope’, but, as in life, it is something one must discover and focus on. Once found, hope can lead to a new perspective, finding solutions to problems. Indeed, the medal itself provides several perspectives, as one can read its surfaces, and at the same time, see through to the other side.

GLASGOW KELVIN COLLEGE

sometimes rule our lives. Overwhelmed with everyday problems, big and small, sometimes we cannot see hope for a better life. When we do not see hope, we do not try to change our lives. Sometimes it is enough to look at chaos from a different perspective, to look at your life more carefully and from a different angle to see these hopes. Hope changes a lot and gives strength to act. Therefore, among the letters, there are also those that make up the word “HOPE”. The letters are not in order, some are the other way; it is not easy to see hope, but you must try, and you will see it in your life. I designed the project in a Rhino CAD 7 print, with 3D printer and cast it in brass. I chose letters because I like defined and simple forms and letters are like that. Besides, I decided that I wanted to do something different, new. Following in people’s footsteps I can go where they are, but when I go my own way I can go further.’ Winner of the Ditchling Prize for Lettering. The medal is shown on page 53.

THE STUDENT WORK

THE GLASGOW SCHOOL OF ART SILVERSMITHING & JEWELLERY DEPARTMENT HEAD OF DEPARTMENT ANNA GORDON LECTURER, PROJECT TEACHER MARIANNE ANDERSON CASTING NIGEL MUNRO

JAMES ARKWRIGHT

KYLE FERGUSON

He Was Not in the Abyss, But He Could Still See It

Dodomeki ‘The medal is based on the story of the Japanese Spirit (yokai) called Dodomeki. The story is meant to convey what would happen to you if you stole money in those times. Children were told they would become bewitched and grow crow’s eyes all over their body for how many coins they stole, the hole in the coins representing the eye of a crow. To design the piece I imagined one side being the Japanese coin, and the other side to have lots of eyes and hands, looking and reaching for the coin. I chose this story because it came from a book I used to read, but did not know the link to Dodomeki.’

‘My medal draws upon a quote from E.M. Forster’s “Howard’s End”, and chronicles the idea of being on the edge of “the Abyss”. The character exists on a circular disc, and while on a surface level it may seem like he is a stable participant in society, he is only one misstep away from teetering over the tapered edge, which separates him from complete social estrangement. It illustrates that behind every corporate man there exists a primal fear of destitution and estrangement.’

EMILIA JANE BELDERBOS

OLIVIA FORREST

Leaving Home ‘This medal is based on leaving home, when I went to university and thought about the different emotions. One side was inspired by feeling lost and alone, suggesting being confused and sad, a girl lost in a forest, the path unclear. The other side shows the excitement of moving away, having fun, making new friends, and having a clear path, with the forest in the background. The path drawn has been inspired by a cityscape because I moved to a city. This side shows the positives of moving away.’

NATASHA BIESEK

Fragile Stems of the Mind ‘My medal focuses on the complexities within our minds. Though our thoughts can be beautiful, meaningful, wonderfully strange at times, there also comes a wildly overwhelming feeling of chaos, business, disorder, confusion. I wanted my medal to reflect and comment visually on both of these elements, but in a way that relates them as one continuous movement and transition of feelings. One side is soft, delicate, while the other is sharp, confusing. It is important to understand that the representations of feelings on both sides are valid.’

Order and Chaos

TORQUIL GORDON

‘I focused on the idea of order and chaos, to show that nature has both organisation and order and also an unpredictable, chaotic side. The succulent (on the obverse) suggests order and repetition; the reverse depicts storm clouds and a lightning strike, to convey the unpredictability of nature. The finished medal has taken on an oxidised pattern which I think adds to the theme of chaos and unpredictability.’

‘After COP26 taking place in Glasgow, I was inspired to create a medal around an environmental issue, and one I have always felt a strong attachment to concerns the environmental impact (poaching and habitat loss) of humans on elephants. One side envisions a world where elephants are extinct, and our only evidence of them living is through fossils. The title

Elephants Never Forget

GLASGOW KELVIN COLLEGE / THE GLASGOW SCHOOL OF ART

suggests that elephants are unforgiving of what we have done and will never forget. The reverse shows the intricate texture of an elephant’s skin, a texture not many people will ever feel.’ Prize Winner

IMOGEN HALES

Break the Ice, Breathe ‘The medal celebrates cold water swimming, a pastime whose popularity has grown exponentially over the last few years. The virtues of cold water have long been extolled by swimming enthusiasts and in several recent studies medical researchers have found themselves in agreement. In addition to the benefits to physical and mental wellbeing, cold water swimming can also strengthen our relationship with the natural world. The obverse of the medal depicts a crouching figure, hemmed in by the medal’s border. She is breaking a hole in the ice with an ice axe in preparation for swimming. The reverse side shows the same figure mid-swim, now situated within the landscape and attuned to her surroundings. The shape of the medal references the smooth skipping stones often found along coastal shorelines or the edges of lakes and reservoirs.’ Winner of the ‘Cutting Edge’ Prize, presented by the Worshipful Company of Cutlers.

BETHANY HANNAH Make Earth Bloom Again ‘My medal was inspired by COP26 in Glasgow. I carved the globe into the wax on one side and formed small wax flowers on the other side of the medal. Both sides contrast, as the side 56

THE STUDENT WORK

Prize Winner IMOGEN HALES Break the Ice, Breathe, 66x69mm Prize awarded by the Worshipful Company of Cutlers, for a ‘cutting edge’ medal, which this year has a literal connotation, as the kneeling figure on the obverse is wielding an ice axe to cut through the ice, highly suitable for a Livery Company known for its association with knives. It is a medal that makes good use of both sides to capture a figure in action, very much alive and determined, set against a natural landscape. The jacket and bobble hat add to the sense of chill, as does the glacial blue patination.

with the globe has been painted with antiquing fluid to colour the bronze black, which represents the decaying of the earth and the limited time we have left to fix it. The flowers represent earth’s innocence and vulnerability, as well as hope for our future.’

KAREN HANNIGAN Skim ‘I have fond memories of skimming stones with my dad on family holidays, finding that perfect pebble to create the most ripples, the feel of the stone in your hand. “I alone cannot change the world, but I can cast a stone across the water to create many ripples.” This quotation by Mother Theresa led me to consider creating a positive message, to recreate the feeling I had all those years ago. I don’t know if it was the reference to “casting” our medals, or the idea that small actions can make a difference, but the quote resonated with me.’

