Degree Show Catalogue 2022 School of Design
BA (Hons) Communication Design BA (Hons) Fashion Design BA (Hons) Interaction Design BA (Hons) Interior Design BA (Hons) Silversmithing and Jewellery Design BA (Hons) Textile Design BEng & MEng (Hons) Product Design Engineering MDes Communication Design
Introduction A warm welcome to the 2022 School of Design degree show. This is my first year as the Head of Design and I am delighted to have joined the Glasgow School of Art and to be leading a world class school of talented students and inspiring staff. This year we are delighted to fully return to a public exhibition in the Reid Building for all our graduating students work after a two-year hiatus. We hope you will have the opportunity to experience the work in person and in-situ as you move between rich sensory experiences across our stunning building. Our school is one of design and making, equally committed to what is an affirmative creative process of production and consideration of all media, objects and artefacts across a range of locations and/or scales. The process of designing, discussing, and making work in our studios engages our senses and is a rich tactile material experience for all our disciplines.
Professor Stephen Bottomley Head of the School of Design
The work is a celebration of each student’s individual achievement, the show a reflection of our creative community. Sharing these very human and social dimensions of our practices is a great pleasure, especially after a time of social distancing when many of these types of natural engagement were not possible or simply not permissible. This year, for the first time, the School of Design is creating matching printed handouts for all our departments, that collectively document a snapshot of the class of ’22. Our parallel on-line digital showcase, each has a page individually curated by our students, that contains further opportunities for exploration into the work of each of our graduate’s portfolios. I wish all our graduates every success and congratulate them on the culmination of their studies over what have been such recent challenging times for all.
Design History & Theory As part of their degree, all BA Hons School of Design students submit a substantial piece of written work to the Department of Design History and Theory (DH&T) and a synopsis of every one is included in these pages. Students may opt for either a shorter (5,000 word) or longer (10,000 word) submission, the latter being a third of their overall degree submission. In addition to the two lengths, there are three different modes of submission; essay/dissertation; critical journal (exploring the author’s studio practice in a larger critical and cultural context); or curatorial rationale (an in-depth proposal for an exhibition with its subject and venue the choice of the author). All DH&T staff are involved in the supervision of Honours submissions, which is on a one-to-one basis, and it is always a pleasure to guide what is always a wide range of fascinating and challenging projects. DH&T is independent of studio, with its own external examiner, and upholds a principle of free subject choice. Therefore, while some students write on topics directly concerned with their studio practice, others explore topics that seem to have no bearing on it, often personal interests or socio-cultural issues. This does not mean they are unconnected with studio, however, as the creative process is one of thought and all these submissions are deeply thoughtful, often informing practice in intangible, but significant ways. Nicholas Oddy Head of Department of Design History & Theory
Finally, congratulations to everyone who has submitted this year. As a group you have generated almost a million words, testament to your commitment to DH&T. On behalf of all in the Department, good luck in whatever the future holds. ↘ ↘ D ↘ ECR ↘ ECJ ↘ EE ↘ CR CJ
Curatorial Rationale Critical Journal Dissertation Extended Curatorial Rationale Extended Critical Journal Extended Essay
Silversmithing and Jewellery Design Contemporary studio jewellery and silversmithing continues to challenge perceived boundaries, using the artefact as a way of evoking a response to social and cultural issues such as gender, relationships politics, and the environment. Each of this year’s graduates has developed their own personal voice, interrogating the subject specialism and developing new and engaging pieces to be enjoyed, handled and worn.
Anna Gordon Programme Leader
“The capacity for renewal and reinvention through human touch is the hallmark of craft” Debika Ray – Crafts 2022
Amy Findlay Ambiguity and humor are the focus of this practice. The work brings together these elements to create realistic and lifelike slugs that crawl over the body, translating the grotesque appearance of the creatures through colorful and precious stones, to play with the wearer’s perception of beauty. Traditional techniques, such as hand carving and lost wax casting, are used to make the slugs which are then cast into bronze and silver. Hand carving each of the designs adds a personal touch to the finished pieces. Ultimately, this collection considers the possibilities of body adornment in a playful approach and setting.
