United Kingdom

2017 Gallery

Adam Benmakhlouf

Glasgow School of Art

I vigorously combine the looming, stretched and desirous imagery of fashion editorials with the recognisable romance and free immediacy of German expressionism, fauvism and impressionism. Passionately painted, when approached closely, these hulking figures also become abstract compositions of rubbed, swirled and sometimes melting paint. While referring to processed and stagey photography, posing and artifice are joyously and intimately entangled with the hyperbolic desire and eroticised energy of gestural painting.


Adele Baron

Leeds College of Art

Tales From Afar embraces the style of traditional theatre, incorporating elaborate costumes and hand-crafted props. The work has been influenced by the European fairy tales which inspired Disney cinema. It draws upon a fine art and fashion aesthetic to depict ideas around fantasy and escapism. The photographer's intention is to awaken long forgotten memories of childhood. The simplicity of the stories is in contrast to the complexities of modern life.


Alexander Francis Miller

Leeds College of Art

Miller's 'Deconstruction' is a photographic project using digital manipulation to distort imagery of modern architecture and exploring the deconstruction of architecture within growing urban environments. Miller uses graphic inspired imagery to produce 'new worlds' from a fresh perspective, creating aesthetic collages and designs. His work also experiments with a multi dimensional method, to enhance the subject's perspective. Some images are also presented onto rolls of fabric to express movement and scale.


Amy-Leigh Bird

Glasgow School of Art

My current practice is a conceptual response to a specific place, which has a personal and sentimental resonance to me. I have been exploring the academic concept of topophilia through experimental art processes. In using a display cabinet, I aim to cultivate self-defining items that are a complex reflection of my own experience.


Amy-Leigh Bird

Glasgow School of Art

My current practice is a conceptual response to a specific place, which has a personal and sentimental resonance to me. I have been exploring the academic concept of topophilia through experimental art processes. In using a display cabinet, I aim to cultivate self-defining items that are a complex reflection of my own experience.


Andreas Christodoulidis

Glasgow School of Art

"These prints represent the five rivers of the underworld in Greek mythology. Each signifies an emotion or element: woe, flame, forgetfulness, lamentation and hate. Christodoulidis studied painting and printmaking at the Glasgow School of Art. He works primarily in printmaking and his work addresses themes from Homer's Odyssey."


Chlo Elizabeth

Leeds College of Art

Stylised cow, numbers are intended to symbolise capitalism and social structure. Humour is injected into the piece of work within the title.


Courtney Birss

Manchester School of Art

This piece subtlety represents how the media and magazines mass produce images of unrealistic, unachievable body goals for their audiences to look upon. To create this piece I took imagery from inside a magazine and from there I used editing software to transform the body multiplying limbs which are key when representing the topic of unrealistic body representation.


Eunbin Kim

Glasgow School of Art

Eunbin Kim is a South Korean artist based in Scotland. The work is built up with unlimited numbers of layers. The 'layers' concept forms the central aspect of Eunbin's artworks and is a creation of a visual metaphor for the decision we make.

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Eve Hindle

Leeds College of Art

Eve Hindle is a sculptor who experiments with casting, welding and polishing. Hindle has developed an ongoing dialogue between resin's transparency, concrete's weight and steel's geometrical frameworks. Her resin and concrete casts' perceptual aesthetics create perspective illusions of weightlessness through transparency. The repetitive forms and coherent combinations of materialities generate an evocative simplicity and a strong sense of presence through scale, weight and balance in composition as a whole.


Florence Pinsent

Manchester School of Art

Though drawing, I am able to translate untouchable areas of my imagination. This piece is inspired by a particular experience I had at a parade in Bratislava, Slovakia. I wanted to play with the characters and atmosphere with my cheerful, illustrative and colourful style. Using my instinctive eye for colour and experimenting with quilting I have been able to bring the drawing to life.


Hannah Mooney

Glasgow School of Art

My practice explores the self-renewing themes of landscape and still life painting. I try to work in an unfastidious way, painting the same view at different times in the day, observing the differences light makes to the forms, sensitively exploring the climatic, atmospheric and elemental changes of the Irish and Scottish landscape. Painting from life has brought me closer to nature and respectful of its strength, energy and beauty.


