Produced for the CASS 2014

Degree Show
Private view: Tuesday 10th June, 6pm - 9pm
Show opening to the public: Wednesday 11th - Saturday 21st
The Sir John Cass school of
Art, Central House, 59 - 63
Whitechapel High Street,
EI 7PF
Graphic designer :
Ieva Kausteklyte
Printed by:
Hobbs Reprographics
All content provided by the graduating students of 2014.
Edited by:
Darius Verbickas, Flora Parker, Abi Baker
2 0 1 4
EXHIBITION CATALOUGE 2 0 1 4
B A F I N E A R T D E G R E E S H O W
2014
8 9
In the early twentieth century, an artist would most likely have been fuent with the
deployment of one medium and literate in its technical matrices: Brancusis photographs
supported his sculptural practice, even if through the lens of history, these stand on their own.
Today, an artist more likely than not makes use of more than one material or technique, even
in the making of one piece, let alone throughout the bulk of his or her practice. An artist is, in
todays context, fuent in the deployment of more than one medium, literate in the technical
matrices of more than one medium, and aware of how the conversation surrounding one
medium affects another
Farah Karapetian (2012)
artandeducation.net
4, 3, 2, 1
...
Whats the context for an
art degree and where one
studies for it? Art students
rarely stop to think that
something as straightfor-
ward as a tutorial lies in a
long tradition. Or that the
transfer of skills between
artists has its own history.
A tutorial is in fact just a
university frame. But art
wasnt always taught like
that. And why you study at
the Cass is part of this.
Before the Second World
War, studying art in London
was largely an ungradu-
ated affair. The British class
system at work was obvious.
If your parents were rich,
then after public school, they
might pay for your tuition at
The Royal Academy Schools
or the Royal College of Art.
If you didnt have so much
money, you might learn
somewhere like Chelsea,
the Slade or St Martins. If
you were still poorer but
talented, places like the
Cass, Lethabys Central,
Morley Hall and The Working
Mens College kept the door
open. Thats England for you.
And thats the Cass identity
in London. Back then, any
international profle among
Cass students lay strictly
in the East Ends polyglot
heritage.
After that war, however,
the academisation of art
took a big turn across the
Atlantic. College boys who
had studied at university
colonised the art scene in
New York, then the centre
of an American hegemony in
art. There was big money to
be made there, as art reputa-
tions went stellar. The ideas
those college boys brought
with them placed univer-
sity study frmly at the start
of a career in the art worlds
across the Western hemi-
sphere. A BA Fine Art (and
which university youd done
it at) came to be a badge for
an artist, a highlight on an art
CV.
The Cass (then part of the old
City of London Poly) arrived
at the launch pad a bit later.
In 1992 the Tory government
converted all polytechnics
into universities. That was
also when the Soviet Union
fell apart, the Berlin Wall
came down and war in the
Balkans began. At the time,
I remember people thought
the British class system had
become irrelevant. A sign of
the times was the magazine
Marxism Today merging into
The New Statesman. A silly
logic obtained that everyone
worked, so everyone must be
working-class.
The Cass began to offer
degree courses at that point,
exactly as art went multi-
cultural and globalised, when
London began to become
the world art city it is today.
So if the Cass were a space
rocket, then just as it left
the Earths atmosphere it
found itself hidden in a wider
universe. For the British class
system was very much alive
and kicking. The London art
schools that served its upper
strata were light years ahead.
And thats how it went on.
Its only now in 2014 that the
possibility of hyperspace in art
occurs at the Cass. Here we
are knocking down old terri-
tories and workshop walls to
create a unitary art degree,
unbounded by medium.
Timewarp to Mo Throp doing
the same at Chelsea 10 years
ago. Antigrav to Rosalind
Krauss deconstruction of
Greenbergs medium speci-
fcity in the 1970s. Teleport to
Robert Morris, making you the
viewer perform in one of his
1960s installations. Wormhole
even to Velasquez coronation
of anyone who might stand
before his painting known as
Las Meninas.
Random landings like this
always mean a narrative,
petite or grand, doesnt work
quite as it might conven-
tionally. Artists will after all
work with anything they
have to hand. So as this
year graduates, lets not get
forget. Become an expert by
all means, but dont get hung
up on what you work with.
The point lies in the quality
of the thinking. This is what
we learn here now. Fine Art
at the Cass has transformed
itself from a strange, inward-
looking dormitory of a place
few had heard of, to indus-
trious studios of activity,
where the study of art will
be socially engaged with
the outside world, where we
think about art as a vocation.
Vocation isnt just a focus on
obs in art, its about art as a
calling.
Were different at the Cass.
Were very ambitious for
our art students. Theres no
art elitism here. We refuse
the house styles other art
schools sell. In art at the
Cass we arent foundation-
alists (one-true-wayers),
universalists or ironists, nor
are we miserablists (moaning
about art always taking
second place). We are plural-
ists who value diversity.
You know that staff assessed
10-minute powerpoint pres-
entations from graduands
this year. About where you
had come to the Cass from,
why you came here, what
you had achieved in art in
each of the 3 years here and
what you were going to do
after leaving . It was great
seeing so many art students
with such a very clear idea
of what they are doing. And
very moving.
Well, thats the Cass and
this is who we are! Safe to
say, you arrived at the portal.
Class of 2014, we have lift-off!
Rosemarie McGoldric
Course Leader,
BA Fine Art
Cass school of art
INTRODUCTION
10 11
O
t
h
e
r
s

