Gallery
Longhua Funeral Parlour
Acrylic on Canvas
177 x 255cm
Adam Boyd
Glasgow School of Art
Longhua Funeral Parlour, Shanghai, became the first funeral home to use 3D printing to create missing body parts for damaged corpses. Ironically, prosthetic hands feature prominently in my paintings, whilst my own hand-eye relationship to mark making has become increasingly subordinate to information traced from digital projection.
The Space Between Us
Mixed Media/Bronze
182 x 50 x 32cm,
33 x 11 x 10cm (excl plinth)
Arthur Piddington
Glasgow School of Art
‘The Space Between Us’ explores the sculptural space between father and son.
Two abstracted human forms, void of identity, provoke contemplation of our relationships with one another, in particular, family, and the similarities in appearance, characteristics and flaws.
The variety of perspectives between viewers creates multiple interpretations, depending on the individual and their own experiences and relationships.
Although the two figures are intended to be seen together, each can be viewed on their own as studies of the human form.
Laura’s Palette
Acrylic, moulding paste and varnish on canvas
120 x 120cm
Bertie Chapman
Leeds College of Art
Normally I get my inspiration from walking around town, and chilling with my friends, who are all musicians, artists and lawyers. I paint what I see from them.This piece was inspired by a friend’s palette. Focus was put into the dried layers of acrylic, concentrating on the colours used in the portrait.
Satin Sheets
Photograph Mounted in Perspex
90 x 134cm
Birk Thomassen
Glasgow School of Art
Person, object or surface, I am attracted to beautiful things and I believe beauty is a powerful took when it comes to making artwork. I like to be seduced when I make work, and I hope I can convey this feeling to the viewer through my artistic practice.
Yellow Triptych
Oil on Canvas
110 x 45cm x 3 panels
Celine Stonex
Manchester School of Art
My artwork explores how colour has the ability to become the sole subject of a painting. The build up of form and colour creates harmony and tension in a painting. This transcends representational expression, thus allowing the audience to draw their attention away from any extraneous reference to the actuality of a painting-as-painting. The highly reflective oil paint creates an intense interaction with the artwork, inducing the viewer into a state of self-hypnosis.
Tower Block #1
Oil on Canvas
40 x 40cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
Tower Block #2
Oil on Canvas
55 x 33cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
Tower Block #3
Oil on Canvas
60 x 40cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
View From The M62
Oil on Canvas
60 x 60cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
Millbank Tower
Oil on Canvas
60 x 40cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
Construction Site Across St Peter's Square
Oil on Canvas
60 x 40cm
Charles Eden
Leeds College of Art
This series of paintings depicting tower blocks hopes to explore the approaches employed in the painting experience. Constructs of being are readily used. The ‘observed’ scene, including all elements outside of the frame of imagery and the physicality of actions layer themselves. Historic and present experiences also find ways to inform the process. The end result is the percieved manifestation that projects its own elements towards the viewer.
An Act Of Expression
Oil on Canvas
153 x 153cm (framed)
Charlotte Henshaw
Manchester School of Art
My work is inspired by the emotional energy connected to my Epilepsy. I aim to capture these absence experiences and to paint something that can otherwise not be understood. ‘Am I going to have a seizure?’ is a daily anxiety. My painting represents the battle between this anxiety and an anxiety around the gestures I create with the paint. Each fragment and mark explores a different type of emotion. I work on a large scale to display the huge impact this condition has on my life.
Bradford Pit
Charcoal
113 x 84cm (framed)
David Howe
Manchester School of Art
These four drawings are responses to commemorate and celebrate Manchester’s Bradford Pit, and all those who were involved in the mines during its existence. Each drawing depicts a memory in time from one of the miners who lived and breathed the pit, up until the surge degradation of his eyesight brought his working life to an end. The drawings were displayed at Beswick Library for those very miners.
Pit Head
Charcoal
84 x 113cm (framed)
David Howe
Manchester School of Art
These four drawings are responses to commemorate and celebrate Manchester’s Bradford Pit, and all those who were involved in the mines during its existence. Each drawing depicts a memory in time from one of the miners who lived and breathed the pit, up until the surge degradation of his eyesight brought his working life to an end. The drawings were displayed at Beswick Library for those very miners.