Hoi Ling Helena Fong

Glasgow School of Art

In my work, the ambivalence and swirling vortex of irrational behaviour is shown by multiple mad and distorted nude figures. I took pictures of the nude and edited them as multiple complex figures to represent the contradiction of humanity who continue fully aware we will not stop. Using multiple figures explores the internal struggle people experience. The struggle and crazy emotion arises from the fact the people know but seem to indulge in continuing the current living style without the motivation of change, struggle like falling into the whirlpool it is difficult to extricate themselves and dragging us down to the disastrous consequence brought, and inspired by Renaissance painting.


Jackie Chantler

Manchester School of Art

My work is informed by my love of paint and people. Working from photographs I am interested in the process of the translation of the image from photograph to canvas, taking the limited information as a starting point. My approach to the application of paint is both intuitive and spontaneous, retaining a naviety and vibrancy within the final words. The resulting paintings have a quality of unreality, bordering on the strange, mysterious and other worldiness.

Jake Mac

Manchester School of Art

"Under the imposition of the rigid terms of engagement they moved into a seeming trance-like state, alternating almost imperceptibly between a subtle self-consciousness in front of the camera and a withdrawn meditative state, flickering in between the place of being and the requirement to become a sign."" - Joanna Lowry - Stillness & Time.


Jake Mullins

Leeds College of Art

"Marc Auge's analysis of modern life currently interests me, especially around the notion of non-places, described by Auge as places in which we spend much of our time participating in travel, communication and consumption. In these paintings, public spaces such as shopping malls, office blocks and hotel receptions become the focal point, providing those spaces that are frequently unnoticed with their moment in the spotlight."


James Matthew Taylor

Leeds College of Art

My practice deals with relationship between personal background and place, particularly focusing on Newmillerdam in my home town, captured through ink drawing. Employing local subject matter brings the individual narrative to the fore. I document the changing landscape, and the impact of humans, and their presence within a natural vista.


Jennifer Donaldson

Leeds College of Art

'In Harmony' documents the progression of family dynamic since the diagnosis of the photographer's mother's cancer. Shot within the family home capturing the intimacy of family life and the simplicities of the everyday. The project used as a coping mechanism for the photographer opens up about personal experiences and challenges faced by both the photographer and her family.


Laura Coyne

Leeds College of Art

"In these paintings are depicted routines and procedures that people – here, in particular women – may find themselves performing in everyday life. Coyne is interested in the notion of beautifying and its importance for women in modern day society.


Megan Wood

Glasgow School of Art

I am an Edinburgh based artist whose paintings and drawings predominantly explore portraiture and the human form. My current studio practice explores figurative images from vintage National Geographic magazines that I have collected. I work through a process of sourcing and collaging these images alongside my own photography and drawings. I am particularly interested in the colours, explorative nature and variety of images found on the pages of these magazines. I aim to capture the essence of these unique characters in my large scale contemporary portraits, and make visual connections through shape and colour.


Melvin Leong

Leeds College of Art

Melvin Leong is a documentary photographer based in Macau, China. This series is about the valuable community in today's society, the homeless. Leong used a different approach towards this issue by working with homeless organisations and getting to understand more about the homeless people themselves to create this series.


Michael Koropisz

Manchester School of Art

On the day of the sitting Elena was posing as a nude Venus for Koropisz's painting. At the end of the session she asked if he would also paint her clothed as a gift to her Mother. In this result, she sits face-on and direct. Her blue coat contrasts with the detail of the shawl, as her piercing eyes draw the viewer in.


Molly Gerard

Leeds College of Art

The gestures drawn are examples of unconscious cues, the subtle and unintentional hand movements that reveal a person's underlying psychological state, or the things left unsaid: 'the spoken on the edge of the unspoken'. Although these movements are silent, their revealing nature can make a person their loudest. To encapsulate this, the gestures are presented isolated on the page, forcing the viewer to acknowledge a movement that would otherwise be unnoticed.


Olivia Tillston

Manchester School of Art

As an artist I explore the way an audience interprets a photographic image when visual elements aren't what would traditionally be expected within an architectural photographic piece. Although I also aim to explore the element of industrial inspirations throughout my work by incorporating the mirror as a structural foundation, focusing on the idea of replicated pattern works that are heavily featured throughout the geometric buildings that surround us.


Peter McEwan

Manchester School of Art

By standing in the footprints of past photographers and overlaying their archival images onto those taken in 2017, life within Manchester's London Road Fire Station has been reimagined. McEwan primarily uses digital drawing and photography to create richly layered pieces based on historical events and storytelling.