↘ An Exploration of Decision Making Throughout Design Stages, with Consideration of Precious and Non-precious Materials. This critical journal is a documentation of my practice as a contemporary jeweler. Reflecting on my studio-based projects throughout my time at GSA, it explores the different paths I have taken that have led me to my 4th year studies of precious metals and gemstones. Precious gemstones hold value through their identity, a tradition spanning millennia that implies that some gemstones have a greater worth than others. I am interested in the properties of unexpected materials used in luxury settings, such as concrete, plaster and sugary sweets. Through having the same jewel-like textures and elements, these artificial substances create the illusion of expensive gemstones.Throughout my journey as a designer, I have come to the realisation that I am a maker of 3D objects created by my hands, and I let this making process guide me through the stages of designing. I would even say I am consumed by this process, arguing it has both positive and negative outcomes. CJ
↘ a.findlay1@student.gsa.ac.uk ↘ @a.findlayjewellery
Andrew Riverston McCulloch Humble fungi enable the plant kingdom to function and thrive within root networks. This collection, Psychedelic: Fungills, centres on the gills that make up the mushroom, or toadstools’, undersides. These delicate structures enable the fungi to propagate, ensuring that it continues its work. Using form and texture to decorate these shapes, I encourage viewers to handle and enjoy the objects, and their natural appeal. The choice of titanium imitates colour dimensions in nature, and plays with an illusion of ‘weightiness’. These gem-coloured jewels in titanium and silver, however, have a light and wearable touch, celebrating mushrooms that connect the world. ↘ Pot-Bellied Cauldrons in Britain: Changing Cultural Perceptions, Uses and Material Culture Influencing Design Aesthetic from 300 AD to the Present Day. This dissertation explores the changing perceptions of the purpose of the cauldron, in Britain, beginning with pre-Christian Pictish through to the 21st century.I look at the carved standing stones that the Picts left behind and consider the changes and uses through the Bronze, Iron and Middle Ages. This includes the ascension of the witch trials, and the waning use of the cauldron within the home; through to the Victorian Industrial Age and the rapidly expanding souvenir trade.The cultural and socio-religious cauldron phenomena will follow the historical research; looking at the myths surrounding the cauldron in British lore and the New Age beliefs that have embraced the cauldron as a celestial avatar. After analysing the cauldron in popular media, I will examine my own cauldron collection and creations; discussing how what has gone before has affected my own considerations when it comes to cauldron design. D
↘ stormdancer-creations@hotmail.com ↘ @stormdancercreations
THE GLASGOW SCHOOL OF ART
6
Caitlin Murphy Situated in the first octant of 3D space, XYZ is a collection of forms derived through a three-dimensional coordinate system. Point, line, plane allows the forms to grow and manifest. Using these boundaries as parameters for formula and equations, the work materialises through steel structures. Through a meditative process of weaving, the surface area comes to life in a variety of patterns and illusions. XYZ is an ongoing collection of works that challenge conventional ideas of traditional silversmithing; the axis gives them a 3D space to visualise and interact with, and allows new observations to form. ↘ Making, Materials, Meaning. Making, Materials and Meaning are all interrelated aspects of a maker’s practice. This essay explores how makers navigate the pathways between all three elements in order to gain a broader understanding of the crafted object. Each element - Making, Materials and Meaning - forms a chapter of this essay. Making can be seen as simply producing something; however, I explore how making can be used to display the power of transformation from material to object. In essence, demonstrating the power of making.Making would not be possible without materials. Materials influence the making process through their nature, selection and shaping. Materials can also influence the viewer’s perception of an object depending on the perceived value of the materials it is made of. Finally, meaning takes many forms: from the maker applying it within their design process, to the viewer applying it within their experience of the object. EE
↘ caitlinmurphymaker@gmail.com ↘ @caitlinmurphymaker
Holly Loire Cunningham My craft is influenced by the Victorian era, including jewellery, fashion, architecture and modes of communication, particularly mourning jewellery and the attention to detail it displays. My designs are often in the form of brooches, where the reverse is as important as the front. The brooches are ambiguous, wearable art, to adorn the wearer’s clothing. I encourage owners of these pieces to engage with them in ways personal to each individual; to find their own narrative. My work is created using silver, gold and, sometimes, copper. I also use gemstones to accentuate designs, animated through etching, enamelling and varied stone settings. ↘ Paying Homage to the Victorian Era. My focus for this critical journal is to research and pay homage to the Victorian era through my craft. The attention to detail in Victorian design is the inspiration behind my theme in my final year: jewellery, fashion, architecture. I’ve found an era that speaks my language and intend to revisit this aesthetic. The macabre style jewellery did more than pique my interest, it is the first step I took in my quest to marry the past and the present without the use of modern technology. Throughout my critical journal, I discuss my journey with jewellery and why I have chosen to study the Victorian Era in my final year. It plots my progress through research, techniques, and samples. Artists who have inspired me are also included in the discussion. To conclude, I touch upon where this journey has taken me and where I plan to go next. CJ