SIRI HANSEN Time to Open Our Eyes ‘Initially I wanted to make the medal as a praise to nature, but when thinking about that I just thought about how we are throwing all of that away by ruining our planet. Therefore, I chose to design one side with the planet melting away and the other side with a person with their hand in front of their eyes saying, “time to open our eyes”. I really enjoyed the process of making this piece, working with carving in wax, and it really opened my eyes to it. I mainly focused on what felt nice in the hand when I held it.’ THE GLASGOW SCHOOL OF ART

WOJCIECH LINDE-APANOWICZ

MILITSA MILENKOVA

Epiphany

I’m Fine

‘There comes a moment in life A glimpse of understanding Realisation of memories unknown Buried in comforts of electric agitation Our own shadows hidden, invisible to us Dormant and anaesthetic life dissolves in the light of eternity.’

‘The medal comments on mental health, and more specifically depression. People suffering from this disorder usually keep all their negative thoughts and bad feelings to themselves, resulting on them building up the inside. At the same time they are forced by society to put on a good face and pretend to be fine in order to fit in and avoid being labelled as mentally ill. The layered texture on the front portrays this building up of bad feelings; and the back is highly polished to represent the perfect image.’

LINDSAY A. MAHOOD What Next? ‘How will we be judged if our history books are all that’s left behind. What would a stranger think reading them in 1000 years’ time, did humanity destroy itself ? Could we have done more to save ourselves and the planet? We have a glimmer of hope left, and this is represented by the small area that has high shine polish on the future of humanity page of the medal. The gradual patination that peaks on the vanishing page shows where we are heading just now; the future of humanity does not look good. The medal is also about humanity’s character.’

MISHA MCLEAN Home Safe? ‘A medal for arriving home safe; the title asks the question commonly put to women and people of other marginalised identities. I wanted to make an art medal highlighting how habitual this question has become. The sarcastic tone highlights how ridiculous it is that we have to celebrate a safe journey home. On the reverse are the words, “well done”. The number “97%” is a reference to the survey that found that 97% of women had experienced sexual harassment. This social issue is not new and has affected many generations.’ 58

THE STUDENT WORK

ARCHIE WAIN Future Currencies ‘In this piece, on the reverse, I wanted to show how when the government hyperinflates more money in their country the currency decreases in value, which we can see has happened through history. On the front I wanted to show how these cryptocurrencies could be a new way to make payments and be our future currencies. I tried to make it look as if these currencies were popping out of the ground, as over the last couple of years they have had major traction around the world.’

THE GOLDSMITHS’ CENTRE COLLEGE

SOPHIE WELCH H.O.P.E. : Hold on, Pain Ends

HEAD OF DEPARTMENT CHRIS OLVER FOUNDATION PROGRAMME COURSE LEADER LILI CAPELLE CASTING WEST 1 CASTINGS LTD

‘I designed this medal so that it represents me and my internal struggles. Over the years I have found it difficult to be myself, whether that be as a result of bullying, self-confidence issues or external events that have had a deep impact on me. The sunrise/sunset on the obverse displays that even though every day is different, there are still constants and there can be beautiful parts of every day. The rope around the edge represents my struggle with dark thoughts and the loss of someone I looked up to. The rose on the reverse symbolises me, as rose is part of my name. The leaves on the stem fold inwards, as if to “hug” the medal, and nods to me trying to embrace my past; the vine entwining with the loose ends – being the unwritten future – represents being in control of my future.’

THE GLASGOW SCHOOL OF ART / THE GOLDSMITHS’ CENTRE COLLEGE

LEEDS ARTS UNIVERSITY DEPARTMENT OF FINE ART COURSE LEADER KELLY CUMBERLAND LECTURER IN FINE ART, PROJECT LEADER LIADIN COOKE FINE ART INSTRUCTOR, PROJECT JOANNE HALL 3D INSTRUCTORS, PROJECT SHAUN WEST, YVONNE BAINES FOUNDRY G W LUNT

HANNAH ARCHER Hook, Line and Sinker ‘This medal is a statement on environmentalism and how we humans have impacted the life in our seas. While one side remains realistic, showing damaged scales, scrapes and scratches, the other explores the abundance of plastic waste found inside sea creatures, mostly from litter ending up in our oceans. The medal also talks about the impact the fishing industry has on our environment, showing a hook through the eye.’ This medal received a Merit.

ELLIOT BIRT Black Gold, Fool’s Gold ‘I’m currently looking into the lack of ecological diversity in our cities and countryside. The topic of my medal is climate change. On one side is petroleum, which is sometimes referred to as “black gold” because of its value, and on the other side is a cast of the mineral known as “fool’s gold”. My medal is highlighting this ironical relationship between oil’s supposed value and the folly of this value.’ This medal received a Merit.

LOANE BOBILLIER Untitled ‘The words “we go from box to box” can be seen on one side of the medal; this plays with the concept that as a society we tend to ignore spending time looking at the importance of nature, creating memories in the outdoors and valuing ourselves over money. The medal is a reminder to take time to live and enjoy the little things in life outside of our usual routine set out by society.’

THE STUDENT WORK

ZARA BROWNE-GILBERT

TIA DUNN

A Handful of Memories

Scared Headless

‘The primary theme of this medal is landscape, where I am. I want to look at landscape and place through different processes and materials, with the transitional pliability of place imbuing the aesthetics of place into the sculptural surface of the medal. One side depicts a pastoral landscape; on the reverse is a flowing sky. I explored different levels of surface texture, using a central hole to suggest the flow of nature.’

‘Thematically, my medal sits alongside key themes in my work about animal welfare. It is also a reflection on the idea of society disassociating itself from the realities of animal treatment in the meat industries, and animal treatment has been a major focus of my work recently. On one side is a lion’s head, a creature known for pride and strength. However, on the other side is a hook, making it clear that this lion has been poached for human satisfaction, a tasteless decoration on someone’s wall.’ This medal received a Merit.

ADAM DAWSON Phoenix Faggot ‘My medal focuses on the process of transition as it relates to transgender experience. The medal shape is based on the gender symbol for transness with a figure on each side. One side depicts the emotions pre transition, with a sense of feeling trapped; the other side represents post transition experiences: confidence in your own skin and expression, happiness and comfort at being truly at peace with who you are.’

MAGDALINE DUNN Untitled ‘The concept behind my medal is about illuminating the loss of humanity’s connection to nature and is related to my current studio work, which is focused around the Anthropocene and the effect humans have on the natural world. Side one is representative of the golden ratio, here depicted by a nautilus shell. Side two represents societies’ disconnection from the real world, a human figure in foetal position, surrounded by darkness, in isolation. We need to reconnect with the authentic world we live in.’