a
n
d

t
h
e

S
e
l
f
ALYSSA PHELAN 12
LADY MICHAELLE ST.VINCENT 13
AVA DE LA FLOR 14
ABI L BAKER 15
LAURETTA SMITH 16
JOHN NAZARI 17
FLORA PARKER 18
DARIUS VERBICKAS 19
DESMOND RICHARDSON 20
KWADWO ACHEAMPONG 21
ROLINA ELSJE BLOK 22
RAQUEL CHINCHETRU 23
1
12 13
The process of art making
has always been the most
important part of Alyssas
practise; from continuous
exploration of the environ-
ment surrounding her, to
interaction with inspiring
peopl e and i nteresti ng
characters. She considers
these interactions and she
pours these considerations
into her photography and
painting. She has aquired a
deep interest within the feld
of Art Therapy, particularly
the healing power of the
arts and how it can bring
subconsci ous emoti ons
out of anyone through the
process of making. It has
led her to take an explorative
role within herself and her
thinking behind works. Her
latest project portrays the
gnawing of the brain, the
constant empty buzz that
comes with mental health
problems, and how it can
distract and take away from
the mind of the sufferer.
Alyssa Phelan resides in
Hackney, London, choosing
to live amongst the bustle of
city-life, previously having
lived in the Oxfordshire
countryside.
ALYSSA PHELAN alyssa@thephelans.co.uk
I, Paint on Photograph, (oil bar, paper), 42.0 x 59.4cm
own unique olfactory and
audio memory banks. By
removing the visual from her
work she relies heavily on its
psychological impact. psycho-
logical impact.By creating a
new language through audio
and olfactory installations;
showing imagery via painting
with peoples psyches; she
enables the viewer to engage
with art in a new way.
interpretation of the artwork
through al l aspects of
perception, cognition and
comprehension. LadyMs
latest installation is set within
the brain, literally and psycho-
logically.
Through a montage of smell
and sound recordings (based
on sexual responses), she
creates pictures in the viewers
own mind, drawn from their
LADY MICHAELLE
ST.VINCENT
ladym@planetmail.com
www.ladym4.wix.com/michaelle-stvincent
Pornucopia, Limited Edition Sculpture, (cold cast bronze)
H20x W20x L30cm
PORNUCOPIA MEMOIRS
OF A 1980S
NYMPHOMANIAC
LadyM is an olfactory artist;
her work involves art beyond
the visual. Through manipu-
lation of sensory input, using
odour as a trigger to memory,
she stimulates the individ-
uals sensorium; drawing
on the audiences faculties
of mind, their experiential
14 15
Ava De La Flor is a British
menswear label for unusual
curiosities for the gentlemen
and his abode. From fine
quality clothing to carefully
selected accessories, the
label is primarily concerned
with communicating indi-
viduality, which is now the
greatest luxury available.
By offering a combination
of exclusive and idiosyn-
cratic products the labels
British pastimes: picnics,
garden parties, fishing,
cricket, beekeeping, boat
rides and butterfy catching.
It is presented in an almost
installation-like ethereal
show in which the runway
design takes place in a softly
sunlit white forest landscape
of towering brown branches
and vegetation all draped in
lace.
signature style hints at the
dichotomy between old and
new, real and imagined,
the down to earth and
the fantastical. The debut
capsule collection Flora Et
Fauna SS14 is a romanti-
cized ode and celebration of
the great British spring and
summer. With spring at its
prime, our thoughts turn to
an abundance of blooming
fowers and the imagery of
AVA DE LA
FLOR
avadelafor@gmail.com
www.avadelafor.com
The Graduate Debut Collection Flora Et Fauna SS14 of Ava De La
Flor , lace menswear 2014.
A mul ti di mensi onal
landscape with no direct
reference to a specifc place,
more a familiar but fctional
reality.
Abi L Baker works largely
wi thi n fi l m and sound,
dealing with the themes of
psychedelia, perception,
gender and mind and body.
Her work is influenced by
the deconditioning state of
Ultimately contextualizing
psychedelics within her
practice, and drawing conclu-
sions surrounding other
psychedelic relationships.
psychedelics, but is no way
about narcotics rather a
focus upon her own identity
through femi ni ni ty and
masculinity and its decon-
ditioned states from one
another. Baker aims to place
the viewer into a familiar
but fictional reality that is
an uneasy environment, but
makes relatable references
to the other through exploring
the self.
ABI L BAKER abibaker@rocketmail.com
Untitled, Mixed Media Installation,
(projectors, 5.1 surround sound)
lauretta3@live.co.uk
16 17
Maps and trails are key
elements to this project.
Cartography and its history
and the use of objects as
milestones are looked at as
themes to the project. This
project also looks at different
types of trails from the more
organic trails that already
exist on the landscape to the
fairy tale bread crumb trails
of Hansel and Gretel then
on to the more contemporary
trails made for E-commerce
purposes using targeting
advertising. Also debit, credit,
and store cards and CCTV
all create the less visible
more modern trails of today.
These trial ideas have been
put together, the fctional and
the non-fctional form a trail
inspired exhibit.
LAURETTA SMITH lauretta3@live.co.uk
The Insignifcant Becomes the Signifcant, Photograph,
(photographic paper), 60.9x 40.6cm
Born and educated in
capital city of Tehran, Iran
- a year before the Iranian
Islamic revolution. Nazari
made 100s of real size
sculptures wax method for
different museums in Iran
from war museum to folkloric
and historic museums, but
did not have any chance to
create a sculpture freely in
Iran.
Nazari studied art and design
at south Thames College in
2010 foundation diploma,
conti nued BA Fi ne Art
sculpture at London metro-
politan university in 2011,
and aims to study a masters
degree.
Nazaris studio work is a
hyper realistic self portrait
head that (paraffin wax)
shows a brain washed
religious person. Person-
ally I dont think that any
one religion is better than
another; I fnd them all on the
same level.
JOHN NAZARI refnazari@gmail.com
Freedom or Religion, Hyper Realistic Sculpture, (paraffn wax, oil
colours, hair, acrylic eyes, fabric, kippah, payot) H30x W20x L20cm
18 19
The work aims to mate-
ri al i ze the noti on that
everything is not as it seems.
Questioning the way we
assign cultural and sentimen-
tal value to objects/works of
art and even people and ulti-
mately the social constructs
that control the way we are
influenced to do so. This
is achieved by juxtapos-
ing images and disarmingly
honest text placed on such
images.
Reinterpreting objects and art
from the past through a new
gnarled, cynical viewpoint.
Using ready-mades that are
symbolic of domestic life and
security are emptied of their
sentimental meaning through
intervention.
The intervention into these
i mages/obj ects through
collage, excision, reconfgu-
ration, removal or application
can be seen hint at a dark
and macabre reality in which
these objects exists: image
and perception alike are
questioned, rearranged and
opened to new possibilities.
FLORA PARKER foraparker@hotmail.co.uk
We Fucking Laughed, Collage, (foam, laminated canvas, wood)
33x 15.2cm
Materializing the fatland,
coercing, as it were, the
emergence of vari ous
aspects of it, has become
a driving force in Darius
Verbi ckas art practi ce.
Using geometry as a disci-
pline to feed his own, he is
creating abstract structural
compositions, whether its
3 dimensional structures
or 2 dimensional drawings,
both questioning the notion
of space. To derive the fnal
outcome he relies much on
the process itself and the
use of the semi-systems,
which dictate and determine
the process, as well as the
outcome of his work. Through
his composition he is trying
to redefine the concept of
the space-land, suggesting
to the viewer a sense of the
indefnite, outlandish space.
In order to achieve certain
DARIUS
VERBICKAS
d9verbickas@gmail.com
www.nanospace.org.uk
Stage 2, Pansemic Drawings (wood, perspex, acetate paper,
black ink) H181x L96.7x W29.7
needs for the composition
he is frequently manipulating
the space itself and usually
relying a lot on material
which takes an important role
within his work.
20 21
This installation is based
on a houseboat at Bulls
Bridge, Willow Wren Wharf.
Its moored along a pontoon
tucked behind commercial
buildings along a section of
the Grand Canal. The dimen-
sions of this one bedroom
home is 17.5mx2.5mx2.6m
height and goes by the
name Voodoo Child. An
ethnographi c approach
has been used to develop
this project, which is about
making art whilst living on a
houseboat..
This installation consists of
a water pump operated by a
12volt car battery. Water falls
from a tank through copper/
plastic pipes into the pump.
The pump then recycles the
water back up into the tank.
Lets think about sustainabil-
ity, adaptability and resilience
DESMOND
RICHARDSON
vision27@post.com
Voodoo Child
in this urban environment.
With our population set to
rise by 9 billion by 2050 it
makes sense to recycle
and continue to develop
cost effective energy saving
devices.
Acheampongs practices
vary from sculpture/instal-
lation and graphic design/
art, but on occasion Idecide
to mix them to create new
outcomes. The themes
or ideas for the project
usual l y surround areas
within science, physics but,
currently language and
linguistics within the context
of fne art is the project.
Acheampong chose to do
Fine Art because it gave
him the chance to explore
various mediums, which
include graphic design/art,
installation, photography,
and print. He mainly prior-
itizes graphic design/art, as
he would like to enter the
practice of Graphic Design/
Art industry or carry on
studying to acquire an MA
and further qualification
attainable in the future.
KWADWO
ACHEAMPONG
kwady_16@hotmail.co.uk
Lost Words, Digital Art and Design, (acetate and spray paint)
W21x H29cm
22 23
Rolina Blok is a young
East London based artist.
She originates from The
Hague but is also half
Romanian and lived in
Romania for seven years,
prior to moving to the U.K.
Bloks practice has changed
a lot over the years she
spent at the Cass. Coming
from studying art in a post-
communist environment
Blok had to break the set
boundaries yet still make
use of all the knowledge
and technique acquired from
the art/education system
in Romania. After breaking
t hese boundari es and
learning about a contem-
porary environment she
discovered the techniques
and subject matter she is
currently working with.Blok
works mainly through the
methods of screen-printing
and performance art. Her
performances and prints
show her perception of
intimacy through Muay Thai .
Exhibiting from the fragile age
of ten, Blok has been actively
involved in the art world and
wishes to continue to explore
and develop her practice as
an artist and Nak Muay.
ROLINA ELSJE
BLOK
rolinablok@hotmail.co.uk
Intimacy Mayhem, Screen-print/ Multi-media Installation
Raquel Chi nchetrus
practice focuses on the
notion of space and how the
individual interact within it.
Ki ndness and pati ents
are the main focus of her
practice. She seeks to
designate the bridge that
connects the individual with
his interior landscape, as well
as the idea of sharing; which
seems to be almost unreach-
able in today society.

