“I use found materials and enjoy being physically engaged with my practice, creating work in response to a site or the form of the material. I am intrigued by support structures, both large architectural forms and the small domestic nail.
I tend to work quickly and spontaneously, but with a constant adjustment and negotiation; adding and subtracting from the body of material and form throughout, taking it from its’ most full to its’ most lean, always a delicate balance. A sympathy between myself and the material is required, or the piece becomes an object, rather than an expression of itself. Precarity is in the majority of my pieces, so despite the speed with which I sometimes work, there has to be ultimate precision in the assembling process. The cyclical nature of time and weathering, sits in my work, due to the nature of the materials I chose.”
“My practice explores human interventions within the landscape, focusing on anomalies that may usually go unnoticed. My work is charged with visual information that makes reference to the Anthropocene. I am interested in ways of visualising the epoch, and recognising the mechanisms in place that are responsible for current turbulence.
Alongside this, I am interested in the politics of images within our current climate of mass circulation and distribution. Exploring the hierarchy of images, from ‘poor image’ to ‘perfect’.
Working through printmaking, photography and an interest in materials, individual works come together as responsive installations.”
Gill Earnshaw – MA Fine Art
“I’m currently studying an MA in Fine Art and am engaged in studio-based practice. My work is experimental and evolves from the painting processes, working in both acrylic and oil mediums as well as collage and assemblage, using a range of techniques to apply paint but favouring the palette knife.
My work is currently largely based on reproducing visual memories through mindscapes. I favour texture and contours to add in visual depth and sculptural detail. As well as paint mediums my practice includes drawing, photography, print, metal artwork and ceramics.”
Riley Gibson – MA Fine Art
“I’m a non-binary artist; my work is focused on identity. My current work is based on the written word coming from a writing background words make a big part of their life. Ecspecially journals. Making every aspect of the journal from scratch including building up a texured resin cover to making the paper to write on everday. Who we really are as people and everything that entails; our image the version of our selves we show vs who we are inside, the psychology behind what it means to be where we belong within both our selves and our surroundings, are we just one alone isolated or are we a community that can lift each other up.
My most recent work has been of self discovery and my personal identity has been revealed this year, the fear hasn’t gone away but it no longer masks my truth. We all have fear we all have limitations but it’s what we do with them that reveals our identity. My work is ever-changing and recently I’ve have been focusing on the written word and the power that is held within those words, their meaning the delivery why they were written. What is the context?”
Repetitive everyday icons and objects are twisted and turned in to a new product, this conveys a perpendicular story. Using unconventional materials to create imaginary, dream-like works that reflect on our society, the economic, environmental, and political issues that we are faced with in the modern world. The serious themes are mocked with light hearted humor and brightly colored shapes. The importance of the colour is immense in the work, it is what makes her work so uniquely entertaining.
My background in model making opened my mind to a broad understanding of materials processes and techniques. Now the Fine Arts has allowed me to explore and analyze the world around us in an uncensored and nonrestrictive way. Exploring my identity, and what it means to be an immigrant in a post-Brexit Britain.
“My passion for art is driven by a desire to raise awareness about issues that matter deeply to me. A constant source of inspiration of mine is the way in which art has been used throughout history as a device in social and political revolution. In my painting, I use a series of considered references from art history in conjunction with political issues I seek to convey. To communicate warnings to do with subjects that include; conflict, environmental concerns and social instability. Through a process of over layering and utilising the media to provoke conversation around socio-political change. I look to how the materiality and the sensory experience of viewing the work can affect the discourse surrounding these topics.
What is important to me is producing paintings that strike a chord and work towards raising awareness of issues surrounding humanitarianism. I would like to expand upon the idea of creating large scale expressive paintings and continue to explore the discipline in greater depth, examining how to manipulate the medium and investigate variations in mark making.