Chimney
Charcoal
84 x 113cm (framed)
David Howe
Manchester School of Art
These four drawings are responses to commemorate and celebrate Manchester’s Bradford Pit, and all those who were involved in the mines during its existence. Each drawing depicts a memory in time from one of the miners who lived and breathed the pit, up until the surge degradation of his eyesight brought his working life to an end. The drawings were displayed at Beswick Library for those very miners.
Coal Face
Charcoal
84 x 113cm (framed)
David Howe
Manchester School of Art
These four drawings are responses to commemorate and celebrate Manchester’s Bradford Pit, and all those who were involved in the mines during its existence. Each drawing depicts a memory in time from one of the miners who lived and breathed the pit, up until the surge degradation of his eyesight brought his working life to an end. The drawings were displayed at Beswick Library for those very miners.
Lomagnupur, Iceland
Oil on Board
63 x 45cm (framed)
Diane King
Manchester School of Art
My focus is to create the atmosphere rather than represent the landscapes I have visited. Inviting the viewer to absorb what they see in the work.
These paintings are part of a series inspired by my ongoing research and continuing interest in Scandinavian culture and landscape. My research and travels illuminating for me a deep connection to my own ancestry and sense of family, which in turn resonates with the deeply held beliefs and cultural traditions of the countries of the Northern Hemisphere. Suggesting travelling through the lands of Fire and Ice, of tumbling down cascading waterfalls, floating through the morning mist.
Dettifoss, Iceland
Oil on Board
50 x 52cm (framed)
Diane King
Manchester School of Art
My focus is to create the atmosphere rather than represent the landscapes I have visited. Inviting the viewer to absorb what they see in the work.
These paintings are part of a series inspired by my ongoing research and continuing interest in Scandinavian culture and landscape. My research and travels illuminating for me a deep connection to my own ancestry and sense of family, which in turn resonates with the deeply held beliefs and cultural traditions of the countries of the Northern Hemisphere. Suggesting travelling through the lands of Fire and Ice, of tumbling down cascading waterfalls, floating through the morning mist.
Journey to Holuhraum, Iceland
Oil on Board
50 x 52cm (framed)
Diane King
Manchester School of Art
My focus is to create the atmosphere rather than represent the landscapes I have visited. Inviting the viewer to absorb what they see in the work.
These paintings are part of a series inspired by my ongoing research and continuing interest in Scandinavian culture and landscape. My research and travels illuminating for me a deep connection to my own ancestry and sense of family, which in turn resonates with the deeply held beliefs and cultural traditions of the countries of the Northern Hemisphere. Suggesting travelling through the lands of Fire and Ice, of tumbling down cascading waterfalls, floating through the morning mist.
Disclosed I
C-Type on Dibond
60 x 40cm
George Burgess
Manchester School of Art
George Burgress has recently graduated from MMU. This project concentrated on three subjects: depression, autism and anxiety. George has used his own personal experiences along with those of others and conveyed them with a camera. Initially, the assumption was that photography only showed ‘how x sees y’. The hypothesis was explored and developed in the latest seies, to portray the struggle and exertion that comes with having a mental illness.
Disclosed II
C-Type on Dibond
60 x 40cm
George Burgess
Manchester School of Art
George Burgress has recently graduated from MMU. This project concentrated on three subjects: depression, autism and anxiety. George has used his own personal experiences along with those of others and conveyed them with a camera. Initially, the assumption was that photography only showed ‘how x sees y’. The hypothesis was explored and developed in the latest seies, to portray the struggle and exertion that comes with having a mental illness.
Disclosed III
C-Type on Dibond
60 x 40cm
George Burgess
Manchester School of Art
George Burgress has recently graduated from MMU. This project concentrated on three subjects: depression, autism and anxiety. George has used his own personal experiences along with those of others and conveyed them with a camera. Initially, the assumption was that photography only showed ‘how x sees y’. The hypothesis was explored and developed in the latest seies, to portray the struggle and exertion that comes with having a mental illness.
