Aimee Taylor

2024BA → Aimee Taylor

These are just places to me now, oil paint on canvas, 100cm × 150cm, 2023.

Aimee Taylor

BA in Fine Art with Integrated Foundation

My painting practice explores the materiality of paint with specified investigations into the nuances and language of colour. I present this through abstraction, which rejects the confines of representation, and instead embraces the material concerns of paint as the focus of the work. Fragments of memory and emotion embed itself within the work, manifesting our encounter with colour, most importantly, how colour effects and experiences itself.

Gentle on my mind, oil paint and oil pastel on canvas, 150cm × 100cm, 2024.
Gentle on my mind (close–up).
Gentle on my mind no.2, oil paint and oil pastel on canvas, 40cm x30cm, 2024.
Untitled, acrylic paint on canvas, 150cm × 100cm, 2024.

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Kallum-Andrew Smeesters-Kirkwood

2024MA → Kallum-Andrew Smeesters-Kirkwood

Shadow forms 1, photography, portrait, 297mm × 420mm, 2023.

Kallum-Andrew
Smeesters-Kirkwood

MA in Fine Art

I am a progressional mixed media artists working withing the practices of photography and film. I believe a photo can speak a thousand words, and this has pushed me to experiment further within my practices. Especially photography, where I am looking at the relationship between photos and the audience, as photographs leave gaps in the narrative that viewers fill with their own imagination; when we view a photo there is always something left unanswered. An initial question of curiosity from seeing. My photographs have always been the showcase of how I see the world, each piece static and fragmented with no chronological or shared existence between them. Each a statement to the audience of what has been seen, yet this question still lingers. I want to reexplore the fundamentals of a photograph and through this redevelop my understanding and the process of my practice from an observational and curatorial position.
Shadow forms 2, photography, portrait, 297mm × 420mm, 2023.
Shadow forms 3, photography, portrait, 297mm × 420mm, 2023.
Shadow forms 4, photography, portrait, 297mm × 420mm, 2023.
Shadow forms 5, photography, portrait, 297mm × 420mm, 2023.

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Jasmin Geary

2024MA → Jasmin Geary

Advert Your Eyes, mixed media, mono screen print, oil paint and lino print on canvas, 99cm × 72cm, 20 A4 pages, 2023.

Jasmin Geary

MA in Fine Art

I am a multimedia artist primarily focused within narrative
driven work. I evidence multimedia through my practice using forms such as painting, lino and screen printing, sculpture through foam board, ceramics, and wood. Often times these materials will be used in collaboration with one and other. This is an attempt to explore the relationship between methods of making and how this affects both the piece and audience receiving the art. The context that my work builds upon is my lived experience. This is how I consider myself a narrative artist, tales of woe to upmost joy dictate creation and are represented accordingly. This carves a narrative for the audience to understand and relate to without artist present to relay its intent. This too is something that guides my practice: the relationship between viewer and art. Stemming from this, questioning what I can do as an artist to affect the relationship between viewer and art without being present.
Advert Your Eyes, mixed media, mono screen print, oil paint and lino print on canvas, 99cm × 72cm, 20 A4 pages, 2023.
The Death of Venus (flytrap), three ceramic Venus flytraps in various states, each approx 20cm × 15cm × 15cm.
The Death of Venus (flytrap), close-up.
The Death of Venus (flytrap), three ceramic Venus flytraps in various states, each approx 20cm × 15cm × 15cm.

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Guo Hao

2024MA → Guo Hao

The land of Peach Blossom, ink on folding fan surface, 20cm × 60cm, 2024.

Guo Hao

MA in Fine Art

In these vertical scrolls, I contemplate the notion of the ‘Sublime.’ The artworks employ a vertical rectangular composition where the white cliffs, occupying half of the paper, loom large, underscoring their immensity. Mists envelop Big Ben, subtly alluding to the iconic clock’s majesty. Moreover, drawing inspiration from ‘The Peach Blossom Spring’—a narrative of a fisherman’s serendipitous encounter with a harmonious natural haven—these fan paintings utilize the fan’s inherent structural gaps. This technique selectively unveils the full image only when viewed from designated perspectives. Such an approach not only echoes the lofty ideals of ancient Chinese philosophy but also resonates with contemporary environmental considerations. It posits that the continued visibility of such pastoral scenes is contingent upon our collective choices and vision for the future.
Mist-Enshrouded London, ink on rice paper, 91cm × 32cm, 2024.
Vigil Over the White Cliffs, ink on rice paper, 91cm × 32cm, 2024.
The land of Peach Blossom, ink on folding fan surface, 20cm × 60cm, 2024.

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Emmanuella Ogiri

2024MA → Emmanuella Ogiri

A Mother's Love, Oil on Canvas, 100cm × 150cm, 2023.

