Eula Brooks
Employment
Cameron Face
This is Cameron. Their faces were generated with AI. Like us, our faces are a major part of our identities that make us unique and interesting; including how we use our faces to emote, but also, who and where we inherited certain facial features from. Exposing our faces to the public, (primarily the internet) can create dangerous consequences - some touch-ups that may be out of our control. Photoshop, Caricatures, DeepFakes meddle with anyone’s image. By using procreate for digital animation, and magazine snippets for stop motion: They are learning and spreading - through our codes and our screens. There is a Cameron everywhere.
This is Cameron. Their faces were generated with AI. Like us, our faces are a major part of our identities that make us unique and interesting; including how we use our faces to emote, but also, who and where we inherited certain facial features from. Exposing our faces to the public, (primarily the internet) can create dangerous consequences - some touch-ups that may be out of our control. Photoshop, Caricatures, DeepFakes meddle with anyone’s image. By using procreate for digital animation, and magazine snippets for stop motion: They are learning and spreading - through our codes and our screens. There is a Cameron everywhere.
Indiana Edwards
Cardiff University - BSc Conservation Objects in Museums & Archaeology
A Dwelling
This interactive sculpture represents the original dwelling of humanity, the womb. I have explored different places that humans have made their homes, looking at how we interacted with caves, using them as a canvas. Hence I gave my sculpture a rock-like texture. In my research, I found that, when seeking comfort, mankind often craves an environment similar to the womb. Babies are drawn to cardboard boxes as they provide a dark, confined environment. I want this piece to provide a place where you can remove yourself from the outside world, and simply exist without worry. One of the most important things I considered when creating this figure was that I wanted it to be interactive. I want the audience to run their fingers across its tactile surface, and I want them to be able to have their own sensory experience within it.
This interactive sculpture represents the original dwelling of humanity, the womb. I have explored different places that humans have made their homes, looking at how we interacted with caves, using them as a canvas. Hence I gave my sculpture a rock-like texture. In my research, I found that, when seeking comfort, mankind often craves an environment similar to the womb. Babies are drawn to cardboard boxes as they provide a dark, confined environment. I want this piece to provide a place where you can remove yourself from the outside world, and simply exist without worry. One of the most important things I considered when creating this figure was that I wanted it to be interactive. I want the audience to run their fingers across its tactile surface, and I want them to be able to have their own sensory experience within it.
Alenya Fowler
Employment
Taken Hostage By Grief
The effects of grief and prolonged struggles presented to an individual is a sensitive theme, but one I have chosen to explore in my artwork. Drawing upon personal experience, my work is a means of navigating a pathway through the distress of grief, as well as offering a new way to process some of my past and present emotions. Distorting the norms of Scale, I have used familiar everyday objects to demonstrate an overwhelming failure to perform with ‘normal’ cognitive function for someone experiencing a bereavement, and the impact this has on the capability to complete mundane tasks. Inspired by ceramicist Lindsey Menduk, I have experimented with clay (and added mix media) to create a piece to show the weight a silent spiral of inescapable unproductivity can have on a person, and on myself.
The effects of grief and prolonged struggles presented to an individual is a sensitive theme, but one I have chosen to explore in my artwork. Drawing upon personal experience, my work is a means of navigating a pathway through the distress of grief, as well as offering a new way to process some of my past and present emotions. Distorting the norms of Scale, I have used familiar everyday objects to demonstrate an overwhelming failure to perform with ‘normal’ cognitive function for someone experiencing a bereavement, and the impact this has on the capability to complete mundane tasks. Inspired by ceramicist Lindsey Menduk, I have experimented with clay (and added mix media) to create a piece to show the weight a silent spiral of inescapable unproductivity can have on a person, and on myself.
Bruno Green
Chelsea College of Art - BA Graphic Design Communication
The Infinite Loop of Feeding and Consuming
Screens displaying vibrant, fast paced visuals force the audience to over-consume, drawing parallels to the constant bombardment of noise we experience daily with the commercialisation of technology. They promise us pleasure while commanding us to buy, watch and engage. The audio-visual mass asks the viewer to consider what they consume. Modern media is designed to waste time, synthesized to target strong emotions and relatability. The screens represent this constant stimuli. This piece isn't a display of what could happen, it's a display of what has happened. Screens have turned from a tool of freedom to a facade of greed. It may seem dire, but sooner or later the era of commercialisation will end.
Screens displaying vibrant, fast paced visuals force the audience to over-consume, drawing parallels to the constant bombardment of noise we experience daily with the commercialisation of technology. They promise us pleasure while commanding us to buy, watch and engage. The audio-visual mass asks the viewer to consider what they consume. Modern media is designed to waste time, synthesized to target strong emotions and relatability. The screens represent this constant stimuli. This piece isn't a display of what could happen, it's a display of what has happened. Screens have turned from a tool of freedom to a facade of greed. It may seem dire, but sooner or later the era of commercialisation will end.