For her final piece Chin-
chetru will to create a silent
room where the user can
share silent with others as
well as fnding inner silence
when the rest of the context
is full of noise and lack of
concentration. Sharing and
providing a universal tool as
simple as silence to be in the
present moment and fnding
the difference between
listening ones own mind and
to hear it.
RAQUEL
CHINCHETRU
kelachin@hotmail.com
Untitled, Detail of the Installation
24 25
M
a
t
e
r
i
a
l
i
t
y

I
m
m
a
t
e
r
i
a
l
i
t
y
KATHARINE LAZENBY 26
WILL PECK 27
TOM PARKER 28
MICHAEL ROBERTSON 29
SILJA HYTTI 30
SARAH WILLIAMS 31
FLORA PICKERING 32
PHOEBE SEAWELL 33
ABDUL SHYLLON 34
LIZZIE HARPER 35
ISAAC BRANCO 36
JON SOUTHAM 37
EMMA GOWER 38
ALISON JENKINS 39
2
26 27
KATHARINE
LAZENBY
lazenbykatharine@yahoo.co.uk
katharine-lazenby.tumblr.com
Untitled, Detail of Slide Projection Installation,
Katharine Lazenbys work
emerges from a process-
orientated practice that
resists pre-defned endpoints
in favour of revision, construc-
tion and reconstruction. In this
speculative approach work is
an active dialogue between
action and outcome, as mani-
fested lines of enquiry or
streams of thought. Through
various methods of appro-
priation and assemblage, she
orchestrates her material,
drawing upon visual echoes
and associations resonating
between disparate elements.
Her practice is driven by an
interest in how we make
sense of fragments, searching
for connections between the
part and the whole, where
context informs perception
and directs reading. For the
viewer the work is experienced
as an unfolding encounter.
(acetate) 24x 36mm
Whether an installation articu-
lated across a physical space
or the sequential disclosure
of a time-based medium,
there is both the impress of
the immediate instance and
a gradual comprehension
pieced together. Develop-
ing the work through an
attentive crafting of her chosen
material, Lazenby is attuned to
its sensuous impact as well as
its conceptual suggestibility.
The work has a particular
interest in the performativity
of objects and materials.
How Objects enact their
own performances within
controlled environments is
an ongoing concern as is the
impermanence of materials
and ideas. Through sound,
video, drawing and photog-
raphy records of incidental
outcomes from processes
and actions become site
specific installations or
duration performances which
change during an exhibi-
tion. Often the outcome of
previous works becomes
material to generate further
works past the time of an
exhibition, these processes
at t empt t o engage i n
constant instability, where
work is continuously capable
of collapse and formulation.
WILL PECK willpeck22@hotmail.co.uk
www.nanospace.org.uk
Untitled, Detail
28 29
Tom Parker has spent
much time over the last year
perfecting the feigned use
of third person in writing
as a means of implying a
perceived but faux success.
The work is concerned with
a continuous practice of
labouring towards no outcome.
Through the adoption of a
controlled process and imple-
mented rules of constraints
and constants, areas are
recorded in a way of collect-
ing information that may
otherwise be cumulatively
lost throughout the printing
practice and a goal-orien-
tated disposition in general.
This said, of course, having
no goal as the desired
achievement from the start is,
if met, a successful outcome.
So the only way of avoiding
that pitfall is to fail- to achieve
TOM PARKER tom.parker27@btinternet.com
Burnished Steel Plate on Blue Cutting Mat,
Detail, (cutting mat, steel)
a goal that was set out to
be avoided- and produce an
outcome.
Michael Robertsons art
practice is concerned with
the tangible results of contin-
gent, on-going systems that
play out in the making and
reception of work. There is
an exigency or necessity
of information in the form
of on-going experiment
and documentation that
runs through controlled
and measured processes.
The functional aspects of
objects and apparatus play
out in praxis. The action
and processes that autono-
mously perform in objects
are embraced.
The site specifc installation is
driven to record and alter an
environment via variations in
humidity and readings of Ph.
values from extracted liquid.
The reception or interaction
within the duration and the event
act as a catalyst to fuctuate the
relative humidity in the space,
activating a futile yet subtle push
and pull between the functional
object of a dehumidifer, and the
audiences infuence on humidity
within the duration of the work.
MICHAEL
ROBERTSON
michaelr109@hotmail.co.uk
www.nanospace.org.uk
For a Relative Humidity, Mixed Media Installation,
(dehumidifer, hygrometers, universal indicator paper)
30 31
Silja Hytti works on with
drawing, sound and video.
The practice is mainly
drawing based, recently
havi ng found ways to
manifest itself also in forms
of sound and video pieces.
The drawings offer an idea
of a space or a state of mind
to be received and explored,
where humiliation, disgust,
disaffection, insufficiency,
alienation and disappoint-
ment are to be felt. They
can be seen as a space of
their own in their own time,
overlapping with the reality
from which they are looked
at. They are less of pres-
entations of actual social
situations in reality and more
like spaces giving possibility
to connect with the under-
standing they bear.
SILJA HYTTI silja_hytti@hotmail.com
That Seems Fine, Drawing, (Ink on paper), 25x 34.5 cm.
The work manifests as
a textile-based installation;
the artworks are born from
the fabric remnants we leave
behind and the potential
within them.
Constructed or deconstructed
from the ephemeral, the
pieces are translations of
detritus that through layers
of processes explore possi-
bilities of memory and history.
Enclosed in the materiality,
object becomes a signifer, a
vestige in which to preserve a
testimony. With each of these
layers of process, a tenuous
thread connects them, which
transforms, dislocates and
ruptures the rooted and
ingrained narrative of past,
present and future.
Each work exists independently
but functioning as a collective
further dialogue is created as
these forms metamorphose
and transcend into conversa-
tions, disrupting or supporting
one another and reinforcing the
amalgamation and distortion of
memory. Textiles could be seen
as an extension of our skin and
bodies. The installation, a space
or void could be a metaphor for
the mind or the physical place
where we store our memories.
SARAH
WILLIAMS
sarahwilliams74@gmail.com
Untitled, Sculpture, (cotton, dye), 50x 117cm
32 33
FLORA
PICKERING
foraemilyp@gmail.com
Sound Observation II, Drawing
The practices of obser-
vation and construction are
prominent throughout Flora
Pickerings working process,
which is informed by the
models and metaphors of
science.
Interested in the different sorts
of information they provide, her
research uses analogue and
digital techniques to produce,
capture and process sound.
Re-constructing the sonic
information collected through
this practice, her sounds
works play with different times,
places and spaces. These pre-
recorded sounds are installed
within a designed acoustic
structure made from materials
typical to musical instrument
making.
The acoustic structure provides
a platform for immersive expe-
rience immersive experi-
ence whilst at the same time
producing and transforming
sound.
PHOEBE