↘ hollyloire@hotmail.com ↘ @hollyloire
7
BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN
Holly Heron-Chambers My practice explores the way in which fashion is an extension of the self. By re-examining subcultures through the lens of reflective nostalgia and melding the aesthetic signifiers inherent in the subcultures together, identifying elements of queerness present within them all, this collection expresses my own unique queer identity through objects in a meaningful and universal way. Juxtaposing elements and materials such as silver, leather, and nylon, the collection transforms the semiotics of existing subcultures into speculative design. This is a collection of my own neowestern artefacts, influenced by styles from my past and present; objects to subvert capitalist ideology. CJ ↘ JUST re-DO IT: Creating Artifacts Through the Lens of Nostalgia. This critical journal supports the development of my coursework by grounding my interests alongside theorists and other artists. It explores how nostalgia, queer identity and consumerism play a crucial role within my studio practice. I begin by contextualising my work through the lens of reflective nostalgia, identifying key subcultures that have nostalgic importance to me, I explore the way in which fashion is an extension of the self. I then discuss other inspirational artists who tackle the theme of consumerism and branding, while exploring my own queer identity and personal journey. I aim to demonstrate how all these themes come together in my own speculative design concept of ‘Brand FCUKing’. I examine the connections between Ned, Goth and Cowboy aesthetics, establishing how each exhibits aspects of queer identity. I highlight the significance of leather in my current practice, concluding with concepts for my degree show. My critical journal provides valuable insight into future directions that draw from my own personal journey to date.
↘ hollyhchambers@gmail.com ↘ @ercassiel
Isla Gracie My final year collection Contrasting Connection explores my personal family connection to Scottish engineer Thomas Telford (1757-1834). My approach to design is organic, free-hand, and collage based. In this sense, my work is in sharp contrast to that of Telford’s architectural structures, but my practice themes and materials creates connections. My collection, in the form of wearables, are created using silver structured shapes contrasted with organic silver casted drawings, to bring two ways of working together. My decision to use three-dimensional drawings cast in silver, highlights the significance of my practice and its imperfections, rather than the engineer’s precise ingenuity. ↘ To what extent can personal connection become a tangible object? My practice consists of both conventional and my own “go to” methodologies. In this critical journal I highlight how these methodologies influence and structure my narrative and how these processes allow me to consider the conceptuality of my ideas. I consider how my ideas within my practice have always derived from a personal connection within my life. Utilising the idea of connection being tangible, I explain how I have used my practise to come to grips with challenging periods of my life. My work highlights the vulnerability of my personal identity, exhibiting my truest self and/or my own self-reflection towards a personal connection. My critical journal explores how my finished or developed objects become tangible keepsakes that allow me to look back on these ideas forever, almost allowing a physical accountability or closure. CJ
↘ islagraciejewellery@gmail.com ↘ @_islagraciejewelleryv
THE GLASGOW SCHOOL OF ART
8
Jiamin Lao Combining embroidery with contemporary jewellery design is the focus of this collection. These embroidery works express the theme of conveying blessings in a social environment, through colours, patterns, wearing methods, and different materials. My research considers the idea of blessing in traditional cultures applied to modern high-pressure environments. My work challenges the possibility of recreating textures by mixing grains with embroidery, e.g., rice, red beans, and peanuts, which have sincere meanings in Chinese culture. In addition, bright colours extracted from cloth tigers (traditional Chinese toys, given as gifts to newborn babies) unify the design style of this series of works. CJ ↘ Be Blessed, Re-create Blessings, Inherit Blessings. My critical journal explores how jewellery reflects the relationship between people. For example, how the good wishes in ancient times are presented in the contemporary environment. I analyse how the meaning of blessing changes with the change of social environment, whether there is something unchanging passed down? These problems are discussed within my 30 Objects project in my fourth year. At the beginning of this project, I collected some things that represent blessings. For example, a cloth tiger exhibited at the National Art Museum of China. People used to give these toys to babies in ancient times to represent health and wealth. And, while thinking about the blessings these toys represented, do they mean the same in another cultural background? This critical journal also describes the process of my collection, re-creation, and transmission of blessing items. It reflects the importance of the interconnection and development of these three aspects to my studio practice.