I gained a BA in Fine Art from The Cass Faculty of Fine Art and Design in London and I am currently studying for a MA at Arts University of Bournemouth. I have exhibited my work in London, Dorset and Europe.”
“During the massive changes and information explosion period, people have been facing different challenges. However, I created videos to satirise the contemporary situation of the world which people would be unable, selfish, and inhuman to face. I used the structures of buildings, political events of wearing white gloves, spreading media channels, and responding in interviews to explore how to change and exploit its primary functions.”
I have a multi-disciplinary practice, working through performance, text, video and film photography. Research is at the core of my practice. I engage with the landscape through site specific works, realising a need for re-enchantment as a means of rekindling of our relationship with the natural world.
I’m interested in the point where myth and fact meet or cross over. My practice borrows from history, folklore, occult practices, mythopoeia and sci-fi. Exploring a relationship with the landscape devastated by capitalism, I use fiction to discover pre and post capitalist realities, histories and dystopian futures. I explore these realities through playful costumes with handmade, low tech and familiar qualities. My work is site-specific, drawing from and responding to my surroundings, local histories of folk tradition, rituals and ceremonies. I play with the different opposing narratives of the British landscape, the romantic, idyllic and the eerie.
“My work is the result of the exploration of products which were concealed or obscured having evolved, often in terms of both living beings and nature. I enjoyed employing the usage of stones in my work.
Stones and rocks develop throughout time in terms of shape, size and inner composition. They have similarities with humans (or any living beings), as well as share the same comparison criteria with nature. To showcase these commonalities, I’ve adopted distinct methods and distinct artwork. In my practice I’ve also experimented with cracking stones and amalgamating them with colour pigments, often comparing the latter in terms of mental and physical.”
Simon Merry – MA Fine Art
“My practice has transformed from literal representation of landscape to abstract interpretation of journey. Where once I depicted ideas about fulfilment I now embrace the real, the immediate and the present-ness of the voyage itself. I am a wayfarer, “Always somewhere, yet somewhere is always on the way to somewhere else” Ingold, T. (2007).
Using acrylic inks on clear Perspex as well as opaque surfaces I allow the paint to drip, run and merge using only tilt and gravity to influence the viscosity, volume and surface tension. My paintings tell of the materiality of the paint; a story of pigment and binder molecules that in turn visualise how we journey through space physically and psychologically. The route is defined by nodes, paths and edges; the journey reflects traits, moods and emotions. The use of Perspex exposes the interface between paint and surface thus revealing what is normally concealed.
For me, art is a journey as much as journey is the subject of my art.”
“Wobbly and flabby it contains an excess of baggage, fodder and cartilage. But turns out, as it does turn out, the stuff of painterly origins as it has done before. Chewing gum repetition and shallow, skimming exploration. Naïve mixing pot plotting of effortless overworked order on a surface. Little air to thrive in but plenty to wallow in, a depth of infinite possibilities if you acknowledge there are infinite points of division within half a millimetre. Sweetie colours and vegetable greys with beiges from yesteryear old people’s homes, plonked on thin, thickish and flattish. It’s a varied diet none too healthy but not mainstream junk food either. Overdose on it and it won’t even register a blip on the monitor let alone trigger the alarm for a stomach pump. If you catch it early it will re-freshen.
Past case fatigue disguised well enough I should think but you never know what inappropriateness may leak out at the sides. A little bit of tape here and there never put off a diehard amateur explorer with an inadequate supply of sun cream. Memorial to yearly repetition it swings in the breeze hung only by a short length of butcher’s twine. Only to fall and bump its soft head on a soft divot shaped thing in the form of some modern-day private parts.”
“My work is a deep and intimate exploration of my relationship with the sea; conveying themes such as environmental concerns, time, connectivity, acceptance, disappearance and enlightenment. My work is visceral in nature with a somewhat spiritual aesthetic which conveys emotions which can be understood yet hard to translate into words – created in differing environments exploring the seascape, rivers and waterfalls with a viewpoint and distance which makes the viewer feel out of one’s depth, both physically and emotionally.