SEAWELL
phoebeseawell@googlemail.com
Dream a Little Dream of Me, Printmaking,
(inkjet print on paper) 160x 150cm
The artist is not a special kind
of person; rather each person
is a special kind of artist.
Ananda Coomaraswamy
Phoebe Seawell is a London-
based Franco-American
artist whos interests include
using child-like or psychedelic
aesthetics and themes.
She is currently artistically
interested in; colours, portals,
dreamcatchers, and the
inducing of a dream-like state.
Seawell explores these
through the media of sculpture
and installation, printmaking,
digital art, and video.
Artistic avenues she has previ-
ously touched upon (but by no
means fully ventured) are; the
use of space and sculpture to
create an emotional impact,
the meditative process of
making and the observing of
this process, the intangibility of
a dreams, and the use of apps
as an artistic medium.
34 35
ABDUL SHYLLON abdulshyllon@hotmail.com
Self Adawned, Detail,
The work explored at this
point is looking to evoke a
dialogue and critical thinking
around issues that are taboo
within the social conscious
milieu. Interests centre
around the wider dynamics
between what is seen, expe-
rienced, and observed, and
how the self is perceived
within the culture.
Unpacking notions around
race, representation and stere-
otype, the implications that
might be apparent. Hi-lighting
the things that are often prob-
lematic but left unchallenged
because they are perceived as
the norm or simply have not
been adequately examined
due to hierarchical historical
contexts and the institutional
conventions and supremacist
rational.
(wood, plastic, cosmetic tools, reproduced images)
Through throwing a light
on some of these concepts
the highest objective within
the work is to bring these
concerns to the fore and
to somehow question the
incredibility of what we have
been ingesting and ponder
upon how we might effect
change and evolve.
Lizzie Harper grew up
in Bristol and is currently
studying in East London.Her
practice is object and perfor-
mance based.
Over the years her work covers
issues exploring the female
body, particularly focussing
on menstruation, prostitution,
gender roles, power, notions
of The Goddess, fat feminism,
craft, identity, class and sexuality,
taking inspiration and reference
from her surroundings and Matri-
archal and mythological religions
and societies. The context
of her work sits in an (often)
sexually, emotionally, spiritually
repressed culture of western
patriarchal society. Harpers
current work takes the form
of performance-based rituals
which are expressed through
movement, spoken word both
publically and privately. Harper
considers her art practice as
integral and intertwined with her
own personal life, and the two
are not separate.
Another thing integral to her
practice is the power and
authority given to objects and
acts through intent, the relation-
ships of power between man,
space and object and how they
interact and fux.
LIZZIE HARPER dancing_in_fuzzy_red_knickers@msn.com
Untitled, Mixed Media Installation, (photos, wax crayon, paper,
ribbon, dried fowers, plastic, textiles, napkins, clothing, candles,
glass
bottle, hair, sequins, glitter, glitter fbres, wool, silk) 2x 3m
36 37
Isaacs work is an attempt
to understand how people
look at their surroundings
both in the real world and the
cyber one as the constant
intersection of both creates
an interesting playground for
art practices. The work here
shown is part of the research
done as a way of not only
comment on the subject but
interact directly with it. Taking
a symbol widely recognised
in the social medias context
and placing it on things and
places that would normally
be marked with it once their
pictures reached those
platforms, the goal here is
to question the difference
in reactions from the digital
world to the physical one. Are
those reactions the same? Or
is the work met with suspicion
due to its obvious critical
objective?
ISAAC BRANCO furia_ack@hotmail.com
Caesar Salad, Digital Photograph, (from the series Things I Like)
He looks to use a text
or texts that resonate with
his current thinking, as a
catalyst for practice, a way to
directly link his research and
practice, a natural progres-
sion by means of response.
This gap is bridged directly;
the work seeks to respond to
the text through the practice.
The artists practice in this
sense is a means of opening
dialogue both with the text
and with the audience. he
seeks to create work that
is in dialogue with its infu-
ences as well as its viewers.
JON SOUTHAM jonnenberg@hotmail.co.uk
Grid 56x56, Drawing, (cartridge paper, pencil, pen) 42x 59.4cm
38 39
The use of art to explore
and highlight social issues is
a central area of interest with
early pieces of work relating
to child slavery, death and
sexual health. Issues that
have been considered more
recentl y i ncl ude forced
marriage and the repres-
sion of women, which topics
have then been extended to
explore female genital muti-
lation within the context of
womens sexual freedom.
Materials and techniques
specifc to the issues being
considered are used to
create pieces that have
maximum impact on the
audience. The ultimate aim
is to engage and stimulate
the viewers senses affording
them a multi-dimensional
experience.
EMMA GOWER gower27@hotmail.co.uk
The Dress of a Cut Child, Sculpture, (2100 synthetic silk rose
petals, plastic, cotton) 120x 68cm
Alison Jenkins passion
is sculpture, however within
her fnal year she has tried
something new and elected
to do a video installation,
which is a new aspect of fne
art that she is not familiar
with, however Jenkins is
always ready for a challenge.
As a deaf student she has
changed the comfort zone of
her hands for a lens where
she has had to apply sound,
which she cannot hear, to
a video showing things that
she encounters within her
daily life.
ALISON
JENKINS
ahelenaj90@hotmail.co.uk
Sound Soup, Video Installation, (projectors and mirrors)
40 41
N
a
r
r
a
t
i
v
e
,

A
n
t
i
-
N
a
r
r
a
t
i
v
e

a
n
d

P
h
o
t
o
g
r
a
p
h
i
c

P
r
a
c
t
i
c
e
LOUISA JOHNSON 42
CRISTOVAO SUZUKI 43
STEFANY ALVES 44
ROBERT WEIR 45
DAVID HEWITT 46
CHRISTOPHER HACKNEY 47
MARCIN TADEUSZ JOZEFIAK 48
DAN CATES 49
JOSE BRANCO 50
NYASHA ANDREW HARAHWA 51
N
a
r
r
a
t
i
v
e
,

A
n
t
i
-
N
a
r
r
a
t
i
v
e

a
n
d

P
h
o
t
o
g
r
a
p
h
i
c

P
r
a
c
t
i
c
e
MARCIN KRUPA 52
KESHIA SCERE-JACOBS 53
TANGINA HOQUE 54
WILL VICKERS 55
SARAH HARTE 56
PEDRO MONTALVO 57
WILLIAM CLARKE 58
LEE-ANN ARCHER 59
SEAN OCONNOR 60
ZEYNEP AKMAN 61
3
42 43
Heath Bouffard once said,
People look at ordinary stuff
all day long, so why not make
a picture look extraordinary,
and give them something to
look at. This quote exactly
defines Johnsons project,
she tries to bring the entity
of her photos to life and her
project consists of photo-
graphi ng the ordi nary.
Johnson is constantly chal-
lenging perception and trying
to make ordinary subjects
look extraordinary. Johnson
focus on unexpected
objects with stories in them.
Johnson tries to beautify a
moment in the everyday.
Once you have that moment,
you want to beautify that
moment as much as you
can. Each precise object
or condition or combination
exhibits a beauty. Johnson
focuses on the unexpected
and finding the unnotice-
able places and objects. My
project basically refects on a
journey of everyday life, her
photos can come across as
accidental art.
LOUISA
JOHNSON
louisakayjohnson1@hotmail.com
Beautifying a Moment on the Streets of Limassol,
(aluminium print) 42.0x 59.4cm
CRISTOVAO
SUZUKI
cristovao_suzuki@hotmail.com
Refection, C- type Prints (acrylic reverse) 29.7x 42cm
Cristovao Suzukis work
is about taking pictures of
people on the street or in
other public spaces, doing
everyday things but without
them being aware that a
picture is being taken.
The idea is to capture images
without the subject knowing
that a photograph is being
taken to allow truly natural
images to be created.
The poses are unaffected by
the presence of the camera
and represent instances
of real life rather than any
image that the subject might
project if they were aware of
the photograph being taken.
A story of everyday life
emerges through the images,
each of which is an instance
in the life of its subject, each
of who have their own story.