↘ j.lao1@student.gsa.ac.uk ↘ @jiamin.lao
Katrina Rowell This collection, Skin of the Earth, originates from my interest in Scottish coastal rock from the Scottish Highlands. Motivated by an expressive attitude, my work explores varying material choices, from mixed metals such as aluminium and silver, to found materials such as wood. Skin of the Earth explores themes of connection to place and sustainability. The work I have created addresses these themes in a subtle way, as I like to work in an open and objective way, inviting viewers to interpret these pieces from their own experience. Bold organic shape meets rough rugged rock, are characteristic features of my work. ↘ The Journey to a More Sustainable Practice. My critical journal focuses on environmentalism, in particular how to improve my own studio practice to be sustainable. I also look at the healing qualities of nature, supported by other authors’ texts and I ponder how I can emulate these very attributes in my own work. I consider how my upbringing has influenced my Wabi-Sabi style, as have my mental health struggles. My work ethic has been shaped heavily by a visit from a representative from Fairgold prompting my learning the steps to become a Fairtrade silversmith and Jewellery. I look at the three different metal sourcing options available through Fairtrade – the goldsmiths scheme, the licensee scheme and the gold sourcing programme. I then compare these to the Fairmined silver sourcing scheme. Currently I’m working on a group of sacred objects and experimenting with possibilities of how I can emulate the healing qualities of the natural world throughout my work. CJ
↘ katrinaabbierowell@hotmail.com ↘ @karo.maker
9
BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN
Kristina Merchant Conceptual and narrative-led artworks that engage the viewer in playful perceptions on material preciousness, is the focus of this series of works. The collection Vision of Beauty is a narrative jewellery-mise-en-scènethemed scour of the street. These pieces are imbued with realism and materiality. The objects and jewellery pieces highlight a message on societal norms of littering single-use plastic and disregarded objects found along the cracks of the concrete pavement. From the most littered item on earth, the cigarette filter, to pavement pennies, these pieces aim to spark a conversation about what is considered precious material, but with a humorous intention. CJ ↘ Speculative Design: How new is the idea of anticipating future needs in design? My critical journal considers the concept of speculative design. It might be argued that we all use speculation as part of designing new ideas. Like every other form of design, speculative design involves a design process. To what extent is ‘speculative’ design any more speculative than innovative, cutting edge design of the past? The use of speculation in design methods described by Anthony Dunne and Fiona Raby in their book Speculative Everything (2007) is intended to raise questions and provoke action. My understanding is that ‘speculative’ designers explore present issues and aim to predict future needs. Then they design questions to encourage designers of every type to consider what might need to be designed to answer these questions about the future. Section one in this study aims to examine an example of innovative industrial design the famous AEG Electric Kettle (1909) by Peter Behrens, considering how it compares to Dunne and Raby’s speculative design methods. Section two considers the idea of privilege and responsibility as it relates to Behrens’ Electric Kettle and Dunne and Raby’s project Foragers (2010).
↘ kristinamerchantdesign@gmail.com ↘ @kristinamerchant_
Liz Willoughby The ‘Na Mara’ collection focuses on place as a lived-in landscape. Drawing from my experiences working at sea, I reference rural life on the West Coast of Scotland. I am interested in the passing of time and the process of transition that objects go through: constructed, used, lost at sea, reclaimed by the tide, found, repurposed and appreciated anew. My work explores the potential of discarded materials and tensions between humans and the natural world. The objects in this collection deal with complex matters, telling stories of sustainability, human impact on a landscape, the mindfulness of beachcombing and of desire to be in an unspoiled landscape. ↘ Is Narrative Important? : Examining the intersection and divergence of concept and making and the relevance of the outcomes to the viewer. This Critical Journal questions the importance of narrative within my practice. Discussing themes of Place and Topophilia, I seek to anchor my practice alongside contemporary interpretations of place. A change in geographical location altered the way I engage with Place, no longer able to produce a direct response to the environment, I relied heavily on photographs to inform my work. I discuss the material culture of the photograph as themes of nostalgia came into play. I consider the souvenir and ask if in making work related to Place while I am not physically present, I am in fact creating souvenirs. Through examination of my design process, I seek to discover what leads my practice, acknowledging that often my designs come from a subconscious level. While Narrative is often a crucial personal aspect of my work, I acknowledge that the makers narrative is likely of little importance to the market yet it can only be a positive addition should the possessor wish to seek it out. CJ
↘ hello@lizwilloughby.com ↘ @lizwilloughbymaker
THE GLASGOW SCHOOL OF ART
12