Iza Mihali
UAL Central Saint Martins - BA (Hons) Fine Art
Artifacts of the Subconscious Mind
"The brain is so inexorably bent upon the quest for meaning that it attributes and even creates meaning when there is little or none in the data it is asked to process." I have allowed my dreams to dictate the art I make. These artifacts present what happened in my dream. A museum of my mind, an amalgamation of different objects that don't make sense together. The audience is walking into my brain and taking on the role of it, forming their own narrative from it. Our brains create a story to help make sense of it all. "Dreaming may be our most creative conscious state… many or even most of these ideas may be nonsensical, if even a few of its fanciful products are truly useful, our dream time will not have been wasted.” - McCarley
"The brain is so inexorably bent upon the quest for meaning that it attributes and even creates meaning when there is little or none in the data it is asked to process." I have allowed my dreams to dictate the art I make. These artifacts present what happened in my dream. A museum of my mind, an amalgamation of different objects that don't make sense together. The audience is walking into my brain and taking on the role of it, forming their own narrative from it. Our brains create a story to help make sense of it all. "Dreaming may be our most creative conscious state… many or even most of these ideas may be nonsensical, if even a few of its fanciful products are truly useful, our dream time will not have been wasted.” - McCarley
Laura Pycock
University of Manchester - BA Liberal Arts
The Game
Inspired by Aesop's Fable ‘The Fox and the Stork’, The Game invites the viewer to consider social inequalities many face inherently in our society. The Fable describes the story of a fox inviting a stork for dinner, however they deliberately only serve the soup in shallow bowls that the stork cannot eat from properly due to its beak. In return, the stork invites the fox for dinner and only serves soup in tall, narrow vases that the fox cannot reach the bottom of. In the context of a warped chess game, both the fox and stork are set on opposite sides of the board from the bowl they need in order to eat. Mirroring the social inequality of many people in the UK not having access to resources they need to survive. The board itself signifies no one is set up on an even playing field in life.
Inspired by Aesop's Fable ‘The Fox and the Stork’, The Game invites the viewer to consider social inequalities many face inherently in our society. The Fable describes the story of a fox inviting a stork for dinner, however they deliberately only serve the soup in shallow bowls that the stork cannot eat from properly due to its beak. In return, the stork invites the fox for dinner and only serves soup in tall, narrow vases that the fox cannot reach the bottom of. In the context of a warped chess game, both the fox and stork are set on opposite sides of the board from the bowl they need in order to eat. Mirroring the social inequality of many people in the UK not having access to resources they need to survive. The board itself signifies no one is set up on an even playing field in life.
Livia Roberts
University of Nottingham - BSc Hons Physics
In Creating and Seeing
In Creating and Seeing is a microcosm of life, an amalgamation of paradoxes in our world.
A life in a city compared to one within nature, sociability and isolation, animals versus humans, language, silence.
Viewing these side by side highlights the similarities and contrasts between one another.
Why do we do what we do?
In Creating and Seeing is a microcosm of life, an amalgamation of paradoxes in our world.
A life in a city compared to one within nature, sociability and isolation, animals versus humans, language, silence.
Viewing these side by side highlights the similarities and contrasts between one another.
Why do we do what we do?
Sarah Symonds
Employment
Connected
Throughout this project I have contemplated the question, “what are the different ways we as humans connect with ourselves and the world around us? Woven yarn is used to express the fabric of life as we weave our way. I have considered how our sense of self is formed before birth and how our experiences continue to shape our lives thereafter. My aim was to create a visual representation that offers the viewer a frame to tell their own story. Humans have an enduring relationship with nature which has the power to improve health and wellbeing. The colours chosen reflect those commonly found in our natural environments.
Throughout this project I have contemplated the question, “what are the different ways we as humans connect with ourselves and the world around us? Woven yarn is used to express the fabric of life as we weave our way. I have considered how our sense of self is formed before birth and how our experiences continue to shape our lives thereafter. My aim was to create a visual representation that offers the viewer a frame to tell their own story. Humans have an enduring relationship with nature which has the power to improve health and wellbeing. The colours chosen reflect those commonly found in our natural environments.
Honey Taylor
UAL Central St Martins - BA (Hons) Fine Art
As You Were, a Grain of Sand. As You Are Now, a Star.
This piece is about consistency, destruction and rebirth. It isn’t about making you feel small, it's about making the world around you feel enormous and deeply significant. The sounds you hear are part of the universe itself. They are the wavelengths and frequencies emitted by the sun, the stars and black holes.
This work is for you, it is yours to experience, to touch, to listen to and to become a part of.
This piece is about consistency, destruction and rebirth. It isn’t about making you feel small, it's about making the world around you feel enormous and deeply significant. The sounds you hear are part of the universe itself. They are the wavelengths and frequencies emitted by the sun, the stars and black holes.
This work is for you, it is yours to experience, to touch, to listen to and to become a part of.
Leo Vanmegen
Employment
The Sculpture of Digital Dependence
Through my artwork, I aim to visually portray the connection between humanity and the rapidly advancing world of technology. In this digital age, we find ourselves intricately intertwined with AI and machines, relying on them for various aspects of our lives. These sculptures, made using recycled computer parts, represent our collective reliance and interdependence of new age tech. By showcasing the complexity of these creations, I invite you to contemplate our intricate relationship with technology and reflect on the possible negative implications it holds for our existence.
Through my artwork, I aim to visually portray the connection between humanity and the rapidly advancing world of technology. In this digital age, we find ourselves intricately intertwined with AI and machines, relying on them for various aspects of our lives. These sculptures, made using recycled computer parts, represent our collective reliance and interdependence of new age tech. By showcasing the complexity of these creations, I invite you to contemplate our intricate relationship with technology and reflect on the possible negative implications it holds for our existence.