These in turn create the
narrative of the photographer
on his quest to record what
he sees in his own life.
All images were captured
using flm camera with black
and white flm.
44 45
STEFANY ALVES stefanyalves@live.com
Stefany Alves is a photog-
rapher and illustrator whose
work i s a documenta-
tion of her everyday life.
The snapshot aesthetic is
depicted in her work as well
as on the artists self portraits.
She takes what could be
looked at as mundane or
trivial and, enhance it by
playing with objects arrange-
ment and symmetry . The
photographs refect the way
she communes with nature
and, snippets of her own
i ndi vi dual wor l d. The
sketches and photographs
are an allusion to the artists
personal observations and
infuences. The work deals
with the concept of idealism
and, the idea of finding
beauty in simplicity.
Botanical Journal, Photograph, 8x10 cm
ROBERT WEIR Robert.weir10@gmail.com
Houses in England , Photograph,
Rob Weir is a photog-
rapher hailing from the
Antiques/French quarter of
Sheffield- a place that he
claims has shaped most
of his work for its vibrant
bohemian culture. He likes
art and documentary photog-
raphy. Looking back on all
the things he learned in high
school hes amazed he can
think at all. He thinks that
kodachrome film gives us
the nice bright colours, the
greens of summers. He owns
a Nikon camera and loves to
take a photograph, so dont
take his kodachrome away
(matt paper print) 84.1 x 118.4cm
46 47
Photography at University
has been about experimenta-
tion and enhancing his skills
within the craft of contempo-
rary Fine Art practice.
He felt that photographic
imagery is about capturing
his vision of personal expres-
sion and exposing it for the
world to see and experience.
The Final Project is a devel-
opment of all the techniques
he has gathered during his
time at University, these skills
helped to achieve a relation-
ship with the subject that he
shot (Gamekeeper), through
the right communication and
sensitivity of the hunters
involvement with wildlife and
the environment.
CHRISTOPHER
HACKNEY
hack3rs13@hotmail.co.uk
Silent Stalker,Digital Photography,
He looked to capture the
sense of the unknown, a
look into the isolation one felt
in the feld and the morality
that overcame the game-
keeper and himself during
the culling of the animals.
Sound one hears within the
silence of the stalk played
a part in capturing different
sensations.
(C-type glossy photographic paper) 30.4x 45.7cm
DAVID HEWITT DavidHewittVisuals@gmail.com
The Undercroft, Photograph, (matte photo paper) 84.1 x 118.9 cm
The oldest and most
organic skate park in the
whole world, in the undercroft
of the Southbank Centre, is
under threat of demolition to
make way for a Starbucks
with which the Southbank
Centre plans to fund their new
Festival Wing refurbishment
project. It has stood for over
40 years, becoming known as
the birthplace of British skate-
boarding, and has given the
area a revolutionary boost
in art and culture ever since.
Long Live Southbank is a
campaign aiming to preserve
the park which has gathered
over 100,000 petition signa-
tures in support of this, but
still needs all the coverage
and help they can get to
overrul e the corporate
actions of cultural vandalism.
David Hewitt, photogra-
pher and skateboarder, had
his camera at the ready.
Recording the artistic actions
of the tricks performed at the
undercroft, the commendably
dignifed and formal efforts of
protest and personal insights
of park users & viewers over
different media forms, David
aims to aid the protest in any
way he can.
48 49
MARCIN TADEUSZ
JOZEFIAK
lordjamesblite@gmail.com
www.jamesblite.com
The Secret Garden, Photograph,
Marcin Tadeusz Jozefak
also known as James Blite
is interested in the topic of
portrait photography and he
uses that medium as a way
to identify and make visible
different sections of the
population.
The Secret Garden is an
ongoi ng proj ect where
people play a prominent role.
The ongoing project features
subjects who interest and
infuence the photographer.
The photos are taken in the
bedrooms of those who are
portrayed and it is the role of
the unstaged surrounding to
tell the story of what is being
presented. For most of us the
bedroom is an equivalent of
a safe zone, a place where
most of us feel the most
comfortable.
I like photographing the
people I love, the people
I admire, the famous, and
especially the infamous.
Helmut Newton.
(satin photographic paper) 80 x 80 cm
NORTH KOREA WHAT IS
REAL?
Using photography as his
chosen medium, the work of
Dan Cates often addresses
political issues especially
those linked to communism
and the unique social condi-
tions born of the collapse of
the former U.S.S.R.
After numerous trips to much
of the Post-Soviet world,
it seemed logical that he
would eventually visit the
worlds last Stalinist dicta-
torship; The Democratic
Peoples Republic of Korea,
and in the summer of 2013
he fnally did just that. His
exhibit represents a small
part of an on-going body of
work that Cates has been
producing since returning
from North Korea, a trip that,
instead of providing the truth
he had hoped to fnd there,
left him confused, and suspi-
cious about many of the
people, places, and events
he had been shown. It was
a trip that forced him to ask
his audience the very same
question that he had repeat-
edly asked himself through
out the project; what is real?
DAN CATES dancates@hotmail.co.uk
Leaders in the Living Room, Darkroom Print,
(photographic paper), 40x 50cm.
50 51
JOSE BRANCO jose.msbranco@gmail.com
Chaotic City, Photograph, (giclee print) 21x14.8 cm
edge techniques, yet all of
it is constructed digitally.
It is an attempt to leaf
through prevailing aspects of
everyone in Londons daily
life, in a simple and grounded
constructi on, reducti ve
perhaps, nevertheless which
existence cannot be denied.
Jose Branco brings an
account of the living in the
city of London. Starting as
a social commentary, but
reflecting on the multipli-
cation of images and the
political infuence of media,
the revelation that an image
can be just an image has
also been important for this
project. Different parts of
the city are presented, in an
approach that has no cutting
NYASHA ANDREW
HARAHWA
A.harahwa@gmail.com
Altered- Natsu/ Daniel, Photograph, (giclee print) 23x 60cm
Nyasha Andrew Harahwa
is a digital and analogue
fne art photographer whose
major focus is on creative
imagery through the use of
portrait photography.
The project Altered is a
photographic series that
investigates the change in a
persons character or compo-
sition typically in a signifcant
way. She has done this by
photographing portraits of
Cosplayers (the alter ego)
and their everyday persona
(how they are view in society),
placing the images next to one
another in a photo sequence.
Her intention for this is to
allow the audience to view the
images of the persons alter
ego and everyday persona
side-by-side, allowing them to
piece together the relationship
that both of them share.
52 53
MARCIN KRUPA marcin.krupa@gmail.com
Untitled, Photograph, Brick Lane, 2012
The project entitled Tales
of East End is a personal
photographic investigation
into the surrounding nightlife
in and around East London.
The use of the term East
End began in the late
19th century and was frst
applied to the east districts
of the River Thames. Over
the course of a century,
the East End has become
synonymous with poverty,
overcrowding, disease and
criminality. However, with
the recent developments
and renovation of the area or
more to say its gentrifcation,
the East Ends landscape
has changed in history once
more. Once the home of
immigrants, criminals and
the working class it has now
fourished into become the
home of street art, fashion
and a place regarded as one
of the most popular entertain-
ment districts in London.
Keshia Jacobs is an
artist who is fascinated in
the concept of portrait and
documentary photography,
it allows her to capture a
piece that then transcends
into creating a narrative or
story. Portrait photographs
gives a motivation into
forming a very descriptive
an appealing subject matter.
In her work The Coloured
family she use portrait
photographer to capture
different races within her
family, the subject is based
on collecting a series of
single let portraits to get
an understanding that one
family is much Coltsford
and to show the difference
between the frst generation
to Forfar third-generation
now within a family and how
its changed.
KESHIA
SCERE-JACOBS
KJay_Photos@outlook.com
Mum, Photograph, (glossy photographic paper) 14.8x 21cm
54 55
As an artist who is fasci-
nated in the concept of
documentary photography,
it allows Hoque to capture
a piece or a place that then
transcends into creating a
narrative or story. Document-
ing photographs gives a
motivation into forming a very
descriptive and illustrative
narration about an appealing
subject matter.
Hoques photography is very
much deeply influenced
by observations around a
specifc environment and its
livelihood especially a place
like East London and its
market areas.
Photographing East London
is to be very much personal
and intimate, because its an
area that has character and a
distinctive atmosphere around
TANGINA HOQUE tanginahoque13@hotmail.com
Brick Lane Market, Photograph,
itself. As well as this, the
mar ket s ar ound East
London are openly chaotic
and touristic which provides
an opportunity to appreciate
of what the areas are like
and how it is regarded from
an outsider. Hoque likes to
regard her photography as to
be everyday snapshots that
illustrate her ongoing process
of producing a photobook.
(glossy photographic paper) 12.7x 15.2cm
Having seen Bill Brandt
and Martin Parrs work about
Yorkshire exhibited in New
York, Will had a strong desire
to return home to Yorkshire
to spend time and explore.
The feeling of having a
personal link to work and
being able to recognise the
areas shown made their
images much stronger and
personal for him.