KATIE GREENSILL Yummy ‘My medal represents the craving and the temptation to eat chocolate. The medal was made to look like a piece of chocolate, with the text taunting the viewer with bitemarks in it. I took a bite from the clay to create the bite marks. I wanted to do this to add a personal element to the piece and to acknowledge years of struggling and fighting the urge to binge on sweet treats. I loved making this medal, however I found it challenging to make the text in a casual way and get the bitemarks to show an accurate teeth pattern.’

LILY HALL Everlasting ‘The medal was made to be a universal memento. It is about remembering those we’ve lost and things we no longer have and is a celebration of the memories we hold dear of them. A flame is ephemeral and its essence lives on in the embers, in the tendrils of smoke. I work with themes surrounding temporality and memory, creating portraits with still, sombre atmospheres. I’ve enjoyed the many processes leading up to the finished medal.’ LEEDS ARTS UNIVERSITY

BEA KENNELLY

GABRIEL ROMAN

Hard Boiled

The Emergence of Self

‘My medal design addresses the theme of global warming and the climate emergency. it uses the egg as a metaphor for the earth, crust:shell, mantle:white, core:yolk, symbolising strength and fragility. The reflective convex surface of my design has 1.5 on it, a reference to the 2015 Paris climate agreement where the limit of 1.5 degrees above pre-industrial levels was set in order to reduce the risks of the impact of climate change. The other side of the medal has the earth in place of the egg yolk.’

‘The “Emergence of Self ” is rooted in the philosophic idea found in Buddhism that there is no self, and what we call individuality is but a series of specific conditions. These conditions are represented here through all the people who shaped my life from parents to even people passing me on the street. The project helped me expand my area of artistic practice and allowed me to explore mediums I had never tried before. It offered me more than just skills, to develop endurance and perseverance.’

ZOE MAXWELL No Win ‘I chose the theme of climate crisis as it is similar to other areas of my work, which looks at consumerism and materialism as a focus for my paintings. However, the medal looks more at the negative environmental impacts caused by modern society. One side features the oil spill in the Gulf of Mexico that caused a fire in the ocean. For the other side, I chose to wrap the fire around to represent the warming of the ocean, which in turn melts the ice caps.’

MIRANDA MELBOURNE Cross Section ‘This medal shows a cross section of part of my brain and hips from scans, an intimate and very exposing view of me. My brain is my individual thoughts, my hips support my body and have the potential to create new life. Forever connected, the work is brain to body, body to brain. Perhaps the most exposing part of the work is my birth control that was surprisingly visible on the scan. It shows it as a choice of the individual, providing a hint of identity.’ 62

THE STUDENT WORK

FRANCES TABBERNOR The Sea is Rising ‘I am an artist whose practice has become linked to the environment. My recent work focuses on human interventions controlling nature, and increasingly upon sea defences. I am fascinated by the lost wax process, with its many exacting stages. One side of the medal is an aerial view of waves breaking on the groynes, the other calmer waves reaching towards the text. The sides take a rippling shape. I like the statement, “the sea is rising and so should we”, as a call to join the cause.’

HOLLIE WILSON I Speak 52 Hertz Too ‘This is a medal exploring loneliness in children, particularly looking at the struggle some children have with communicating verbally. The work has a whale entering through a mouth, coming out on the reverse, symbolic of the 52 Hertz whale which communicates on a higher frequency to all other whales, making it the loneliest of its kind. This relates to the isolation a child feels when not being able to conform to the expectations of society, and the medal itself is symbolic of the strength needed by a child who has been marginalised.’

NORWICH UNIVERSITY OF THE ARTS

ULRIKE BEHRENDT No Way Out

FINE ART HEAD OF DEPARTMENT CARL ROWE SENIOR LECTURER (SCULPTURE, MA FINE ART) HEAD PROJECT LEADER DESMOND BRETT FOUNDRY AT NUA, TECHNICAL STAFF JAMES CASTLE, STEPHEN BASSETT, JAMES BURKILL

‘How does it feel when we are lost? From close up it might seem that all options are open. Zooming out shows that there are places to go, paths to explore but ultimately one is trapped. This maze could be a literal one, or the endless paths our thoughts explore when desperation or depression befalls us. But then again, how much freedom do we need? I enjoyed the challenge to “cast an idea”, and making a sketch became a form.’

JO BELLAMY (DUNLOP) Between Borders ‘My practice is mainly concerned with ideas and concepts of home, particularly in situations where we are displaced by events or circumstances beyond our control, such as the need to seek safety and security in a new place. The imagery and rhetoric around the plight of migrants and refugees has become poisoned in recent times; we have lost touch with the aims enshrined in the UNHCR Universal Declaration of Human Rights. The recent UK bills and tactics of pushback at sea indicate a loss of empathy for the displaced.’ This medal received a Merit.

CATHERINE BLYDENSTEIN Timepiece ‘My mother was a young medical student when this likeness of her was captured on camera. It was digitised, projected on to plywood coated with photo screen emulsion, rendered as shallow relief on wood, which formed the basis for transferring the fragile image through a series of castings. It survived the odds, with the woodgrain still visible through to the LEEDS ARTS UNIVERSITY / NORWICH UNIVERSITY OF THE ARTS

finished medal. I feel the medal resembles an excavated object, one showing signs of significant age and deterioration. The face emerges indistinct, enigmatic. This in a way relates to the last years of my mother’s life; she died during the pandemic.’

CARL DURBAN Don’t Shut Me Out ‘As part of my investigation into nonverbal communication, where I have experimented with Braille, Morse Code, Sonar and other forms of coded language, I wanted to explore how I could make a three-dimensional object that depicted two of the primary senses for recipients of communication, sight and sound. Both of these senses are incorporated: an ear and an eye. By holding the medal in one hand you are closing the sense on the reverse.’

CLARE GREGORY Endometrioma ‘I wanted to think of a way my medal could fit into my current practice, which is exploring my experiences with being chronically ill. With my medal design I have based it off an endometrioma, a cyst attached to an ovary, since removed by laparoscopic surgery. The front of the design curves out to show its spherical shape; on the reverse I have included the yellow ribbon, which is a way of raising awareness for endometriosis.’