Lucy Pearl Petts This work intends to be a playful expression in times of crises and uncertainty, but poses the serious question: How long do we have left? Using thermo-imaging and thermochromic materials, the pieces exhibited here are directly influenced by heat, touch and view. As the Earth goes through climate crisis and temperatures rise drastically across the equator, could these pieces form an alarm system for global warming? The works are intended to be a playful juxtaposition in these times of crisis and uncertain futures resulting in a form of amulets for modern day society. ↘ Looking Through the Lens of the Glastonbury Festival, Does Restorative Nostalgia Perpetuate Misogyny, Racism and Classism within Society? In this extended essay I investigate elements of misogyny, racism and classism in relation to Glastonbury Festival and whether restorative nostalgia is a catalyst. The essay is formed of three main chapters. The first chapter delves into the festival’s history, through analysis of Nicolas Roeg’s 1972 film Glastonbury Fayre, Julien Temple’s 2006 documentary Glastonbury, and Temple’s 2012 documentary Glastopia - Glastonbury After Hours. The second chapter explores the festival during recent years with a focus on female voices such as Daisy Jones in Glastonbury 50 – The Official Story of Glastonbury Festival and Emily Eavis interviewed on podcast Table Manners with Jessie Ware. The final chapter focuses on what place Glastonbury Festival has within popular culture in the future and post Covid-19. EE
↘ lucypearlpetts@gmail.com ↘ @lpp.design
Nina Letts This collection comprises a range of sculptural, hand-crafted pieces of jewellery, created with different plated and coloured meshes. The work explores hidden shapes and patterns, originating from everyday experience of my childhood home, and recalled memories. The work also explores repetitive and meticulous methods; geometric patterns are handcut and drawn onto metal mesh. This process allows me to understand the material textures, especially those of the mesh, as this material is very tactile and mouldable to the touch. The collection uses mouldable flexibility to full advantage, creating playful sculptures with detailed surface patterns, layered with memories of home and sentimentality. ↘ Hilma Af Klint - An Unheard Voice. In this essay I discuss the unconventional and pioneering work of the artist Hilma Af Klint (1862-1944). I explore the influences of spirituality, Christianity, theosophy and botany on her work and how her originally unrecognised output fits in a recently revised narrative about her contribution to the beginnings of abstract art, one which historically has always centred around male pioneers. The essay makes a case that she was an artist whose work went beyond naturalism to examine the nature of the soul by using a new language of colour and form that was, in part, due to her interest in spiritualism. I examine her personal history and artistic output to understand why she was overlooked by her contemporaries, why she remained something of an outsider to the art establishment in her lifetime and why her work remained largely unknown until recent years. EE
↘ ninaletts@gmail.com ↘ @nina_letts
13
BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN
Runtian Zhang The concepts of nostalgia and memory as an emotion-releasing catharsis is the subject of these works. According to psychological theory, nostalgia may help people to alleviate the negative emotions, to a certain extent. Taking traditional herbs, I created jewelry pieces with herbal smells that can evoke childhood memories, based on the physiological mechanism of smell triggering memory. A series of animal and natural figures were created based on herbs, childhood doodles on the wall of an old house and a stuffed bear. In addition, I made wax strings using traditional methods, to create a poetic, shady, fragmental and wabi-sabi sensation. ↘ Nostalgia and Cure: To what extent do sustainable materials influence my expression of Nostalgia, Memory and Cure? From my perspective, jewellery is a free expression of art, which can be leveraged as a medium to assist me in narrating stories to resonate with audiences. As a maker, I strive to exhibit my identity and subvert outdated stereotypes by innovating based on traditions. I wish to convey the concept of nostalgia and memory to audiences, using my work as an emotion-releasing catharsis. In my critical journal, I analyse and explore the challenges associated with sustainability, such as over-consumption and environmental protection, with regard to making, purchasing and collecting jewellery. I then explore the impact of sustainable development on my studio work. Eventually, by means of the analysis and research on nostalgic psychology, I outline the way I apply the concept of sustainability to my expression of memory, nostalgia and cure. CJ
↘ runtianzhang0101@gmail.com ↘ @sendingmeaspartame
Sam Bennett This collection includes pieces primarily realised in silver and freshwater pearl; the materials are used to explore themes of fragility and its connections with historical ideals of beauty. Chased and press-formed metals suggest pearl, with connotations of sentimentality and purity, alluding to melancholic fascination. My work references historical understandings of themes commonly related to death or illness, which, in the nineteenth century, became associated with a form of delicate beauty. In particular the effects of tuberculosis, which evoked visions of frailty as purity, and a beauty vulnerable to harsh industrial society. Here, pearls suggest virtue, alongside revelation of historic mythologies. ↘ Hip Hop and Loss: The Role of Mourning Jewellery in Contemporary Rap Music. This extended essay explores jewellery’s role within contemporary rap music; something I feel is seldom explored within jewellery academia. Where adornment and rap music are discussed, there is a tendency to focus on the monetary value of said adornment - reducing jewellery to simple gasconade or conspicuous consumption, however, I argue that much like celebrated jewellery of antiquity, Hip Hop jewellery offers an abundance of sentiment and meaning. No form of jewellery holds more sentimental value than that of mourning jewellery; I maintain that many contemporary pieces of rap jewellery fall under this category, share many characteristics with antique mourning jewellery, and offer a valuable insight into processes of modern mourning. Historical studies on objects of mourning, modern understandings of grief theory as well an analysis of digital memorial spaces and modern sentimental jewellery are all explored and applied to jewellery associated with the artist Lil Durk; to conclude that jewellery within contemporary rap music holds a great deal more sentiment and meaning then it is often credited for. EE