He has photographically
investigated the relationship
between East London and
Bradford - the two places
where he grew up - both
areas are home to the largest
Indo-Pakistani communities
in the UK and are both histor-
ically poor areas.
Although on the surface they
are aesthetically very similar;
after exploring the social
WILL VICKERS willvickersphotos@gmail.com
williamvickers.co.uk
Two Cities Called Home, Photograph, (double weight photographic
histories of the two areas,
one realises they are very
different.
print mounted onto Di-bond) 1.01x 0.76m
56 57
SARAH HARTE Sarah_harte@hotmail.co.uk
Refection Below , Digital Photography,
We dont set out to
produce art about one
subject or another.
The project is based on
the decisive moment within
photography. This particular
project is based on shooting
the structure of the bridges
as well as the refections from
above and below the canals.
The main focus of my art is
capturing the ordinary and
turning it in to some surreal
which will draw the viewer in
and get them involved with
my art.
Within the art we like to
capture the beauty within
the mundane of objects and
places such as our natural
surroundings, landscapes,
architecture, and buildings.
All different mediums allow
me to express different ideas.
The particular infuences we
have are frst and foremost
everything we see, feel
and experience, but she
has always had a love and
interest for photography and
nature in particular. The work
by David Nash, Tom Hunt,
Lee Friedlander and Lisa
Jacoby has been my inspi-
ration over the years.
(foamex PVC) 59.4x 84.1cm
In essence whiteness
is not so much a color as
the visible absence of color;
and at the same time the
concrete of all colors; full
of meaning. And when we
consider that other theory
of the natural philosophers,
that all other earthly hues,
the sweet tinges of sunset
skies and woods; and the
gilded velvets of butterfies,
and the butterfy cheeks of
young girls; all these are
but subtile deceits, only laid
on from without; so that all
deified Nature absolutely
paints like the harlot, whose
allurements cover nothing
but the charnel -house
within; and consider that
the mystical cosmetic which
produces every one of her
hues, the great principle of
light, for ever remains white
or colorless in itself, and if
operating without medium
upon matter, would touch
all objects, even tulips and
roses, with its own blank
tinge.
Hernan Melvile.
PEDRO
MONTALVO
monti666@gmail.com
monti666@wix.com/pedromontalvo
In Between, Photograph,
(chromography), 40.6x 50.8cm
58 59
William Clarke is a docu-
mentary photographer based
in West London. He first
started this project on anxiety
& wanted to focus on photo-
graphing everything related to
do with his anxiety whether it
is good or bad. However after
a while of taking photos &
experimenting with the idea,
it developed it into taking a
series of staged photography
which explores the themes
of anxiety. The concept of
Abiding Tension is that he
is photographing anxious
situations and then putting
balaclavas on the models to
use as a template, and then
projecting his feelings onto
them by using different colours
and patterns.
WILLIAM CLARKE williammichhaelclarke@gmail.com
Abiding Tension, Photograph
Archers present work
considers the skins surface
and texture, expl ori ng
human cartography. Each
portrait is a trace of time in
the subjects life whilst also
linking the subject to herself,
in her present moment.
Skin is seen as a landscape,
a cartographic map of an
individuals life journey and
existence. Each line and
scar becomes a Memento
Mori, whether the palm of the
hand or the back of the knee,
the lines reveal a unique
narrative of each subjects
personal history and yet also
represents the inescapable
fragility of every human.
Archer is interested in
pushing the boundaries of my
photographic work, pursuing
alternative forms of printing
LEE-ANN
ARCHER
Lee@lee-art.co.uk
www.lee-art.co.uk
Tile 2 <16.2.14>, Digital Photograph, (on tile) 10x 10cm
photographs that relate to the
subject of the work. Primary
techniques currently being
explored include analogue
& digital, darkroom & digital
prints together with screen-
printing, laser printing and
cyanotypes.
60 61
Sean O Connor has
been heavily infuenced by
the great portraitist whether
they be painters of photog-
raphers, In this spirit he has
chosen to create a series of
highly constructed images
in which he has employed
metaphor and allegory as a
way of exploring a particu-
lar subject matter, that he
believes has become of
great importance in recent
years, therefore he has
created a triptych of images
on the matter of law & order,
particularly in regards to the
agents that carry out the
enforcement of this code
the police, these images are
a study of their introduction
in 19th century, their recent
past and the current state
of said institution in contem-
porary society. In order to
question where they are
heading as an institution and
what that means for ordinary
British citizens civil liberties
in contemporary society.
SEAN OCONNOR soconzulu@live.co.uk
Autocratic Authority, Photograph, (digital fle)
For the past ten years
Zeynep Akman has been
working in the Turkish film
industry and also as a photog-
rapher. Her way of life consists
of travelling alot and exploring.
Her main inspiration for her
past projects have come from
Turkey. With this piece of work
she has chosen to concentrate
on the minority of Turkish men
from rural areas in London.
Choosing one of the most
important things in the
Turkish males culture, coffee
shops; she explores the
transformation of culture,
questi oni ng how much
change has actually occured.
Using a covert approach to
suite the environment that
she is trying to portray, also
hoping to give the viewer a
taste of the culture.
ZEYNEP AKMAN ZeynepAkmanPhotography@gmail.com
A Piece of Turkey in the Promise Land, Inches Colour Prints
(hand printed- fuji colour paper) 25.4x 30.4cm
62 63
C
o
n
v
e
r
s
a
t
i
o
n
s