Disclosed IV
C-Type on Dibond
60 x 40cm
George Burgess
Manchester School of Art
George Burgress has recently graduated from MMU. This project concentrated on three subjects: depression, autism and anxiety. George has used his own personal experiences along with those of others and conveyed them with a camera. Initially, the assumption was that photography only showed ‘how x sees y’. The hypothesis was explored and developed in the latest seies, to portray the struggle and exertion that comes with having a mental illness.
Disclosed V
C-Type on Dibond
60 x 40cm
George Burgess
Manchester School of Art
George Burgress has recently graduated from MMU. This project concentrated on three subjects: depression, autism and anxiety. George has used his own personal experiences along with those of others and conveyed them with a camera. Initially, the assumption was that photography only showed ‘how x sees y’. The hypothesis was explored and developed in the latest seies, to portray the struggle and exertion that comes with having a mental illness.
Clara
Oil on Linen
190 x 135cm
Georgina Clapham
Glasgow School of Art
Drawing out the underlying psychology or sexuality of her subjects, Clapham’s portraits explore her own contemporary mythologies. Reworked from narratives in Greek mythology and folklore, they give precedence to conventional old master compositions; prinicpally of nobility or elevated mythological subjects subsituting trite historical symbolosim with contemporary costume and fashion elements. Such anachroism filters our impression of the past and emphasizes the difference in dialogue between old and new.
The Nightmare
Oil on Linen
190 x 130cm
Georgina Clapham
Glasgow School of Art
Drawing out the underlying psychology or sexuality of her subjects, Clapham’s portraits explore her own contemporary mythologies. Reworked from narratives in Greek mythology and folklore, they give precedence to conventional old master compositions; prinicpally of nobility or elevated mythological subjects subsituting trite historical symbolosim with contemporary costume and fashion elements. Such anachroism filters our impression of the past and emphasizes the difference in dialogue between old and new.
Ideal Portrait Of A Man
Oil on Linen
108 x 80cm
Georgina Clapham
Glasgow School of Art
Drawing out the underlying psychology or sexuality of her subjects, Clapham’s portraits explore her own contemporary mythologies. Reworked from narratives in Greek mythology and folklore, they give precedence to conventional old master compositions; prinicpally of nobility or elevated mythological subjects subsituting trite historical symbolosim with contemporary costume and fashion elements. Such anachroism filters our impression of the past and emphasizes the difference in dialogue between old and new.
Orphée
Oil on Linen
180 x 114cm
Graham Rhind
Glasgow School of Art
In each of these three works Graham Rhind wishes to convey elements of the bittersweet emotional state of melancholia. Through abstraction, mark making, the depiction of mythology and the use of motif the artist represents the dissociative, even transgressive qualities of this complex emotional state.
La Mer
Oil on Linen
180 x 114cm
Graham Rhind
Glasgow School of Art
In each of these three works Graham Rhind wishes to convey elements of the bittersweet emotional state of melancholia. Through abstraction, mark making, the depiction of mythology and the use of motif the artist represents the dissociative, even transgressive qualities of this complex emotional state.
Ossian
Oil on Linen
180 x 114cm
Graham Rhind
Glasgow School of Art
In each of these three works Graham Rhind wishes to convey elements of the bittersweet emotional state of melancholia. Through abstraction, mark making, the depiction of mythology and the use of motif the artist represents the dissociative, even transgressive qualities of this complex emotional state.
Urban Dissection I
Acrylic, matt and gloss wall paint and matt varnish
100 x 150cm
Hugo Samengo-Turner
Leeds College of Art
My practice demonstrates the simplification of architectural forms. I predominantly look at the process and from my simplified drawings I systematically go through the stages of photography, drawing, sculpture and finally painting. This process of building up my painting bit by bit, the different layers and different paints used to collectively create my piece, fulfils my fascination with architecture and the entire building process from start to finish.