↘ sambennettjewellery@gmail.com ↘ @sambennettjewellery
THE GLASGOW SCHOOL OF ART
14
Sam Galloway My practice reflects deeply personal experiences with coastal landscapes, the meditative process of walking along shorelines and foraging for materials. My work recalls growing up on the West Coast of Scotland, and experiments with sustainably manufactured materials, which I use to cast and sculpt three-dimensional, tactile objects. As a material researcher, I explore themes of nostalgia, memory and the senses, ethically. Terra Incognita means unexplored terrain. The title represents the concept of this collection, as my jewellery plays with perception, it resembles rocks and other natural forms, using precious and non-precious stones to question value in jewellery and its materials. CJ ↘ Alternative Realities: Translating the tactile and sensuous experience of the landscape through new materials and physical objects. In this critical journal I closely reflect on how growing up on the west coast of Scotland has influenced me as a designer and maker. I start by reflecting on my own history of interacting with the landscape as a child. With reference to ‘Sensuous Geographies: Body, Sense and Place’ 1994 by Paul Rodaway, I explain how physically immersing myself within that environment resulted in many early experiences exploring tactility. I go on to examine the pivotal moments, such as when I read ‘The Lure of The Local’ 1997 by Lucy Lippard, as well as Michel Serres’ book ‘The Five Senses’ 1985. I then explore my approach to recording the landscape, supported by ‘Wanderlust’ 2001 by Rebecca Solnit, and ‘Topophilia’ 1974 by Yi-Fu Tuan. This reveals the process of how I translate my attachment to the landscape in new, physical forms. Finally, I look at developing my own naturally sourced bio-material, which I am determined to use in order to create an intriguing and unique collection for my degree show.
↘ s.galloway2@student.gsa.ac.uk ↘ samantha_sloane_design
Sarah Louise McQuarrie During the COVID-19 pandemic, memories were cast in a fading light. In The Future of Nostalgia, Svetlana Boym observes that: ‘Nostalgia inevitably reappears as a defence mechanism in a time of accelerated rhythms of life and historical upheavals.’ My work connects to nostalgia through all forms of light. With a focus on transparent materials, I recreate memories of light using layers of bio-resin. The making process turns daydreaming into productivity, as repetitive drilling and piercing helps reflect as much light as possible. Domed surfaces and polished spheres bounce light through the resin, reflecting colour onto the wearer and environment. ↘ A Light in Dark Places: Narrative, Nostalgia and the Night Sky. In my critical journal I explore the use of light as a narrative tool to communicate and engage with the wearer/viewer. In my third year at GSA I began to work with microelectronic materials and components. These offered accessible materials to investigate within the terms of my studio discipline. The processes of manipulation such as soldering, or cutting at a miniature level also echo the techniques of my design specialism. I realised that my fascination with electronics lay in the ability to create components that add light to my work. I discuss the origins of my interest in light and memory, presenting a survey of influences on my work and creative ideas; the narrative jewellery movement; electronics within contemporary craft; nostalgia; and the role of memory and repetition in maintaining mental health. This is followed by the final chapter which follows my progress in studio work. The critical journal is formed in the style of storytelling, with a prologue and epilogue, to reflect the narrative elements of my practice. CJ
↘ sarahlouisemcquarrie@outlook.com ↘ @sarahlouisemcquarrie
15
BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN
Seoha Park Through the intimate experience of breathing, this collection investigates the relationship between the body and art. Creative jewellery, by testing medical equipment with materials that show the balance between medicine and art, is the aim of this work. Breathing embedded in the lungs is represented visually by the respiratory tract and breath that is sometimes overlooked. The collection visualizes breath and recognizes these organs’ operations to show the movement and function of lungs in the body as an air container. Each piece is designed to inform patients with respiratory diseases, and to experience and understand their bodies intimately and sensitively. ↘ Anatomy and Art. This curatorial rationale is for an exhibition set in the National Museum of Modern and Contemporary Art in Seoul (MMCA Seoul). It invites people to explore the body through anatomy and art. I discuss how each of my chosen artefacts uniquely contributes to the exhibition’s themes and interlinks with others. My proposed exhibition brings stories about art and anatomy from displays and galleries, highlights from the collection, discussion of past projects that delve into some key moments when the arts and anatomy have shaped each other. This exhibition suggests how anatomy, classified into visual sciences, interacts with artists, medical professionals, and the general public.