LIV HOPE A Faery Favour ‘Fungi, the oldest and largest species, widely forgotten or overlooked, yet we share 50% of our DNA with it. Mycelium, the bacterial 64

THE STUDENT WORK

colony that fruits mushrooms, is a wide network in the soil that shares information and resources with connected trees and fauna. The mycelium itself is largely invisible, until amorphous mushrooms appear in the thicket. This life cycle serves to digest decaying matter among the forest, a sign of regeneration. There is folklore about it, faery rings, forests and mushrooms, and dangers of eating unknown varieties.’

ROSEMARY ISSITT Though I Carry You With Me, You Are Not Heavy ‘This piece pays tribute to the dualities found in grief, of love and loss, pain and joy, despair and laughter. The surface behind is impressed with rosemary, a plant of remembrance. These symbols of simple beauty and impermanence mark as homage to the power death has as a major role in every life, affecting and shaping us and our relationships with the world. The human lungs reflect on our symbiosis with nature, in the act of breathing we feed nature, and nature in turn feeds us.’

MAREK JOSEF JECZALIK Autumn’s Echo (with magnet) ‘It is a bronze interpretation of a pyritized “strung” conker, clasped together with internal magnets. Somewhere within the darkness of a museum archive lies a longforgotten relic. The aged plaque gives scant detail of the curious contents captured in this miniature monolith. It cannot speak of the treasure it has cradled for so very long. The verity that this was once a profoundly precious possession, one that elevated a child into a champion, one perfect autumn, is now lost to time – like tears in rain.’

LAUREN RICHEDA Familiar Ambiguity ‘The medal is a visual and tactile representation of familiarity in ambiguity regarding natural forms. Inspired by Gilles Deleuze’s theory of Difference and Repetition, the medal communicates the essence of individualised repetition through abstract organic matter. Bronze offers a permanence to an otherwise ever shifting natural structure. The understated yet abstract body further represents the familiar ambiguity of the object.’

BRAD RUMBLE Unit/y and One/ness ‘This medal represents the symbiosis of radically different belief systems, from East to West, old and new, polytheistic, atheistic and monotheistic, in a world divided. It focuses on the parallels between many spiritual beliefs in combination with scientific subjects such as neuroscience and technology in an attempt to bridge the gap by these opposing forces. The dimensions of the design use elements of the Fibonacci sequence, or the golden ratio.’

ROBYN WEST Eucalyptus – An Australian Icon ‘The eucalyptus, or “gum tree”, is an icon of my country of birth, a prominent part of the landscape and woven into the national psyche for both its beauty and ever-present threat of bush fires. Eucalypts play an important role in many aspects of life, from farming to climate to culture. The scent of Eucalypts is the first thing to greet me on arrival. Leaves and gumnuts were challenging to make on the medal, patinated so the leaves stand out.’ NORWICH UNIVERSITY OF THE ARTS

TWO APPRECIATIVE VIEWS YAY-AN DAVIES & LISSY SOPHIE OSSIG Yay-an Davies and Lissy Sophie Ossig each made prize-winning medals that focus on the loss of animal diversity caused by human intervention, whether by carelessness or deliberate violation of the natural world or human greed. YAY-AN ON LISSY’S ‘EXTINCTION’:

‘Both Lissy’s and my medal depict specific species threatened with extinction. These individual statements echo the countless species that are in the same situation. We need seriously to alter the way we interact with our environment. While it is too late for the Northern White Rhino, it is not so for the Amur leopard. This is a beautiful medal, and the depiction of fire is difficult, so it is lovely to see it displayed so well. It also gives the medal a unique overall shape, with the way it curves and reaches to the points of the flames. Putting the flames in the foreground has given the image real depth. There is a lot of movement in the leopard, running out of the medal, trying to escape the flames. In the same way, this species is trying to escape extinction. I also admire 66

BAMS—STUDENT MEDAL PROJECT XXIXI 2022

the patterning on the leopard, as it helps to distinguish it from the other big cats. The reverse of the medal shows the reason for the fire, the hand of humans that “drops the burning match that sets alight the habitat for animals”. This image instantly completes the narrative, explaining the fire. It is a benevolent human hand that has made the medal, helping to bring the matter of these threatened leopards to our attention.’ See page 79. LISSY ON YAY-AN’S ‘GOODBYE NORTHERN WHITE RHINO’:

‘I am very impressed by Yay-an’s medal. He has created a fascinating interplay of similarities and contrasts between the two sides. On both sides the rhino is the same size, depicted from the same angle, making it clear that it is the same individual. The one horn belongs to both rhinos at the same time. Its important position refers to the ivory trade. The contrast is evident immediately, for on one side you can see the rhino full of life; there is even some grass and in the background, you can see a little sun and two clouds. The viewer’s attention, though, is directed towards the rhino. The other side is the exact opposite. Here, the patination is darker, there is no background at all. The sole focus is on the skeleton of the rhino, which almost seems to shine in the darkness. There is only death to be found here. This is very sad to see. This image transports exactly what it means when a species goes extinct. It somehow makes me think of dinosaur fossils, and mass animal extinction. That is happening now, which is why it is important to bring attention to these matters. The medal of Yay-an stands as a kind of memorial to the Northern White Rhino, but it also tells us that maybe we can keep from having to make memorials to other species. This can be achieved.’ See page 40. SIMILAR TOPIC: TWO APPRECIATIVE VIEWS

PLYMOUTH COLLEGE OF ART 3D DESIGN CRAFTS, CRAFT AND MATERIALS PRACTICES SUBJECT LECTURER AND SUBJECT LEADER GAYLE MATTHIAS CASTING DEVON METALCRAFTS LTD

DONNA BROWN Let’s Talk ‘The various discussions and talks around climate change got me thinking about situations where I have difficult or important decisions to make and how I deal with them. The thing that came to mind was sitting down with my friends to talk things through...with a cup of tea. I wondered if the world leaders sat together over a cup of tea, if they would maybe have more productive negotiations. I took a humble item, the tea bag, and stitched “let’s talk” on it, as everything must start with a conversation. The back is left untidy to represent where I feel we are at with climate change.’

VANESSA MCGILL Stop FGC (Female Genital Cutting) ‘This medal has been designed to raise awareness of FGC and to highlight global human rights issues that impact girls from infancy to the age of 15. The chosen flower motif, the orchid, is a symbol of innocence, purity and fertility, as well as being the emblem of the Orchid Project, catalysing the global movement to end this cutting worldwide. It is a barbaric, harmful process, involving the full or partial removal of a girl’s genitals, on average before her 5th birthday, done without anaesthetic.’