Rachel Hobkirk

Glasgow School of Art

Through the literal act of painting, the growing tension between the digital and the analogue is examined. My practice seeks to materialise the immaterial nature of the screen. The double-layered canvases invert the flatness of the screen to suggest that there is a virtual depth within its surface. Each painting explores the illusion of pictorial space and the interplay between flatness and depth, light and shadow.


Radu Lungu

Glasgow School of Art

"I was born in Baia Mare, Romania, and am currently based in Glasgow, Scotland. My practice looks at the way we invest place with meaning. The highly contested mythology of cities and their infrastructure is my focus. The way we conceptualise inhabited space has a direct impact on the anthropological identities we create for ourselves and others, and on the social relationships we establish.


Robbie Spriddle

Glasgow School of Art

"My work explores subject matter steeped in conflict. The forms in this series of prints are derived from opposing symbolism, flags and walls of segregation. Through reworking, deconstructing and playing with source material, I attempt to make images that reflect current and past issues, create abstract signs of resolution and build idealistic symbols of union where there is discord. My drawings are created in tribute to victims of segregation throughout history.”

Roisin O'Donnell

Leeds College of Art

When viewing her work, you are seeing the world through O'Donnell's eyes. She is inviting you to become a spectator and consider a new understanding. O'Donnell paints nocturnes, and uses darkness as a vehicle to evoke uncanny feelings and distort conventional reality. By combining the natural and the man-made, she allows for a romantic notion of the sublime to be experienced in a 21st century urban setting.


Rose McMurray

Leeds College of Art

Rose McMurray's paintings seek to address gender roles which are embedded within society; the premise that a male must be muscular and courageous to be admired and the female must appear modest and beautiful to be worthy of respect. The female is seen passively awaiting adoration while the male is strong and exuding power. McMurray counters this by creating a juxtaposition; the female embraces this dominant nature whilst the male becomes vulnerable and submissive.


Shine Christensen

Glasgow School of Art

Fundamental to my practice is a deliberate collocation and equal fusion of art and nature, straddling the boundary between each subject, a contemplation on forms playing on the same boundary. Contextually, I investigate the distinct character of natural, and as an opposition, the artificially made object. There are elements of memento mori in my work, as an approach to immortality – a dream life of collecting/archiving, accumulating and sorting processes. The artist as a conscious collector.


Sian Rycroft

Leeds College of Art

These pieces look to show concrete as beautiful, delicate and subtle, rather than being uncompromising and ugly, as previously known. My use of concrete springs from my upbringing in forever changing Leeds as it is home to many concrete structures. The busy city is stripped into its simplest form by removing the complexities of surrounding areas and untangling them, as the unpopulated urban landscape is recreated as sculptural drawings.


Tabitha Zito

Glasgow School of Art

The photographic medium - in its simplest form of materiality (a light source and light-sensitive emulsion) - holds a key focus in my practice. Through my exploration of the photographic medium, I attempt to depict the verisimilitude of the everyday, our habits, routines and position as a society within the space around us. My work therefore uncovers connections between the abstract space within the camera - through the medium's ability to document time - with how we bodily inhabit the space around us.


Tanzi Partington

Manchester School of Art

A photographic exploration of the intercultural practice of gifting floral sentiments, and the use of flowers as means of emotive communication. The work is based upon the custom of floriography; the language of flowers, and explores the emotional connotations attached to floral symbolism. It focuses on traditional sentimental customs, and the nature of expression through floral favours in association with emotion and feelings.


Tayia Rose Dussie

Manchester School of Art

Dussie is highly interested in narrative. 'When I'm 6' follows her own written narrative of a child's wonder at the circus, it explores a child's perception of the future as well as showing the bright hope filled imagination. It also looks at diversity and how we all have our own fun characteristics. Each spread is made up of two events combined together.


Ted Holehouse

Manchester School of Art

Exploring the unexpected. Turning the ordinary into the unusual. This is what I aim for as an artist. In this series, dull tasks of day-to-day life are immersed in colour to create striking images which make you take a second look. The regular becomes a rainbow; the everyday becomes extraordinary.


Theodosia Hadjithekli

Glasgow School of Art

The artist, born and raised in a half-occupied island, Cyprus, explores the current refugee crisis. Inspired by the “lifejacket graveyard” in Lesvos, a landscape where people who are desperate to escape war pile their dreams. The artwork is a stark portrait of the many refugees who crossed the Aegean Sea and a shout out to the world for help to all those who are fighting for a better future.