Urban Dissection II
Acrylic, matt and gloss wall paint and matt varnish
84 x 120cm
Hugo Samengo-Turner
Leeds College of Art
My practice demonstrates the simplification of architectural forms. I predominantly look at the process and from my simplified drawings I systematically go through the stages of photography, drawing, sculpture and finally painting. This process of building up my painting bit by bit, the different layers and different paints used to collectively create my piece, fulfils my fascination with architecture and the entire building process from start to finish.
Bradford Pit Miner 1
Digital Print
229 x 96cm (framed)
Jacob Phillips
Manchester School of Art
Working from audio interviews from former workers of the Bradford Pit Colliery of Manchester, I created a series of potraits based on their accounts of life down the pit. I attempted to really visualise the result of this life style on the men.
Bradford Pit Miner 8
Digital Print
124 x 90cm (framed
Jacob Phillips
Manchester School of Art
Working from audio interviews from former workers of the Bradford Pit Colliery of Manchester, I created a series of potraits based on their accounts of life down the pit. I attempted to really visualise the result of this life style on the men.
Dress Sculpture
Copper Wire
184 x 150cm (inc plinth)
Jairaj Lall
Leeds College of Art
My practice is based around engaging the audience and their perception of shape, space, form and colour. I often create sculptures that play around with these concepts, experimenting with geometric shapes and also bold vibrant colours. My current work focuses on the combination of sculpture and fashion design to create a series of ‘wearable sculptures’ using a variety of different materials.
This Way Up I
CMYK prints
59.4 x 84.1cm
James Cray
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
This Way Up II
CMYK prints
59.4 x 84.1cm
James Cray
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
This Way Up III
CMYK prints
59.4 x 84.1cm
James Cray
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
This Way Up IV
CMYK prints
59.4 x 84.1cm
James Cray
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
This Way Up V
CMYK prints
59.4 x 84.1cm
James Cray
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Margaret and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Margaret and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Margaret and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Robert and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Robert and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Thicker Than Blood: Robert and Possessions
Photography
60 x 90cm, 40 x 50cm
Jeremy O’Connor
Leeds College of Art
This work encourages the consideration of otherness. Anyone outside our social circles is an extra in the background of our surroundings but they have to have their own emotions, pains, pleasures, ambitions, friends and complex lives.
People we walk past everyday are living a life as vivid and complex as ours.
Chapeaux De Pensee I
Photography
72 x 52cm
Laura Watkins
Leeds College of Art
“Thinking Hat” looks at the changing of earth’s seasons and how this affected Laura’s emotional state growing up. It was by turning her attentions to art that helped take control of her anxieties. The images produced are inspired by fashion and fine art. Incorporating handmade headpieces and theatrical makeup helped create a body of work that has a new and unique approach on using the elements in photography.
Chapeaux De Pensee II
Photography
72 x 52cm
Laura Watkins
Leeds College of Art
“Thinking Hat” looks at the changing of earth’s seasons and how this affected Laura’s emotional state growing up. It was by turning her attentions to art that helped take control of her anxieties. The images produced are inspired by fashion and fine art. Incorporating handmade headpieces and theatrical makeup helped create a body of work that has a new and unique approach on using the elements in photography.
Chapeaux De Pensee III
Photography
72 x 52cm
Laura Watkins
Leeds College of Art
“Thinking Hat” looks at the changing of earth’s seasons and how this affected Laura’s emotional state growing up. It was by turning her attentions to art that helped take control of her anxieties. The images produced are inspired by fashion and fine art. Incorporating handmade headpieces and theatrical makeup helped create a body of work that has a new and unique approach on using the elements in photography.
Colony
Oil on Calico/Canvas/Linen
150 x 180cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Diplomat
Oil on Calico/Canvas/Linen
180 x 150cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Deckchair
Oil on Calico/Canvas/Linen
150 x 180cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Pedestrian
Oil on Calico/Canvas/Linen
152 x 184cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Promenade
Oil on Calico/Canvas/Linen
122 x 153cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Stroll
Oil on Calico/Canvas/Linen
150 x 180cm
Molly Brocklehurst
Leeds College of Art
My practice emerges from the fascination of the found photograph. I paint from old photographs that I find in flea markets and antique shops around England. The photographs are ambigious and act as a starting point, allowing me a way in to somebody’s life. Being disorted by my own interpretation, the paintings contain elements of fiction whilst at the same time depict a lost moment once recorded by the click of the camera. They blur the boundary between reality and fiction.
