Category: Uncategorized

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Nesta Maylam

2024 → BA → Nesta Maylam

Italia, screenprint on fabric, 53.1cm × 47.5cm; 42.9cm × 66.7cm, 2023.

Nesta Maylam

BA in Art and Psychology

The focus of my practice involves the various methods of screen printing on fabric materials or more specifically, the experimentation of layering fine line drawings over bold shapes of colour to enhance certain aspects of the image. My work engages with themes of still life and memory by looking at images from places I have visited, specific objects, and the connection between the personal memories these things hold. I’ve recently started introducing repetition to my work to explore the idea of patterns and how this effects the visual aspect of the piece.

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Foodstalgia, screenprint and embroidery on fabric,
120cm × 100cm × 3.3cm, 2023.
Foodstalgia (close–up).
Repeated memories, screenprint on fabric, 155cm × 130cm, 2024.
Repeated memories, screenprint on fabric, 155cm × 130cm, 2024.

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Millie Johnson

Milly Tasker

Rim Alkaiat

Saima Khan

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Milly Tasker

2024 → BA → Milly Tasker

Tools of the Craft, oil on canvas, 79.2cm × 113.9cm, 2023.

Milly Tasker

BA in Art and Psychology

My practice represents the art of crochet and explores domestic and labour themes – particularly women’s labour. Rather than physically crocheting and labouring over making actual crocheted items, I am interested in what it means for the labour to be present in the form of a painting of items relating to crochet instead. I am also thinking about how historically crochet, much like all traditional women’s crafts, has been overlooked. My work therefore also explores what it means for me as a woman to represent this art form within traditional realistic oil paintings on canvas, which were historically painted by men.

Crochet Quodlibet, oil on canvas, 42cm × 59.4cm, 2023.
Crochet Quodlibet (close–up).
Four Generations, oil on canvas, 34.2cm × 92.3cm, 2024.
Four Generations (close–up).

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Mia Andreyeva

Millie Johnson

Nesta Maylam

Rim Alkaiat

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Millie Johnson

2024 → BA → Millie Johnson

Sanctuary (close–up).

Millie Johnson

BA in Fine Art

My work explores sculpture and painting incorporating the abject grossness of blood and flesh, of scabs and infection, of mould on food, mould on walls, eating and breathing spores, and the beauty of beading. The contrast of something grotesque and something traditionally feminine, how the connection between these can create something some find beautiful and some find disturbing. An exploration into textiles within sculpture and painting, texture, layering and colour.

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Sanctuary, MDF, acrylic paint, glass beads, 10.16cm × 10.16cm, 2024.
Spores, MDF, acrylic paint, glass beads, 10.16cm × 10.16cm, 2024.
Infection, clay, glass beads, 35.56cm × 10.16cm, 2024.
Infection, clay, glass beads, 35.56cm × 10.16cm, 2024.

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Melissa Oliver

Mia Andreyeva

Milly Tasker

Nesta Maylam

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Mia

2024 → BA → Mia Andreyeva

Sycamore Gap: It’s not just a tree, mixed media installation,
approx 400cm × 300cm × 300cm, 2024.

Mia Andreyeva

BA in Art and Psychology

My installation and sculptural based practice explores how parts of the natural world become ‘monuments’ in our lives, and how memories can be re-experienced or abstracted through our re-encounter with such sites. This centres around trees, as something that encases a personal connection of memory and significance that is now removed and distant. Through mixed materials and the cyanotype process I explore my own proximity to the environment as well as how such natural landmarks hold shared memories in communities, and what happens when these are removed.

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Sycamore Gap: It’s not just a tree (close up).
Outdoor dialectic, photographing cynotype prints on site, 2023.
A lieu de mémoire, cyanotype print on fabric installation,
approx 480cm × 200cm × 520cm, 2023.
Close to home (close–up), cyanotype print on fabric, 150cm × 350cm, 2023.

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Melissa Fox

Melissa Oliver

Millie Johnson

Milly Tasker

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Melissa O

2024 → BA → Melissa Oliver

Red fish (close–up), embroidery thread, sequins, 30cm circumference, 2024.

Melissa Oliver

BA in Fine Art

My work started off as a hobby. The ideas behind the use of embroidery come from my family. I took inspiration from my mother and her study of these crafts. I use the techniques from a book she gave me to show the progress of my embroidery. Another influence on my work came from interning for an embroidery company. It gave me inspiration for everything I made.

Lily , satin thread, 30cm circumference, 2024.
Embroidery rings, embroidery thread and bullion, 50cm × 100cm, 2024.
Mixed fabric embroidery collage, beads, polyester, cotton, and embroidery thread, 2024.
Oranges, embroidery thread, 30cm circumference, 2024.

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Megan Slater

Melissa Fox

Mia Andreyeva

Millie Johnson

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Melissa F

2024 → BA → Melissa Fox

Holding Beauty, porcelain sculptures, 28cm × 20cm, 20cm × 12cm, 2023.

