PEDRUM BAGERABADI / AUSRINE ANTULYTE / ELLA BROWN / EMMA CHAMBERLAIN / TAMARA CULLIN / COURTNEY EATON / ANGELIQUE HAINES / ELLE-MAY HAMBLETT / HARRIET HOLYHEAD / KAJA McGOVERN-BRAY / GEORGIA McNEILL / LEAH NEVILLE / GEORGIA ROW / PRANAY SONAK / FAYE TURBERVILLE / REBE WILKINS / NATASHA FARAN
This painting of a death’s head hawk moth, a personal symbol of my melancholy. The moth represents my late father, in the sense that he is always guiding me much as a moth is guided by the flame.
A LOOK INTO MELANCHOLY THROUGH A PERSIAN LENS
This project is meant to bring awareness to mental illness in Persian society. I was born in Iran, so I know first-hand mental health is not a priority there.
In this piece, I revealed the beauty of the great jellyfish. If touched, they may shake with electricity. Beauty can be dangerous, but this jellyfish can be admired boldly.
I depicted about 20 different fictional fish. I relied on photos of various British actors to create the fish. I painted the actors as I imagine them in the form of fish.
I created this piece to show how unwanted touch and sexual assault can make you feel used. The interesting thing about this piece is that it doesn’t actually exist anymore. It was destroyed by myself and a group of others who have experienced these feeling as a cathartic way of getting our emotions out.
This piece consists of three ‘rooms’ that represent childhood trauma. It is presented in a childlike environment using cardboard as the primary media.
NATURE AND MAN-MADE IN COEXISTENCE
This project is digital video slideshow, displaying on a tv screen photographs of the themes ‘man-made’ and ‘nature’, showing how the man-made coexists with nature through photography. In the video there will be 20 seconds between each image. There are a range of photographs within the slideshow alongside the audio of man-made and natural sounds, the audio adding to the work through not only sight but also hearing.
NATURE AND MAN-MADE IN COEXISTENCE
These two images are based on project one but with physical works. The small image is printed on matt photo paper and are 6×4 cm photographs, one image is A3 with embroidered birds. The work shows nature living inside a man-made object as the birds are nesting in the chimney currently and the media is showing a unique way of capturing man-made and nature working in coexistence.
3 acrylic on canvas board paintings of cropped images, with clay vases attached and dried flowers placed in the vases. These 3 paintings were made to represent grief, in the ‘Aftermath’ of a loss.
Tissue paper and wire forget-me-nots placed outside amongst real plants, blending into their surroundings. The forget-me-nots are a symbol of love and remembrance, created as a promise to never forget after a parting of ways or loss.
“Can I Watch”
Exploring non-consensual voyeurism, the viewer is subjected to intrusively peer into an intimate moment shared between individuals in a sapphic relationship. Extracts of hope and community confront the objectification of lesbian fetishization.
WHO’S THE MAN?
Using a visual metaphor of confined spaces, themes of growth and decay display the oppressive gender stereotypes and hegemonic labels in which are forced upon sapphic couples; squeezing them into a heteronormative box.
Sundowner explores themes of cultural heritage, personal and collective memory, and ritual. The project focuses on various Seychellois rituals, and the significance and impacts of colonisation on the once uninhabited archipelago.
DUSK IN THE SEYCHELLES
A film on loop of a sunset in the Seychelles, where viewers can recreate a ritual carried out in modern day Seychelles, where Seychellois sit down together, watch the sunset, story-tell, drink, and relax after a hard day at work.
This large-scale series, consisting of thirty-two paintings, has been created through the medium watercolour on watercolour paper. Considering location within landscapes and its history, watercolour has been used as an aesthetical diversion from the darker meaning behind the works.
A series of thirty-two locations studying crime in Worcester, this piece looks specifically at sexual offences and its issues within our community. Each painting resembles a location found from police reports within Worcester across the year 2021.
Harriet Holyhead is a 20-year-old artist creating work based upon mental health and prescription drug dependency. After struggling personally with depression and obsessive-compulsive disorder the artist has chosen to create work based upon these experiences. .
A THERAPUTIC OUTLET
Harriet’s work attempts to answer one question: Can making art be used as a therapeutic tool? Her exhibition ‘Cell’ attempt to answer this question whilst also challenging the stigma behind mental health by combining playful elements with the darker side of mental health.
THE BELL JAR
This project is made up of 3 decorative bell jars, the first containing a Blue Carpenter Bee, the second containing a Death’s-Head Hawk Moth and the final one containing a small collection of British Butterflies.
Folklore and fairy tales start to come alive with these small yet vibrant houses, letting your imagination run wild with thoughts of their inhabitants. This piece contains handmade fairy houses situated inside vintage teacup and dessert bowls.
A clothing rack taking a sculptural form and communicating an overwhelming sense of somebody’s internal monologue. Thoughts around self-care have become entangled with beauty culture and associations of wealth. My aim with this piece was to acknowledge yet challenge this.
BALANCING OF THE SELVES, PART 5
A monochrome self-portrait, painted with acrylic onto a mirror. Part of a series of mirror paintings depicting both stereotypical, and more realistic self-care activities. 45 x 30 cm.
SKIN AND BONE
I am challenging the societal norms of perfection and beauty by presenting women that are the total opposite of that. I have also included a woman that has, what is believed to be, the “ideal body”. I am trying to provoke discussions on what we believe to be attractive and why it is we believe this.
The intentions of my work are to question the definitions of beauty, imperfections and the representation of the female nude. I am also aiming for an acceptance of the body and its flaws. I am purposely presenting parts of the body that are seen as “imperfect”.
97% was produced in response to the statistic that was released following the tragic death of Sarah Everard, following the protests that involved hundreds of women standing in solidarity with women against sexual harassment. The statistic is placed on a love heart sweet relating to the comparison between women and sweet desserts.
GET FRESH MEAT FROM THE BUTCHERS!!!
The work titled “mania” is inspired by the feelings of mania. Manic episodes are euphoric and indulgent, yet dangerous. It’s like being blinded by all the beauty in the world, hypnotising you to destroy yourself.
The artwork “splitting” is inspired by a borderline personality trait where the victim’s view of the world splits into two parts, good and bad/black and white. The existence of the grey becomes redundant.
This piece consists of an A4 oil painting featuring a pig squished between a bap, which underpins the issue of animal cruelty that is present in factory farms around the world.
The large-scale pencil crayon drawing showcases a sheep indulging in human eyes as a snack as a part of my vegan activism series. This artwork reverses the role of humans consuming animals to animals eating humans.
BENEATH THE SURFACE IV
Abstract painting on a glass panel. When presented the reverse of the glass is shown outwardly creating the illusion of the paint being trapped behind the plane, demonstrating the suppression of emotion.
THE FACE I WEAR
A sculptural painting presented in a gold frame. It is semi-figurative and highly textured showing a singular face breaking through the plane of the surface demonstrating the outward appearance we put into the world.
‘Clashy’ is an acrylic on canvas painting, its style is inspired by the 1950’s Pop Art movement. It addresses themes on style, taste, and class and how society shapes the way we view one another based on appearances.
‘High Trash’ is an oil on canvas painting. It represents how tastes change depending on what class adopts it. It shows the class divide, how lower classes try to keep up with style, the higher classes start to further themselves.
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