w
i
t
h

C
u
l
t
u
r
e
CLOUD HAIZEL 64
LEWIS BURTON 65
SIOBHAN SMITH 66
SIMONE STEENBERG 67
AAMIRA MULLA 68
MARTN HERRERO 69
AMANDA MARILLIERN 70
FIONA ATKINSON 71
4
64 65
Cloud Haizels practice
mainly exists in the digital
realm, He makes physical
work but the majority of his
process happens when his
artefacts are converted into
the ether. His approach to
creating works of art can be
described as a Subversion
of a Metaphysical matrix.
This is his way of saying
that his work and process
exist Under the Hood he
strives for his work to refect
his opinion on Freedom of
expression and deconstruc-
tionism.
CLOUD HAIZEL dreamclouds@hotmail.co.uk
Digital Rain Feedback, Corrupt Digital File 11000px X 8500px,
(giclee print) 84.1x 118.4cm
Lewis G Burton, a young
London- based per f or -
mance artist. His work deals
largely with the themes of
the grotesque, androgyny
and struggle with the self.
Performing on the contrast-
ing fine art scenes and
Londons underground club
scene Burton has exhibited
in an impressive array
of venues including The
Institute of Contemporary
Art, The Bargehouse @ Oxo
Tower, The Peckham Space
and The Mori + Stein Gallery.
As well as such venues and
clubs as Bethnal Greens
Working Mens Club (Sink
The Pink), XOYO (Charity
Monster), Resistance Gallery
(Hard Camp by CUNTem-
porary) and East Bl oc
(Yeast London and Larry
Tees Super Electric Party
Machine).
LEWIS BURTON moo_am_a_cat@hotmail.com
Flesh, Still from Performance Piece,
(collaboration with Victor Ivanov)
66 67
Art is a powerful tool of
communication. Siobhan
strongly advocates that as
an artist she has a respon-
sibility to critically engage
with the world around her.
The art she produces has
an integral agenda, which
aspires to analyse and
tackle issues created by the
neo-liberal and consumer-
ism in the hope of affecting
positive change, as well
as questioning art as a
commodity and the strength
of art as a communicative
tool. Her art forms a voice
using a narrative process
i n whi ch she expl ores
perspectives of individuals
and fantasy societies using
film, sculpture, sound, or
whichever medium best suits
the storyline.
SIOBHAN SMITH siobhanamysmith@yahoo.co.uk
Liza, Still from the Film
Simone Steenberg is a
young London-based artist
and fashion photographer.
Her work addresses the
topics of consumer culture,
fashion and gender, and
explores the relationship
between art and politics in
the context of photographs.
She often utilises irony
within text to play with her
audience along with setting
familiar images in unfamil-
iar contexts. This is not only
to generate an interesting
aesthetic, but also serves as
a thematic way to investigate
our post-ideological society
and suggest new ideas for
the future.
She questions the position of
women in society and in turn
questions the significance
of her own role as a female
artist. Her art and photog-
raphy constantly aspires to
challenge, celebrate and
explore society and culture
in innovative ways.
Steenberg has partici-
pated in several group
exhibitions and continuously
contributes to different art
and fashion magazines such
as Flofferz, Hunger TV and
Dreck.
SIMONE
STEENBERG
simonesteenberg1@hotmail.com
cargocollective.com/simonesteenberg
No Such Thing as Enough, Photograph,
(matt C-type photographic print) 42x 59,4 cm
68 69
AAMIRA MULLA mullaaamira19@gmail.com
aam0319.deviantart.com
Women Civil Rights 2013 ,Painting (oil paint, canvas) 60x 70.5cm
Aami r a has shown
many different techniques
and vi sual out comes.
She wanted to show the
audience the current status
of women in general. Mulla
wanted to show the work
to challenge the current
inequality and some cases
extreme oppression that
are still occurring within both
developed and third-world
countries. She believes that
that women are still subjected
to despotism being treated
like an object without feeling
- that shows no restraint.
Within her work on a series
of painting and installations,
it is very colourful, exciting,
eye-catching and expressive.
Thi s work ai ms t o
challenge the preconcep-
tion that toys cannot be
considered art. Exploring
the infuences that cartoons,
childrens literature and toys
have on the minds of young
children and questioning
whether there is something
more sinister to what our
children are being exposed
to, under the disguise of a
loveable character. Consid-
eri ng, how thi s affects
the way in which children
are shaped to be a part of
society and become the next
generation.
It explores how time has
transformed popular culture
and compares the way that
consumer ism has been
aimed at children throughout
history.
It pretends to be looking at
consumerism from a childs
point of view, and tries to
fnd a link between art and
toys and the ways in which
they can have an impact on
society.
MARTN
HERRERO
martin_11_h.86@hotmail.com
Hen, Mixed Media, (clay, acrylic and balsa wood) 21x 16x 11cm
70 71
AMANDA
MARILLIERN
amandamarillier@yahoo.co.uk
www.mandyshadow.tk
Roger and Klaus , Painting,
(acrylics, mixed media, canvas) 100x 100 cm
Marillier is interested in
cartoons from childrens
television. She wants her
work to depict humor and
chi l dhood memori es i n
an abstract form. When
Marillier performs with her
guitar it sends her to another
dimension. Like when she
is painting she gets lost in
her own world and every-
thing else disappears during
the moments of creating.
She has always felt this and
music is something that is a
part of her. As a musician and
songwriter, lyrics, meaning
and emotion are important
and in her art work the most
important thing is the emotion
that she transmits through to
the audience from the art
work.
Living by Sponge Bobs
quote: Live like Sponge Bob-
Laugh out loud without any
reason and annoy the mean
people with your happiness.
Atkinsons art involves
gathering processes of found
objects, information within my
community culture. Working
a gathering process of items
and information, tells me
what the end creation will be.

Context inspired by personal
experience outside of art
school, items found within
my community. Conversa-
tions over heard, Incidents
witnessed, personal state-
ments from people who have
experienced racial equality. A
constant talking drum, of skin
cultural information.

Skin Culture within the media;
we adorn, modify, verbalize
our skin in modern day culture.
Use like a canvas or advertis-
ing notice board. Addressing
racial skin culture, verbal
propaganda in an artistic and
sarcastic way.Skin records
your life journey. Marks of age,
childbirth, injury or violence.

Does skin have a purpose
use in art, or are we repulsed
by it as an art material and
its cultural discriminations,
should they be hidden not
mentioned or explored within
the art world.
FIONA
ATKINSON
fona.l.atkinson@hotmail.co.uk
Skin Stretched by 9, Installation, (leather, wood, method knots,
weaving, stretching) H1.52x L0.60x W0.30m
72 73
I
m
a
g
e
-
O
b
j
e
c
t
,

O
b
j
e
c
t
-
I
m
a
g
e
ADAM WALLACE 74
AMBER MARSH 75
KATIE BROWN 76
JACOPO DAL BELLO 77
LEWI QUINN 78
JAMES TAILOR 79
FARIDA BHULA 80
CHRISTIANNA WEBSTER 81
EDMUND CAVILL 82
I
m
a
g
e
-
O
b
j
e
c
t
,