Emmanuella Ogiri

MA in Fine Art

My paintings transport viewers to the heart of Lagos, Nigeria, where the bustling markets, vibrant colours, and rich culture of my homeland dance across the canvas. Each brushstroke tells a story of love, resilience, and the unbreakable bond of family that defines my sense of belonging. These artworks encapsulate not just a place, but a celebration of my heritage that resonates in every brush of paint. Through these artworks, I invite you to share in the beauty and complexity of my heritage, a tapestry woven with memories, traditions, and the essence of home.
Postcards from Lagos, watercolour on watercolour paper, A4, 2024.
Postcards from Lagos, watercolour on watercolour paper, A4, 2024.
Postcards from Lagos, watercolour on watercolour paper, A4, 2024.
Postcards from Lagos, watercolour on watercolour paper, A4, 2024.

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Emma Tabor

2024MA → Emma Tabor

Voices; Hidden and Lost, cotton, paper and thread, 73cm × 115 cm, 2024.

Emma Tabor

MA in Fine Art

I use drawing, printmaking, and textiles to explore patterns, where small elements grow into connections and systems involving multiple parts. Works are developed by the application of rules and unconscious adaptations as different forms emerge and grow to express the nature of multiple identities.
Each work is an experiment of thought, through the action of making, and subsequent analysis of what emerges. Each iteration influences the next steps on a journey. Continually asking ‘What happens if..’ at each stage results in either incremental changes or great leaps of faith into the next evolution of a work.
 
Contraction, colour pencil drawing on paper, 109cm × 106 cm, 2023.
Contraction (close-up).
Expansion (close–up), colour pencil drawing on paper, 2023.
Tabor_Bundles of Silence_Rank 5-2
Bundles of Silence, Cotton, paper, cardboard, thread, and string. Various sizes, around up to 10cm by 10cm × 6cm, 2024.

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Aedan Price

2024BA → Áedán Price

Observer//Observed, sculpture, 80cm × 190cm × 50cm (approx), 2023.

Áedán Price

BA in Art and English Literature

I have been exploring the limits of free will in modern society, how we are both influenced and watched constantly by the world around us. My work mainly consists of sculptural work, comprised of combinations of found objects and digital elements, usually focusing on the uses of audio. More recently I have been delving further into the narrative elements of audio pieces, to suggest an element of control over the viewer/listener, and focusing more heavily on the structure and make-up of the audio as its own piece of work, rather than as a part of a wider sculpture.
Observer//Observed (close-up).
Observer//Observed (close-up).
Listening Post, sculpture with ambient audio tracks (13 minutes approx), 150cm × 140cm × 60cm (approx), 2023.
Listening Post, sculpture with ambient audio tracks (13 minutes approx), 150cm × 140cm × 60cm (approx), 2023.

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Elham Khatiri

2024MA → Elham Khatiri

Absence, mixed-media, A4, 2024.

Elham Khatiri

MA in Fine Art

In my five mixed-media paintings, I want to explore the theme of ‘absence’ by reminding visitors of the importance of all plants and animals. When a plant or animal becomes extinct, it will have a negative impact on our ecosystem. Only a miracle – or magic – might bring them back. I have tried to combine representations of humans with plants and animals that are endangered, such as the zebra. Perhaps my imaginary creations may inspire and encourage humans to care more about endangered species, and prevent us from harming them? My technique is a combination of collage and acrylic painting on canvas.
Elham, Absence 1, Mixed-media, A4 2
Absence, mixed-media, A4, 2024.
Elham, Absence 2, Mixed-media, A4
Absence, mixed-media, A4, 2024.
Elham, Absence 4, Mixed-media, A4
Absence, mixed-media, A4, 2024.
Elham, Absence 5, Mixed-media, A4
Absence, mixed-media, A4, 2024.

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Xinyi Zhang

2023 BA → Xinyi Zhang

Xinyi Zhang

Wave Inside, Digital painting, 910px * 1080px, 2023

The Wave series is an experimental work of art in water waves. I want to express the de-urbanized loneliness that I feel in the solitary life after the outbreak of Covid-19 in the form of making water waves. In Wave I, I used coloured paper strips instead of the blue and white that usually represent water. Instead, I used a rainbow-like gradient of colours for the raindrops and a combination of wire and washi tape for the clouds.
In Wave II, I used techniques from Knot Art to secure the silk rope. In the colour selection of the work, I used blue and white to make Wave II more visually reminiscent of water ripples than Wave I. I cut each silk rope to the length of the ripple of my recorded rain sound. The way of hanging in mid-air can better reflect the uncertainty of the wave.
While making Wave III, I reused the silk rope but secured it with a wooden loop. More rope ensures that the silk ropes do not get tangled in each other while hanging, while the elastic cords that fix the inner and outer rings allow the Wave III to shake to show the softness of the water.
While making Wave Inside, I realized that a more intuitive visual representation was needed to show the loneliness in life. It is not good when a work of art requires too many words to explain its meaning. Therefore, I made the stop-motion animation work Wave Inside, combining the process of water droplets in the sink with sound. Let people feel the loneliness brought about by the neglected little things in life when watching the works.

Wave III, Silk rope and wood ring, 24 cm x 53 cm, 2022