Faithful Listener I
Oil on Canvas
100 x 80cm
Oliver Williamson
Manchester School of Art
These paintings are inspired by the great work of Diego Velazquez. The dogs symbolise the listener: unable to form words, they watch and listen to the world around them. Looking out of the paintings which in themselves are unable to produce sound, the two dogs sit obediently and observe silently the world around them.
Faithful Listener II
Oil on Canvas
100 x 75cm
Oliver Williamson
Manchester School of Art
These paintings are inspired by the great work of Diego Velazquez. The dogs symbolise the listener: unable to form words, they watch and listen to the world around them. Looking out of the paintings which in themselves are unable to produce sound, the two dogs sit obediently and observe silently the world around them.
Untitled
Oil on Canvas
92 x 120cm
Paige Cottam
Leeds College of Art
As an artist I am primarily concerned with the liminal space between abstraction and realism, using architectual references to construct ambiguous spatial compositions. Colour is an essential factor to the pieces, and I strive to design a palette that is harmonious and refined.
Untitled
Oil on Canvas
92 x 120cm
Paige Cottam
Leeds College of Art
As an artist I am primarily concerned with the liminal space between abstraction and realism, using architectual references to construct ambiguous spatial compositions. Colour is an essential factor to the pieces, and I strive to design a palette that is harmonious and refined.
Sooner Than Wait For A Break In The Weather
Silkscreen Monoprint on Paper
106 x 142cm (framed)
Rachel Petrie
Manchester School of Art
By a repatriated Scot and specialist in printmaking, this work is a response to the perception of landscape as a constituent part of national identity in Scotland. This is a problematic notion due to the dialectic of cross-influence between corporate and personal experience. Thus the piece functions as a parody of landscape to question the romanticisation of Scotland currently perpetuated in modern culture.
The DePARTment
Oil on Canvas
130 x 180cm
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Gown
Oil on Canvas
140 x 100cm
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Other Gown
Oil on Canvas
140 x 100cm
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Cover
Oil on Canvas
30 x 30cm x 2
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Cover
Oil on Canvas
30 x 30cm x 2
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Other Cover
Oil on Canvas
30 x 30cm x 2
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
The Other Cover
Oil on Canvas
30 x 30cm x 2
Rebecca Lindsmyr
Glasgow School of Art
My work explores the relation between health care and the creation of gender. Painting has become a natural way to address the theme. It gives me a freedom to create symbolic conversation through colour associations and combination of representation and abstraction. Simultaneously, the simplicity of the two-dimensional canvas forms a fascinating barrier.
Our Beneath, The North: Victoria Dock, Hull
Medium format photography
90 x 103cm
Ryan Egan
Leeds College of Art
Throughout the north of England, photographer Ryan Egan set out to document historic landfill series to show how they have developed since their closure. The North is the first in a series of four sections also featuring the Midlands, South East, and West that will follow at a later date.
Urmston, Manchester
Medium format photography
90 x 103cm
Ryan Egan
Leeds College of Art
Throughout the north of England, photographer Ryan Egan set out to document historic landfill series to show how they have developed since their closure. The North is the first in a series of four sections also featuring the Midlands, South East, and West that will follow at a later date.
Eastmoor, Wakefield
Medium format photography
90 x 103cm
Ryan Egan
Leeds College of Art
Throughout the north of England, photographer Ryan Egan set out to document historic landfill series to show how they have developed since their closure. The North is the first in a series of four sections also featuring the Midlands, South East, and West that will follow at a later date.