Melissa Fox

BA in Art and Psychology

Rooted in conversations surrounding identity, representation, and social justice, the core principle of my practice revolves around intersectionality; delving into the experiences of individuals navigating multiple identities and oppressions. I’ve expanded my focus to examine neoliberalism within the diaspora, addressing tokenism through the lens of comedy, aiming to present a nuanced perspective on the lived experiences of diasporic individuals. This involves a careful blend of themes, including neoliberal influences, ethnic markets, and the intricate concept of home. My intention is to contribute to ongoing critical discussions surrounding power, privilege, and social structures, providing a thoughtful exploration of multifaceted diasporic experiences.

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Ephemeral Permanence, porcelain sculptures in water, 55cm × 30cm, 2023.
Traces of what once was, sculpture, 90cm × 100cm, 2024.
Ephemeral Permanence (close–up).
Traces of what once was (close–up).

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Megan Davies

Megan Slater

Melissa Oliver

Mia Andreyeva

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Megan S

2024 → BA → Megan Slater

i like your bedroom decor (close-up).

Megan Slater

BA in Art and Creative Writing

Megan Slater’s practice finds itself in consideration of the relationship of text, image, and form – the poetic word, and the act of reading in the art-space. A focus comes in the aesthetic processing of class and memory, materialising itself as wallpaper-pasted posters with digital text and images, at times informed by personal childhood photo, or symbols of such memories. In form and content, the works enact a relationship of memory and social-class, with an inclination to investigate the alienation of the working-class from the art-space, and the inherently personal nature of that which is political.

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i like your bedroom decor, text and photo on poster, 2024.
ten minutes from Elon Musk and Co at the AI Summit (close–up).
ten minutes from Elon Musk and Co at the AI Summit, film and text, 2023.
by the sound of summer, digital text, 2023.

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Lucy Richardson

Megan Davies

Melissa Fox

Melissa Oliver

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megan D

2024 → BA → Megan Davies

Overseeing, graphite pencil on paper, 59.4cm × 84.1cm, 2023.

Megan Davies

BA in Fine Art

My work gives insight and comments on what it is to people watch as a past time. I focus heavily on the anonymity of the people being watched as the figures splice into each other to create new combinations of figures.

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People Watching, emulsion and acrylic on MDF, 160cm × 90cm × 90cm, 2023.
People Watching (close-up).
Walking, emulsion and acrylic on MDF, 30cm × 20cm × 15cm, 2024.
Walking, emulsion and acrylic on MDF, 30cm × 20cm × 15cm, 2024.

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Luca Dayanc

Lucy Richardson

Megan Slater

Melissa Fox

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Lucy Richardson

2024 → BA → Lucy Richardson

Abandoned Nostalgia 1, pencil drawing and digitally enlarged,
59.3cm × 59.3cm, 2023.

Lucy Richardson

BA in Art and Psychology

My practice explores Freud’s theory of the uncanny by placing familiar objects in unfamiliar contexts. The theory claims that feelings of the uncanny (an eerie, anxious feeling) occur when our adult experiences remind us of our childhood beliefs. As a child who firmly believed that my teddies could talk, I decided to explore this phenomenon through drawings of children’s toys which have been removed from their original context by removing any colour or background, and enlarging their size. Objects once associated with comfort and nostalgia have become these unsettling, almost threatening figures – evoking feelings of the uncanny upon
viewing them.

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Abandoned Nostalgia 2, pencil drawing and digitally enlarged,
59.3cm × 59.3cm, 2023.
Abandoned Nostalgia 3, pencil drawing and digitally enlarged,
59.3cm × 59.3cm, 2023.
Beyond the Toybox 1, pencil drawing, 59.3cm × 83.5cm, 2024.
Beyond the Toybox 2, pencil drawing, 59.3cm × 83.5cm, 2024.

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Leah Rachid

Luca Dayanc

Megan Davies

Megan Slater

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luca

2024 → BA → Luca Dayanc

With excreted speech 2, by Katrina and Luca Dayanc, photo credit Sofia Pantsjoha, performance still, 2023.

Luca Dayanc

BA in Art and Psychology

Considering waste materials as well as the rhythms of breathlessness (a place of excess breathing, between life/death) as starting points, Luca and Katrina’s performances and sculpture set up a continuous arrhythmia (movement) of expansion/contraction from central (systems-of communication & place making) to periphery and back, to question notions of functionality. Collaborative production is considered contamination, not cure, where neurodiverse brains/bodies infect the other. Being pushed towards other/object and back becomes homeostatic feedback to maintaining survival of their neurodiverse brains. Recent sculptural works explore ornamentation and erotisisation in architecture as way to further push ideas of excess and functionality.

Center of research of Pearl development, by Luca and Katrina Dayanc, sculpture, 40cm × 40cm × 5cm, 2024.
Odd and organ: Orchestrating wasteland, by Luca and Katrina Dayanc, photo credit Annabella Fudjella, sculpture, felt suit cut ups, scrap metal pipes, shirt fabrics on tool table, 1m × 0.6m × 0.3m, 2023.
Outside I (encounter you as pearl), by Katrina and Luca Dayanc, sculpture, waste shirt fabrics, scrap metal A-board, Vinegar, water, rust, 1m × 0.67m, 2023.
Utter glihitter CoRPs, by Luca and Katrina Dayanc, performance still, felt suit, shirt fabrics died in rust, voice, and latex surgical gloves, 2024.

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Kira Read

Leah Rachid

Lucy Richardson

Megan Davies