My work highlights feelings of anxiety and fear of disappearance to some that view it, whilst others enter into a hypnotic state and experience peaceful feelings of acceptance”
Marta Rinaldini – MA Fine Art
“I’m an international artist and designer and go by the pseudonym Naga Red. As the pseudonym suggests, my work is broadly influenced by Eastern doctrines such as Zen Buddhism, Hinduism and Taoism, and reenter in the group of artists concerned with the existential and timeless need of knowing the profound-Self such as, for instance, Marina Abramović, Bill Viola, Linder Sterling and so on.
My practice questions the public’s understanding of the concept of existence through the investigation of meditation and breathing techniques. The aim of each artwork is to offer the viewer an experience to reflect on their own persona and, eventually, in the best scenario, help to find out the purest and most genuine version of the Self.
Ephemerality, delicacy and fragility are often the main characteristics of my art, expressed by drawings, photographs, installations and performances. Metamorphosis, time and analytical researches are at the base of any process explored.”
I’m a contemporary fine artist with a background in textile design. A new perspective on sociological and political issues is presented through my choice of abandoned materials, dust and tumble dryer lint. Discarded elements are interrogated to gain the maximum knowledge contextually and theoretically. Combining materials from ‘the world’ and analysing how light and space effect an object is central to my research and practice. The significance of the offensive, invisible qualities are highlighted and reintroduce to the viewer in the form of sculptures and installations, whilst revealing the beauty within.
By compressing lint with epoxy resin a reflective surface is achieved, which allows the viewer to observe themselves through a material that has been formed from fibres collected in a tumble dryer.
By incorporating a completely sustainable and recycling approach to the creative process, the integration of sustainability, and arts development can be achieved in principle and practice. The object functions like a magnet, but also conceals possibilities which tests how far my own subjective potential goes in repeated use of the materials. The repetition of everyday actions can appear unremarkable to us, yet it is within these insignificant moments where I extract the narratives as ‘evidence of a life lived’.
The viewer is encouraged to activate their own responses to the objects, their context, and beyond that, to real world from which they are derived.
Paul Skelding – MA Fine Art
“My work brings together non-representational formal concerns and charged figuration in sculpture, paintings, soundings, and films that reveal themselves slowly, first as familiar everyday concerns, then later as unnerving stories. The tension sustained between formal abstraction and image-based narratives deriving from his use of repurposed or common materials gives rise to a dynamic that posits the historical constructions of the domestic into a virtual space slippage.
The techniques I use can call upon or trigger influences from fine marquetry, past Zen raku ware, to glossy computer renderings, where dermis colour and texture challenge the mass of the forms. I spliced recordings of kitchen chores, echoing verse, distant commerce, pinball through the voids and enunciate the visual manoeuvres of shared existence. What is often present is an interrogation of the materials and a study of their particular properties – what we may take for granted being re-examined, and their premeditated appropriation questioned.
Compositions of complementary or juxtaposed materials and themes are approached in a playful manner, but a deeper dialogue of lifestyle choices, resource and labour allocation is never too far away: My use of ‘ready-made’ objects may urge the viewer to think of their status in our lives, while reflecting on their built-in obsolescence and transitory nature.”
I’m a textile artist and very (very) amateur film maker who explores the relevance of folklore, myths and legends within modern society by creating set pieces and stories that seek to update these tales for the modern day. As such most of what I create is steeped in pop culture iconography and references everything from energy drinks to 90s hip hop. Alongside this I like to explore the more gendered side of textile art and the traditions that surround not only the subject matter I explore but also the medium I choose to create it in.
Textile art is often considered to be of less worth than other, more traditionally masculine, mediums; a perception I flatly reject and have begun to deconstruct within my work both here at AUB and will continue to do so moving forward in a similar tongue ‘n cheek manner.