THE STUDENT WORK

SHEFFIELD HALLAM UNIVERSITY JEWELLERY, MATERIALS & DESIGN SENIOR LECTURER, AND CASTING JEFF DURBER BA JMD COURSE LEADER NANTIA KOULIDOU CASTING, SENIOR TECHNICIAN KARL GELEF

CHARLIE EDWARDS Hutcliffe Bees ‘This medal marks the day I discovered wild bees in our local woods, while walking the dog. I had never noticed them and I wondered if they noticed passing humans. The medal is part of our first-year metal casting project, modelled in jewellers’ wax intended for lost wax casting. I decided to try casting it using the sand-casting method, casting the bee separately. After casting, text was added to the edge using a square graver.’

MATT LIN Jellyfish Have Dreams (with soldered gilding metal sheet) ‘The medal is about everyone living in the big city, facing various life pressures, holding on to their dreams and not giving up hope. The inspiration came from my years of living in China and a night conversation with my friend there. People become lonely and numb, like the jellyfish, drifting with the waves in a huge steel city ocean. But how do we know that jellyfish have no dreams? The front shows the fish-eye perspective, how a fish views things in the deep sea.’

BRANDON NYATHI Welcome to Sheffield ‘The medal is my representation of the city for a new visitor. We are fortunate to be surrounded and comforted by the freshness these beautiful trees bring. I see similarities between the city road map and the location of parks, green spaces and ponds and the branches of our trees. It was cast using the Delft sand-casting method.’

PLYMOUTH COLLEGE OF ART / SHEFFIELD HALLAM UNIVERSITY

ALEX RUSSELL

NOVA SMITH

Acherontia

Erode

‘I often look at insects as inspiration in my work but I have rarely used their image beyond initial designs. I decided my medal would be entirely about an insect I have an interest in visually. The three moths making up the genus Acherontia are easily distinguishable by the vaguely human skull shaped mark on their thorax behind the head. The shape of the moth’s back must have a purpose otherwise it would not have evolved, but only humans take any notice of its skull shape, fearing it because of superstition.’

‘The medal is my comment on the built environment and the effect of time and nature, to reveal and expose hidden details. Recently I have been casting delicate paper architectural constructions, and the making of a palm sized medal gave me the opportunity to pick out elements of this ongoing investigation to collect and bring together. The sprues from the casting process were integrated into the design, embracing the possibility of chance.’

SEVERINA ROYLE Lycaena dispar (with soldered copper sheet) ‘The medal is my commentary about the five British butterfly species that have become extinct due to habitat loss in the past 150 years, and the decline in existing butterfly species population in recent years. I made a model ready for casting by adding melted wax to the upper surfaces of a very old and disintegrating butterfly specimen, and cast this using the lost-wax method. I then added the stamped copper ring.’

LOUIS SAUNBY Hawksbill Return (with soldering gilding metal and internal LED circuit) ‘The medal is my comment about the effect the city lights have on Hawksbill turtle hatchlings. The hatchlings use moonlight to instinctively travel towards the ocean, but as the city lights are brighter they get disoriented, causing many to die crossing roads. My medal includes an LED shining through some buildings, with the dull moon on the other side.’ 70

THE STUDENT WORK

SAM TEALE Tactile Map of Sheffield ‘This is a three-dimensional map, using textures collected from all over the city. The map also outlines the seven hills of Sheffield and has the five rivers etched into it, hidden within the texture. I was inspired by, and created it for, a younger family member who lost their sight by the age of 15. I communicate with people visually as a creative, so I wanted to create a medal that focuses more on the sense of touch, to find a way to show them what Sheffield feels like.’

SWANSEA COLLEGE OF ART UNIVERSITY OF WALES TRINITY ST DAVID BA DESIGN CRAFTS LECTURER, PROJECT TUTOR ANNA LEWIS TECHNICAL SUPPORT COLIN TELFORD FOUNDRY IRENE GUNSTON CASTING

MOLLY ASHTON Fragility of Nature ‘I am interested in drawing and creating work inspired by nature. Exploring these forms has let me appreciate the delicate and intricate patterns that occur naturally. This medal celebrates nature with the bronze symbolising its strength, and the petals its fragility. I have recently created a piece of jewellery, using glass that has been cast to look like small petals, in a similar form to the medal.’ This medal received a Merit.

BETHANY CORAM Kingdom of Fungi ‘I wanted to bring to light the importance that fungi have in the ecosystem. Fungus can store 50–70% of a forest floor carbon, which helps prevent global warming. Since the initial reaction to seeing fungus can be disgust, I wanted to abstract fungus/mushroom forms and turn them into a medal since they are so important to the ecosystem.’

CARWYN LLEWELLYN Alien Artifact ‘Influenced by a series of abstracted alien collage work, I began to draw elements of non-shapes from 2D imagery, and actualised them into the 3D realm through the use of bronze. Thus the foundations of the medal are based on these working pieces. My goal was to highlight them throughout the medal, and have the piece spark creative thought and lend itself to multiple interpretation.’

SHEFFIELD HALLAM UNIVERSITY / SWANSEA COLLEGE OF ART

KATE SCALE Inclusion ‘The medal was originally made from a glass disc, which I had sandblasted a design on to, and it was then used to make a mould to produce a wax copy, ready for casting into bronze. The medal represents paths through life meeting and intertwining with each other and continuing on their way. Acceptance and inclusion are important to me as a maker and are the foundation of my current work in ceramics.’

PAULA DIANE WILSON Be the Change ‘The Earthshot Prize was inspired by Moonshot, launched in 2020, with goals to restore and protect nature. This inspired my medal design, where one side represents earth’s oceans, the other represents the Sea of Tranquility (the site of the first landing on the moon). The edges are highly polished, not only to represent the reflective qualities of water but also our opportunity to reflect on our treatment of our planet, before it’s too late.’

THE STUDENT WORK

TRURO & PENWITH COLLEGE DEPARTMENT HEAD PROGRAMME LEADER, BA SILVERSMITHING AND JEWELLERY MARTIN PAGE FOUNDRY DEVON METALCRAFTS LTD

KERRA DAVIES Kernow, ow thre (Cornwall, my home) ‘This medal is a response to the Cornwall housing crisis, and the marginalisation of the Cornish people. In 2014, the Cornish were designated as a protected national minority. However, greed from outside is rapidly eroding this way of life with its rich cultural history, and turning Cornwall into a playground for the wealthy. The key shape of the medal has two meanings: it demonstrates how integral Cornwall is to its people; at the same time it could be a tourist souvenir. Using the coastline as the teeth of the key shows it is the key to an important way of life.’