CR
↘ sohapark94@gmail.com ↘ @so_ha_park
Starla Fernandes My work echoes my relationship with aural landscapes, embodying and encompassing a fascination I have, triggered by personal experience, a desire to document ambience as a grounding technique. Using foam clay, everyday soundscapes are transformed into monochromatic 3-D drawings, translating momentary sounds into visuospatial forms. I work in public spaces - their varied soundscapes provide instances of discovery, each sound a chance to capture its essence, solidifying the transient. These become ‘mementos’, collated in a perspex acrylic base, as wearable objects. The collection Full Circle presents work with a monochromatic palette, the mementos in their purest form. ↘ Expressing Sound: A Journey of Discovery of My Relationship with Atmospheric Sound - Bringing to Existence the Unseen, Through Visualisation. This critical journal explores how I use atmospheric sound to create drawings to inspire 3D designs, jewellery and other objects, describing and explaining the process of my artistic expression. Chapter one explores the context of my studio work; why I choose to work with sound as inspiration. I explain how the painter, Wassily Kandinsky’s practice influences mine, exploring similarities and differences. Chapter two explains how I create my drawings and develop my drawing method to represent these sounds accurately. Chapter three presents how these drawings are used to convert them into three-dimensional pieces, making jewellery and other objects. In addition to this, I explain the different metal techniques explored to create my work. Chapter four is a discussion of my future ideas and directions for studio practice. I reflect on how the research and writing the critical journal improved my practice and understanding. CJ
↘ starla.perpetua@gmail.com ↘ @starla_____
THE GLASGOW SCHOOL OF ART
16
Xiaoshan Huang My practice revolves around the concept of the wish, and a motivation to think about how to convey goodwill and a sense of healing to the wearer through jewellery. Capturing the customs and traditions related to wishing in life, such as wishing trees and birthday candles, I combine jewellery with objects that retain their original function to convey positive emotions to the wearer and the audience. Materials, such as paper, wood chips, acrylic sheets, pearls, found objects and many other mixed-media are incorporated into these designs, giving people a more intuitive experience to accept the emotions expressed by the work. ↘ The Application of Interaction to Contemporary Jewellery. Nowadays, people’s inner emotions are affected when facing the pressure in life, the cumbersome and trivial things in daily life, or sudden uncertainty. More and more people feel emptiness and loneliness in their hearts, while the feeling of alienation between people becomes more apparent. Negative inner emotions are not conducive to our physical and mental health; so, thinking about how to use jewellery to promote good interpersonal relationships and convey love and happiness to others is the premise of my studio practice in this final year. In this critical journal I focus on analysing interactive contemporary Jewellery, explore the different ways of presenting it and explore how it could bring people new experiences and feelings. I critically discuss how I incorporate the concept of interactivity into my creation. In addition, I combine some topics related to psychotherapy to further analyse the potential of interactive contemporary jewellery as healing objects. Finally, I evaluate the future development direction of my studio practice. CJ
↘ carissahuangxs@outlook.com ↘ @carissahuang_sjd
Yilin Li I seek answers to life; why do we exist? What is the meaning of life, and earthly matters that surround us? Why do we love and hate and endure all these emotions? I try to answer those questions by creating artefacts that can be carried around, exchanged, and worn and are somewhat sturdy enough to not break apart easily. Jewellery-making, to me, is taking my dreams and thoughts, objectifying, and transforming them into tangible objects. My collection consists of metal pieces from intuitive wax carving, 3D printed models derived from my oil paintings, resin and wires for colours and lightness. ↘ From Intuition to Creation. This journal discusses the process of understanding my intuition, questioning why it is the source of my creativity and bringing it to the tangible world. It starts from a simple obsession with eyes, expressed through making eye-related objects and comparing other artists’ works. By researching mythology and neuropsychology, I delve deeper into my fascination with eyes, and how it leads to a bigger perspective that acts as a foundation of the thinking process for my final year’s project. I begin by reviewing works I have done, reflecting on other artists’ works. I noticed that what I made was not received as what I intended to express. I then delve into the neuropsychological aspect of perception. I look at the Babylonian myth of Marduk, a god with four eyes around his head. The notion of his story, bringing order out of chaos, is parallel to the neuropsychology theory of perception, dreaming and learning. Finally, I examine my current practice with the realisation that brining my intuition into creation is a process of making the unknown known. And that creating is a learning process. CJ