I AM NUDE
Digital Photographic Print
120 x 84cm
Sally Hornby
Leeds College of Art
Specialising in fashion photography, Sally explores the visual language of fashion through her imagery. ‘I AM NUDE’ supports the idea that the fame surrounding the ‘supermodel’ has overpowered the promotion of fashion. Focusing on texture and shape, the photographer uses the visual language of fashion to allow the audience to question the key purpose of fashion photography.
Angel of Death (Or The Latest Hero to Shape)
Oil on Canvas
175 x 155cm (framed)
Sam Stopford
Glasgow School of Art
The process of my work is correlated with the belief that images are fragmented and made up of composite parts. Centrally engaging with digital imagery, I utilise the medium of paint as a means of deciphering the news media surplus. Images of atrocity and media coverage become concealed within one landscape that through continual layering begin to evaporate, addressing the inadequacy of the image to reveal truth to external observers.
Ashley Almanza
Oil on Canvas
61 x 50cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
James P Gorman
Oil on Calico
76 x 63cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
Peter Sutherland
Oil on Canvas
120 x 105cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
Marilyn Hewson
Oil on Linen
120 x 90cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
John J Mac
Oil on Canvas
91 x 71cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
Steven Schwarzman
Oil on Canvas
120 x 80cm
Samuel Burke
Leeds College of Art
This series of portraits was made with the intention of documenting some of the worlds most wealthy and influential people in a visual format. In a world consumed by power, those who wield the most are selfom recognised as household names.
Parts of a Whole
Oil on Canvas
103 x 76cm
Sara Cutler
Manchester School of Art
My work explores various ideas using paint. It is about both the actual paint, way that has physically been applied, as well as the resulting image that is the sum total of all the decisions made throughout a work’s execution. It is about both the language (paint/technique), as well as what is being said (subject matter), the latter which often gets lost along the way in favour of the language. A tension within the work is the result of my desire to both represent my subject matter truthfully (getting my idea across) as well as be expressive, loose and free with paint in terms of brush strokes, colours, mark making, texture and composition. I aim to create something that is visually exciting, surprising, interesting, sometimes disturbing, original, dynamic and charged with emotion and energy. Painting is about more than just copying a picture and creating a likeness. It is an organic process filled with uncertainty, which for some reason I find immensely satisfying, and I hope others derive enjoyment and are inspired too.
Pure Spirits
Oil on Canvas
102 x 146cm
Sara Cutler
Manchester School of Art
My work explores various ideas using paint. It is about both the actual paint, way that has physically been applied, as well as the resulting image that is the sum total of all the decisions made throughout a work’s execution. It is about both the language (paint/technique), as well as what is being said (subject matter), the latter which often gets lost along the way in favour of the language. A tension within the work is the result of my desire to both represent my subject matter truthfully (getting my idea across) as well as be expressive, loose and free with paint in terms of brush strokes, colours, mark making, texture and composition. I aim to create something that is visually exciting, surprising, interesting, sometimes disturbing, original, dynamic and charged with emotion and energy. Painting is about more than just copying a picture and creating a likeness. It is an organic process filled with uncertainty, which for some reason I find immensely satisfying, and I hope others derive enjoyment and are inspired too.
Lani
Oil on Canvas
103 x 103cm
Sara Cutler
Manchester School of Art
My work explores various ideas using paint. It is about both the actual paint, way that has physically been applied, as well as the resulting image that is the sum total of all the decisions made throughout a work’s execution. It is about both the language (paint/technique), as well as what is being said (subject matter), the latter which often gets lost along the way in favour of the language. A tension within the work is the result of my desire to both represent my subject matter truthfully (getting my idea across) as well as be expressive, loose and free with paint in terms of brush strokes, colours, mark making, texture and composition. I aim to create something that is visually exciting, surprising, interesting, sometimes disturbing, original, dynamic and charged with emotion and energy. Painting is about more than just copying a picture and creating a likeness. It is an organic process filled with uncertainty, which for some reason I find immensely satisfying, and I hope others derive enjoyment and are inspired too.