SWANSEA COLLEGE OF ART / TRURO & PENWITH COLLEGE

WEST DEAN COLLEGE OF ARTS & CONSERVATION LEADER/MEDAL PROJECT TUTOR GRANT MCCAIG

FINN BANWELL Passion & Emotion ‘Football is associated with passion, emotion, excitement and dedication across Europe. The idea for this medal came about when watching my football team, Leeds United; a huge number of emotions are experienced. These emotions are displayed in an outburst of passion, and the physical display of these is always a clenched fist. This is what my medal is based upon. It is in two parts, and when held together they fit into my clenched fist, the two surfaces suggesting either positive or negative emotions.’ Prize Winner

ELIZA SMITH

Save Our Seeds ‘A love of storytelling and a keen eye for detail and decorative surfaces led to my medal, Save Our Seeds, a reminder that the past can offer much in the way of addressing our current issues around climate and environment. This quiet medal should offer a meditation on what it is to be human, which for me is embodied in the stitch. The simple act of stitching, pulling two surfaces or edges together, is an act that is both about the here and now and yet connects us to generations separated by hundreds of years. This medal should, like the stitch, connect us to the past. The ploughman: ancient, symbolic connection to the land, in harmony with the seasons, the soil beneath their feet. The gatekeepers that we now must become. The slowness 74

THE STUDENT WORK

Prize Winner ELIZA SMITH Save Our Seeds, 64x64mm Prize presented by the Worshipful Company of Tin Plate Workers alias Wire Workers, who, in addition to this prize, will purchase or sponsor the casting of the medal to add to their collection of winning medals. Here is a small, detailed medal that engages in story-telling. With an excellent perspective, emphasised by ploughlines, a pastoral scene on the obverse depicts traditional skills; the reverse changes scale, and celebrates another skill, that of knitting. To emphasise the importance of keeping in sight and mind the achievements of our past, the edge itself is stitched, until the whole takes on the essence of a talisman, a reminder of previous values that imbue our present.

WEST DEAN COLLEGE OF ARTS & CONSERVATION

of a furrowed field is mirrored in the tradition of knitting and embroidery. To save seeds is to care for the future, when a seedling first meets the sun it is a reminder of the most rudimentary of human needs and connects us to a rich tapestry of environmental traditions.’ Prize presented by the Worshipful Company of Tin Plate Workers alias Wire Workers. The medal is shown on page 75.

THE GUEST ACADEMY

PFORZHEIM UNIVERSITY Each year an art college outside the British Isles is invited to participate in the Student Medal Project, both students and teachers. This year BAMS has included students from Pforzheim University, where there is a long tradition of excellence in metal work.

DESIGN PF, BA JEWELLERY PROFESSOR ANDREAS GUT TECHNICIANS THOMAS LEICHT STEPHANIE HENSLE CASTING KALMAN HAFNER CASTING PFORZHEIM

THE STUDENT WORK

ELVEDA BAYRAK Insects ‘The inspiration for my medal are the insects. On one side you can see a fly on a finger. On the other you can see a butterfly sitting on a turd. With this medal I want to show that people associate a butterfly with beauty and a fly with disgusting things.’

CHRISTINA BUCHNER State of Being ‘We all find ourselves in the same situation. We have a longing for unity; a longing which cannot be fulfilled as we would wish: touching, we want to touch each other; feeling, we want to feel each other; being, because that is the way we are.’

CHARLIZE FELTEN Vulnerability ‘Vulnerability: the vulnerability and the fascinating inside of the human body. Vulnerability makes a person special and valuable. As a result, these people are perceived as particularly authentic because they show who they really are. The medal shows both an inner and an outer side.’

MIRA KIM The Winners ‘To be awarded a medal requires effort. The one awarded does not work alone. The cooperation and the hard work of many people are essential. In this sense, this medal captures the image, through its reflection, of everyone who took part, cheered on, and celebrated what it commemorates.’

Prize Winner

LEO LANGER

Peace is Under-funded ‘This medal is meant to question excessive military expenditure and is an appeal to redirect such funds to more meaningful alternatives such as education, environmental protection, combating global economic inequality, etc. In view of the ongoing Russia-Ukraine crisis, if we are serious about fostering peace, we have to start considering using non-violent methods to address the sources of conflicts. Politics and Peace and Conflict Studies have always been topics of interest for me. Now, in the faculty of arts, peace and politics are still incorporated in my works. Specifically, nuclear weapons and their continued existence constitute a major security risk. Conflicts can’t be adequately or appropriately solved by military force, as the devastating result and exorbitant cost of other military operations have shown. The front of the medal depicts money flying out of nuclear rockets, and transforming into toilet paper rolls, as depicted on the reverse of the medal. The mushroom cloud is chosen as a symbol of extreme human suffering and longterm destruction which force of arms bring about. Instead of showing the usual scenes of destruction, I wanted to create a scene on the reverse viewing the impact from an economic perspective. The $1.96 trillion dollars was the total global military expenditure in 2021, seen being flushed down the toilet as a symbol of extravagant wastefulness.’ Winner of the ‘Herbie’ Prize for an excellent political statement. The medal is shown on page 78.

THE GUEST ACADEMY — PFORZHEIM UNIVERSITY

THE STUDENT WORK

Prize Winner LEO LANGER Peace is Under-funded, 76mm Awarded the ‘Herbie’ Prize for a medal that engages with contemporary political or social issues. The narrative here is created by contrasting imagery: the obverse is textured, both dark and polished, to accentuate the explosion and missiles; the reverse is smooth and polished, on a smaller, specific, scale, carrying the narrative over the edge and back through to the other side. The title appears in a form of graffiti on the wall. A political medal of prescience.

VIVIAN MANZARDO L’essential est invisible pour les yeux ‘The medal is a tribute to the French author A. de Saint-Exupéry, and his oeuvre “The Little Prince”. The book has accompanied me since my childhood and has taught me many things: the value of friendship and love, the importance of not always trusting what your eyes tell you because they can be fooled by appearances. One side of my medal shows the asteroid-home of the Little Prince; the other shows the curled up fox. The size makes it fit easily into the hand.’