↘ richterite@icloud.com ↘ @yilinbby
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BA (HONS) SILVERSMITHING AND JEWELLERY DESIGN
Yufei Chen Anxiety caused by pressure to find employment after graduation is the focus of this collection. How can tactile expressions offer emotional support through different materials, incorporated into designs, lead to a solution that offers positive energy? Specifically, materials such as clay, paper, silicone rubber, polyurethane foam, acrylic, PVC, 3D print and metals are used to encourage relaxation. The collection is realized using digital manipulation, with models worked in Rhino and casting into metal, shaped into finished pieces, including silver, copper, and silicone rubber. Ultimately, this collection provides the wearer with jewellery that can be deconstructed, while adding interest when worn. CJ ↘ Exploration of Functional Jewellery. The functionality of jewellery and the relationship between people, jewellery and materials, is the subject of this critical journal. It describes what I am inspired by and what I have learned from five artists’ works; what kind of functional jewellery I would like to design by interconnecting my previous experience and technique in the future. Jewellery is not as simple as body accessories that are called ring, bracelet and earring any more. With the improvement of our living standards and the development of technology, people’s requirements for jewellery are becoming more diversified. This critical journal analyses materials and technology of studio Jewellery. It also looks at ways of wearing to explore the deeper intentions of jewellery design. The Critical Journal helps me understand and criticise my ideas and explore what directions I could explore further.
↘ c1044668374@gmail.com ↘ @phoebe_y.chen
Zixinyu Zhou These designs are concerned with expressing human emotions. Therefore, the focus of this jewellery collection is on expressiveness and how best to convey human feelings. Using tactile and visual comparisons to distinguish between the opposite emotions of joy and anger, and through studying the correlation between colour and emotion, these ideas are integrated into the jewellery series. Colourful false stamens and resin were chosen as the primary materials for this collection. This jewellery collection allows wearers to express their emotions more intuitively and effectively. To defend their personal space and repair the boundaries between people. ↘ The Development and Integration of Installation Art in China. Have you ever wondered what a genre of art has to go through before it can be known and recognised? This essay will focus on the development of installation art in China from 1980 to 2020. It argues that the rise of installation art in China is closely related to the development of modern urban Chinese culture and society and the change of people’s thoughts. Installation art did not emerge from China but was slowly introduced to China through cultural export and exchange from other countries, enabling Chinese artists to learn new modes of expression. Through the integration of local Chinese culture, materials and ideas, Chinese artists have developed their own versions of installation art. By learning from different cultures, artworks include national characteristics but based on a wider cultural knowledge. The primary purpose of this paper is to analyze how and why installation art has developed in China and the obstacles it has faced in the process of development. EE
↘ zhouxueyi9712@gmail.com ↘ @zhouzixy
THE GLASGOW SCHOOL OF ART
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Cover image: Lucy Petts Studio Photography: Alan McAteer Staff Portrait photography: Shannon Tofts Design: Kat Loudon and Phoebe Willison Headline is Triptych by The Pyte Foundry. Printed by The Newspaper Club on 55gsm improved newsprint. All work shown remains the property of the designers and may not be reproduced in print or any other media without written permissions. Contact details for all work is provided on each page for any enquiries.