Siberia In Your Throat
Oil on canvas, plaster
50 x 40cm
Sigita Morkunaite
Glasgow School of Art
I grew up in rural Lithuania, immersed in nature, family tales and folklore. I graduated from the Glasgow School of Art in 2016. I see paintings as a form of poetry, a particular way of relating to the world. Relying primarily on personal experiences, I am looking for patterns in my own life, discovering previously unseen connections and often juxtaposing seemingly unrelated images, which can produce an unexpected, strangely harmonious mood.
Spinning, Shimmering
Oil on canvas, plaster
50 x 40cm
Sigita Morkunaite
Glasgow School of Art
I grew up in rural Lithuania, immersed in nature, family tales and folklore. I graduated from the Glasgow School of Art in 2016. I see paintings as a form of poetry, a particular way of relating to the world. Relying primarily on personal experiences, I am looking for patterns in my own life, discovering previously unseen connections and often juxtaposing seemingly unrelated images, which can produce an unexpected, strangely harmonious mood.
Rex
Oil on canvas
130 x 100cm
Sigita Morkunaite
Glasgow School of Art
I grew up in rural Lithuania, immersed in nature, family tales and folklore. I graduated from the Glasgow School of Art in 2016. I see paintings as a form of poetry, a particular way of relating to the world. Relying primarily on personal experiences, I am looking for patterns in my own life, discovering previously unseen connections and often juxtaposing seemingly unrelated images, which can produce an unexpected, strangely harmonious mood.
Toscaig
Etching on Paper
70 x 100cm
Stella Stewart
Glasgow School of Art
My practice looks at recalling images from walks through the Scottish landscape. Additionally, looking at how an object is constructed from abstract memory through the method of making. Toscaig shows growth and decay within the process of etching, as the metal plate is destroyed by acid it produces an image.
Discordant Scape III
Oil on Canvas and Cotton
150 x 118cm x 2
Sume Leyden
Manchester School of Art
The artist uses the materiality of paint to explore discord between landscape and industry. Multifarious fluid marks signify the molten origins of land, while a defined cotton under structure symbolises the industrial dictate of the cotton industry in northwest England. It pulled and shaped the land and minds in the industrial age. Double split pairs of complementary colour accentuate the argument, producing the vibrant, complex and creative vivacity seen today.
Discordant Scape III
Oil on Canvas and Cotton
150 x 118cm x 2
Sume Leyden
Manchester School of Art
The artist uses the materiality of paint to explore discord between landscape and industry. Multifarious fluid marks signify the molten origins of land, while a defined cotton under structure symbolises the industrial dictate of the cotton industry in northwest England. It pulled and shaped the land and minds in the industrial age. Double split pairs of complementary colour accentuate the argument, producing the vibrant, complex and creative vivacity seen today.
Vacant Spaces
C-Type Print
102 x 132cm
Tristan White
Manchester School of Art
This series explores Manchester’s forgotten buildings and structures that have endured the extensive developments of a 21st century city. As a documentary photographer, I am drawn to these buildings, interpreting the empty rooms and discarded objects as the fading memories of the human psyche. Some are abandoned, some condemned then demolished, but all convey life through what is left behind, be it wallpaper, furniture or forgotten possessions.
Vacant Spaces
C-Type Print
102 x 132cm
Tristan White
Manchester School of Art
This series explores Manchester’s forgotten buildings and structures that have endured the extensive developments of a 21st century city. As a documentary photographer, I am drawn to these buildings, interpreting the empty rooms and discarded objects as the fading memories of the human psyche. Some are abandoned, some condemned then demolished, but all convey life through what is left behind, be it wallpaper, furniture or forgotten possessions.
Bradford 1
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.
Bradford 2
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.
Bradford 3
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.
Bradford 4
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.
Bradford 5
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.
Bradford 6
C-Type Print
77 x 58cm
William Kneeshaw
Leeds College of Art
Bradford
Br-at-fad
The aim of this project was to become more familiar with Bradford and to understand the city through experiences. Taking photographs of people, places and everything in between, capturing chance encounters with the city and constructing images of people I have interacted with throughout my adventures. The work demonstrates my unique approach and developed familiarity with Bradford. The photographs themselves show the character of the city and the kindness of the people using street come documentary style of photographing.