HANNAH OFFERMANN Bees ‘Due to human intervention in nature and the use of pesticides, more and more insects are dying. As a result, trees in China had to be pollinated by human hands because the bees’ habitat was destroyed. Humans should value bees more and preserve their habitat, and thus also our own food sources. On one side of the medal you see a human being pollinating flowers, and on the other you can see the bee being very close to the human, sitting right on their face.’ Prize Winner

LISSY SOPHIE OSSIG

Extinction ‘The theme of my medal is the looming extinction of the Amur leopard. This is an important issue and does not get enough attention. This is very straightforward. However, this particular species is but one of the casualties of our inconsiderate and destructive human lifestyle. One of the main threats to these animals are wildfires, caused by humans, sometimes deliberately, GUEST ACADEMY — PFORZHEIM UNIVERSITY

one example being illegal logging. Farmers burn their fields and it can get out of control. But most importantly, we humans cause climate change. Therefore, you can say that in all cases we really drop the match that starts the inferno. This is what is shown on the reverse of the medal. You will notice that my medal is not round, as I wanted to make the edge part of the image and something to connect the two sides. On the obverse, I wanted to create something meaningful that speaks to all of us, maybe touches our hearts and gets us to act. So, in the process, I focused hard on the facial expression and body language of the little leopard. Then I carefully considered how to compose the other side, to address not just one cause but should also not be too vague. It should relate to us and the people who actually drop that burning match.’ Winner of the ‘Best Guest’ Prize, from the invited foreign academy, awarded by Pangolin Editions.

VALERIA FERNANDEZ RESTREPO Hidden Wonders and the Pursuit of Joy ‘There is a certain magic in the way that children see the world. In every corner lies a new discovery. The smallest events can be a catalyst for change in our state of being, new places, new experiences. As a child, I searched for these new worlds inside the pages of books, and my medal shows a scene from one of my favourites, “The Secret Garden”. 80

THE STUDENT WORK

Prize Winner LISSY SOPHIE OSSIG Extinction, 70x71mm The ‘Best Guest’ Prize, awarded each year for the most outstanding medal from the invited academy, is presented by Pangolin Editions. The excellent incorporation of the edge on this medal is both visual and tactile, depicting the damage of wildfires and at the same time creating a physical sense of danger in the hand, with writhing flames that almost encompass the threatened leopard, who appears to leap from the medal. There is a complete change of scale from one side to the other.

It is the story of a bitter, unhappy girl, who as an orphan is sent to live with her uncle. A red robin leads her to the door of a secret garden, and my medal captures the wonder of the moments when she enters this beautiful new world, a gem of nature, a magical place, which changes her life.’ This medal received a Merit.

MAGDALENA SCHIESSER Pressure Stress Tension ‘I think everyone is tense in one way or another. It can be caused by your job, sport or physical or mental health. If we don’t find a balance between tension and relaxation, there is just pressure, stress and tension. The two sides of my medal make you aware that you are able to do something against this imbalance. On one side the woman is under pressure; the other side can stand for the inner workings of our soul, or be associated with water and have a calming effect. Swim! It will clear your head, sort out your body and relax your back.’ This medal received a Merit.

CAI YI WANG Emotional Touching Moments ‘There are not many beautiful memories out of my childhood, therefore I want to capture every moment I remember. One day I caught a big fish with my little bare hands. He jumped up and slapped on my cheek with his tail. What he left behind was a red face and a bunch of loud laughs.’ THE GUEST ACADEMY — PFORZHEIM UNIVERSITY

FELICITAS WASNER My Body, My Choice ‘The strengthening of right-wing conservative and nationalist parties all over the world put the right of reproductive self-determination for women in danger. But with raised voices, fist up, powerful movements give hope. One side of the medal captures the strength of the fist, of women fighting for their rights; the other is a foetus, fragile and protected, like the needs of women that need to be protected.’

MEDALS BY TEACHERS AND MENTORS TO THE PROJECT

THE STUDENT WORK / MEDALS BY TEACHERS & MENTORS TO THE PROJECT

JANE BULLIVANT ASSOCIATE STAFF, DUNCAN OF JORDANSTONE COLLEGE OF ART & DESIGN Drey Days

IRENE GUNSTON GUEST LECTURER & MENTOR TO THE PROJECT She Lies in Weight

‘This medal was inspired by a family of red squirrels that live in the woodland area surrounding my home. During lockdown, I began noticing many new characteristics that I’d never seen before. Each had its own playful personality. They ran around, chasing each other, reminding me of the games of “tag” and “hide and seek”, which is what I tried to capture on the medal.’

‘The obverse has a figure lying/falling, taking up most of the round space. The words inscribed – the title – have an ominous ring to them, due to the sound of “weight” being close to “wait”. There could be a claustrophobic or relaxed interpretation to the figure. The reverse is a simple, almost childlike, rendition of fish and fronds in water; this makes one reassess the figure as one underwater (“four fathoms five thy father lies...”) where weight has different rules to that of the land.

ABIGAIL BURT GUEST LECTURER & MENTOR TO THE PROJECT

It is also possible to ascribe the phrase to that of a medal, which does lie in both Weight and in Wait for those who will pick it up.’

Holding On to the Wild (bronze with enamel paint) ‘With this medal you hold wild flowers in your hand, an intimate caress of that which is depleting steadily. There is simultaneously a joy to be taken in the beauty of vibrant flowers, and a wistful sadness for wanting to hold on to the wild which is continuously destroyed.’

FRIEDA DOERFER TECHNICIAN, PFORZHEIM UNIVERSITY Night or Day? ‘What is good and what is bad? Is negative always bad? If you win there is mostly something you lose.’

ANDI GUT PROFESSOR, PFORZHEIM UNIVERSITY Holding On ‘Let go or holding on? There is a couple struggling on their own and with each other. Are they too close or not near enough? The edges of the medal are crumbling; they are in the dark, feeling their way through their difficulties. This is a medal for everybody who is in a difficult relationship; you are not alone and you will find a way forward!’

KATE HARRISON MENTOR TO THE PROJECT Sea and Sand I ‘The medal is one of a series of medals that reflect my fascination with nature. The inspiration for it/them is based on a lifetime

of beach combing, observation of sand formations, tidal flows and sea life.’

THOMAS LEICHT WORKSHOP LEADER, PFORZHEIM UNIVERSITY Polar Bear ‘The climate disaster is going forward. Lots of people around the world have lost their places to live, but many more animals have lost their own environment. They have to leave and search for new kinds of being.’

LEE ODISHOW SCULPTURE TUTOR, CARMARTHEN SCHOOL OF ART Untitled (Crab medal) ‘This medal has been created by taking casts from real shells of brown crabs, from crab moult found on the beach. They have been modelled using wax and the elements then brought together in this one medal. I am interested in the Japanese tradition of recreating articulated animals in metal.’

YASUTAKA OKAMURA ASSISTANT, PFORZHEIM UNIVERSITY Restart (kimono-cloth, fine silver) ‘Ten years have gone by after my studies at Pforzheim University. This medal shows the process of finding a new design inspiration and a new way of life through letting go of the old.’

MEDALS BY TEACHERS & MENTORS TO THE PROJECT

MARTIN PAGE COURSE LEADER, TRURO & PENWITH COLLEGE We Must Not Forget ‘This is a memorial medal. How could we have been through such a pandemic without a medal? This was a medal that evolved from the combination of looking at electron microscopic images of the virus showing the way it connected to living cells, and experiments from heating and deforming a plastic material. Pouring liquid wax onto the plastic gave me the suitable textures of both healthy cells and the idea of dead cells.’

AFTERWORD

BAMS—STUDENT MEDAL PROJECT XXIX 2022

Twenty colleges within Great Britain produced medals for this year’s Project, where they were joined by our ‘guest academy’, Pforzheim University. This year’s judges were: guest judge, Creative Producer Jessica Ihejetoh, Gregory Fattorini, Kate Harrison, Janet Larkin and Marcy Leavitt Bourne. As each college continues to use the medal to learn about bronze-casting, a tradition springs up, so that students look forward to their time of making medals at college. After the difficulties of the past two years, it is wonderful to see such results this year. Keeping alive the art and craft of the foundry – at colleges or wherever the medals are cast – is also the aim of the Project. The Student Medal Project is by invitation, to college departments of sculpture, metalwork or jewellery in particular, but also from other disciplines. BAMS will often be able to have an introductory talk arranged at the college the first year, either in person or over Zoom, and there is an instructive PowerPoint on the BAMS website. Teachers are invited to take part. The exhibition for the Project 2022 has been held at the New Ashgate Gallery in Farnham, from 12 March – 23 April. Students and teachers attended the opening evening. The Prize Giving, as last year, was presented via Zoom, with prize-winning students, teachers and sponsors attending, as well as showing a short PowerPoint of a bronze pour by Roddy Mathieson’s Mobile Foundry.

AFTERWORD

ABOUT THE BRITISH ART MEDAL SOCIETY

The Society commissions medals which are available to its members to buy. Since its formation in 1982, the British Art Medal Society not only has commissioned medals but also holds seminars and workshops, plans exhibitions, and continues to encourage artists everywhere to take a fresh approach to the medal. For the past seventeen years (with one break) it has selected a recent art school graduate to join the New Medallist scheme, and awarded a travel and study bursary for them to continue their work with medals. BAMS also publishes the twice-yearly journal The Medal, to which writers and medallists from all parts of the world contribute. On the Society’s 30th anniversary in 2012, it published a book, ‘The New Medallists’, which includes essays about its work and contains a list of its commissioned medals. It is available from the Society, 88

BAMS—STUDENT MEDAL PROJECT XXIX 2022

as are previous catalogues of the Student Medal Project. A book celebrating the 40th anniversary of BAMS will be produced during this, the anniversary, year. The Society offers an advisory service to potential patrons, institutions and individuals on how to go about commissioning a medal. BAMS is also associated with the Fédération Internationale de la Médaille d’Art (FIDEM), which holds an international exhibition and conference every two years, and in 2023 this will be held in Florence, Italy.

The British Art Medal Society welcomes new members. Further information can be obtained from: Janet Larkin BAMS c/o Department of Coins and Medals British Museum, London WC1B 3DG Email: jlarkin@thebritishmuseum.ac.uk Or consult the Society’s website: www.bams.org.uk Search Art Medals on facebook.com Follow us @BritArtMedSoc For information on the Student Medal Project email Marcy Leavitt Bourne: marcyleavittbourne@gmail.com ABOUT THE BRITISH ART MEDAL SOCIETY

ACKNOWLEDGEMENTS

BAMS—STUDENT MEDAL PROJECT XXIX 2022

The Goldsmiths’ Centre supports the Student Medal Project with its administrative costs, including those for exhibitions and symposiums held at universities around the UK. This catalogue includes all of the students who participated in the Project, with details about their work, in their own words, edited for space. Sponsorship for the design of the catalogue a has very generously been given by the Worshipful Company of Tin Plate Workers alias Wire Workers, The Worshipful Company of Founders and by the Goldsmiths’ Centre. Sponsors of the prizes have continued to be very supportive and we cannot thank them enough. The Worshipful Company of Founders awards the Grand First Prize for the medal that most successfully makes use of the medallic medium, and continues the tradition of paying for a cast of the winning medal for the Founders’ collection. Thus their prize is a validation and celebration of the student’s work. The Grand Second Prize is presented by Thomas Fattorini Limited. The Worshipful Company of Tin Plate Workers alias Wire Workers has set aside a fund each year to purchase the winner of their prize. This year other prizes were awarded by: the John Herbert bequest; Philip Roberts, the Michael Roberts Memorial Prize; the Ditchling Prize, Joe Cribb; The Worshipful Company of Cutlers; Pangolin Editions; G W Lunt; The Bigbury Mint. Kate Harrison has created an award for a student to increase their knowledge of medal making.

ACKNOWLEDGEMENTS

THANK YOU TO OUR SPONSORS

BAMS—STUDENT MEDAL PROJECT XXIX 2022

Thank you to our sponsors, those who have presented prizes and those whose generosity have made possible the designing of this online catalogue: The Bigbury Mint; See page 25 Thomas Fattorini Limited; See page 42 The Ditchling Prize, Joe Cribb; See page 52 The Goldsmiths’ Centre (Catalogue and administration) Kate Harrison; See page 34 The John Herbert Bequest; See page 30 and page 77 G W Lunt; See page 40 The Michael Roberts Memorial Prize; See page 25 Pangolin Editions; See page 79 The Worshipful Company of Cutlers; See page 56 The Worshipful Company of Founders; See page 46 The Worshipful Company of Tin Plate Workers alias Wire Workers; Catalogue sponsor and see page 74.

THANK YOU TO OUR SPONSORS

COLOPHON

Published by the British Art Medal Trust, London 2022 BAMS c/o Department of Coins and Medals British Museum, London WC1B 3DG Design by Two www.twodesign.co.uk Typeset in Bureau Grotesque Condensed and Signifier Photography by Stephen Dodd, the British Museum © the publisher, artists and designers All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior permission of the publishers. 94

BAMS—STUDENT MEDAL PROJECT XXIX 2022