O
b
j
e
c
t
-
I
m
a
g
e
PARIS CAMPBELL PEDDIE 83
KATIE MOIR 84
MONIKA BANCYR-DE-ANGELI 85
JULIA NOBLE 86
MARTHA B DOLAK 87
CHRISTINE ANNETTE MEYER 88
MAXWELL HEALE 89
TAHIR KHAN 90
JAMES SMITHSON 91
5
74 75
Adam Wallaces practice
is a study of the body, the
feshy substance that defnes
and describes us. Raising
questions of the abject,
Wallace examines the rela-
tionship between the body
and the consumer society.
Collaging fesh with industrial
objects and household items,
Wallace creates somewhat
disturbing, yet humorous
images, which question
the boundary between Self
and Other; asking to what
extent we defne our identity
through the external objects
we consume. Using time-
based media, Wallaces
practice has reached another
level, wherein his dystopian
creations; half-man, half-
machine are given animation,
with disturbing results. In
the age of keyhole surgery,
microchip implants, and
body modifcation, Wallaces
practice is a contemporary
reflection of these issues,
which demands that we
examine body politics; asking
whether social position is
defned by our bodily form,
and in turn, to what extent
we defne ourselves through
our consumer choices.
ADAM WALLACE spiral.thread@gmail.com
Fat-Boots,Collage, (inkjet print on paper) 42x 59.4cm
Ambers work is largely
influenced on personal
experiences and percep-
tions of the exterior of an
object, image or person.
The main focus of her work
surrounds the subject Identity
in her attempt to capture the
complexity of our existence
in her work. Her concept
focuses on what goes in to an
individual to make them who
they are, Combining objects,
fears, desires and morphing
them in to a painting. Ambers
style of how her work is
executed plays with the use of
collage and mixed media such
as acrylic, ink, watercolour
pencil and pen compliment-
ing the concept of complexity.
The exterior of the bodies that
helped are focused on in her
work are removed so that
the viewer can focus on the
abstruseness of humanity.
AMBER MARSH ambermarsh@live.co.uk
Complexity of Us, Mixed Media Painting, (bockingford 300gsm
paper, ink, pen, acrylic, pencil, spraypaint) 300x 150cm
76 77
Interested in arts role
within psychology, Katie uses
art-making as a tool for self-
communication; exploring
the possibility for art to
enable self- and community-
therapy, as opposed to the
current authoritarian dynamic.
Using art process to create
externalisations of the self
for reflection and commu-
nication, healing can be
autonomous, circumventing
the depersonalisation and
disempowerment of current
methods. Practicing this
personally to address the
subjects of death, loss, abuse
and acceptance, Katies
compulsion to pick up rust
began. Growing up playing
on the streets and beaches
of London, the items hold
important attraction and
symbolism for her, collecting
and preserving the forgotten
KATIE BROWN katiecbrown@hotmail.co.uk
Clocking off (Fag-Ash Sally) and People Arent Plastic,
bits that fall off as gentrifcation
takes over. Choosing taxidermy
as her medium because of its
historical, propagandist impor-
tance, she found it inspired
strong opinion and debate;
usually societally-inherited
opinion, which when questioned
quickly crumbles, as often with
homophobia, sexism, racism
etc. She would like to promote
this debate in order to promote
debate on bigger issues.
Installation, from the series Fucking Rich Money Cunts,
(taxidermy and found objects) 40x 41cm, 700x 120cm.
The work is motivated
by the consideration of
painting as a language,
considered from a linguistic
and semiotic point of view.
It is directed to the ques-
tioning of visual rhetoric, by
including, through the use
of appropriation, elements
from different contexts such
as popular culture imagery,
art iconography and found
materials. This is intended to
let the contradictions of the
materials emerge through
the relation that the different
elements establish, and as a
consequence, causing visual
signifers to regain a certain
independence while still
contextualised as products
of history. And lastly, to be
understood at an aesthetic
level.
JACOPO
DAL BELLO
dalbellojacopo@gmail.com
Il Buco Nel Bicchiere, Painting, (oil, acrylic, gloss paint, pencil,
plastic, canvas) 170x 120cm
78 79
LEWI QUINN lewiquinn@gmail.com
www.lewiquinn.com
Annies Heels Get the Better of Her, Video Installation,
Is ecstasy more dangerous
than horse riding? Whats with
all the televisions everywhere?
Why is everyone clapping for
the wrong reasons? And, who
is Kerry?
These are just some of the
questions Lewi Quinns
works have raised in his, as
yet brief, stint as an art-man.
Posi ng such endl ess,
perpetual ponderings through
a use of reclaimed TV sets,
emotive acting skills, inexpli-
cable yet seamless editing
style and a particular attention
to peculiar paraphernalia,
Lewi constructs video based
immersive installations. These
are the mechanics behind his
investigations into the mind
and how one may modify,
mess with and mock it.
H2x W3x L3m
Means of escape - the
psychological, philosophical
and psychopharmacological
debates and investigations in
to the adoption of escapism,
by whatever means, as a
method of transcending ones
reality dominate the critical
thought of Lewi Quinns work.
This becomes apparent on
entering the hazily-trippy
vi deo envi ronments he
creates.
Exploring perceptions
within painting, James Tailor
has spent three years experi-
menting with this medium and
the alternatives that can be
achieved. Tailors work often
sits somewhere between
painting and sculpture,
although he considers his
practice to be that of a painter
and deems everything he
creates using paint to be a
painting. James inspiration
comes from overlooked or
everyday objects and he
has recently completed
several projects including a
replica of the Venus de Milo,
a Marquee Tent and Shop
Awnings embracing his own
acrylic paint techniques and
the pairing of objects he
repurposes to constitute a
stretcher. By using uncon-
ventional stretchers and
overlooked but recognisable
JAMES TAILOR jamestailor247@gmail.com
Acrylic Paint on Stretcher, Painting, (acrylic paint and marquee
objects within his work James
Tailor challenges the percep-
tion of what a painting is
and encompasses the world
beyond the gallery into his
practice.
stretcher) 150cm x dimension variable
80 81
FARIDA BHULA faridabhula@live.co.uk
faridabhula.weebly.com
Residual, Suspended Installation,
Faridas practice utilises
racial identity as a lens
through which to view the
work. The work explores
the politics of hybrid identi-
ties and themes of cultural
di s pl ac ement whi l s t
examining the dialogue
sandwi ched bet ween
differing cultures and faiths.
Her most recent works have
explored historical events of
her ancestors homeland and
endeavour to create a critical
discussion in relation to
partitions, territorial borders
and ownership; simultane-
ously referencing memory,
migration and the remem-
brance of forgotten conficts
resulting from geographical
or social division.
Although a multi-disciplinary
artist, Farida has found herself
Aazaadi, Installation, (translates as independence/liberty)
primarily working with instal-
lations, moving beyond literal
representations of a set of
ideas and creating works
that are metaphorical. Adding
context to found objects
within the installations and
the use of these objects as
the metaphors has been key
within her practice.
Claim, Floor Installation
Christine Meyers work
discusses implications of
consumerism in contempo-
rary western society, she
believes that subconcious
media infuence has negative
psychological consequences
for most of western society.
With her work she aims to
uncover and remind people
that many of the pictures they
see everyday in magazines,
newspapers, on flyers, in
shops, on billboards and
on public transport are
nothing more than a fantasy
world of human desire that
could never be real, they
are altered to an extend
that would make it hard to
recognize a model from her
photo. Christine uses the
skill set and practices used
in fashion and fashion adver-
tisement to raise awareness
of the impact its unrealistic
CHRISTINE
ANNETTE MEYER
tinemey@yahoo.co.uk
Self-Portrait, Photograph
manipulations have, on the
often involuntary viewers
body image.
82 83
EDMUND CAVILL edmund.cavill@gmail.com
Riot Tanker, Painting, (spray paint, airbrush , acrylic,
Johannesburg born to
an Irish mother and Zimba-
bwean father, Edmund
grew up in Lewisham until
sent to work on a farm on
the Mozambique border
following his expulsion for
tagging the school toilets.
A love of drawing driven by
an obsession with graffti led
to a place at Camberwell
school of art followed by a
20 year musical diversion,
resulting in the signing to
Island records with Spacek
and the release of his solo
album Lola Una. Whilst
occasional painting commis-
sions and running aerosol
art workshops. He returned
to a degree course at CASS.
Struggl i ng to seri ousl y
address the hierarchal issues
around the fine art world,
he hopes to transcend the
snobbery that exists on all
oil paint, canvas) 1.5x 3m
sides of London society.
Working in layers of spray
paint, airbrush, markers and
oil on aluminium, paper and
canvas, this recent work
considers the theme of epic
collapse, the post psyche-
delic eye romancing the
apocalypse.
Paris Campbell-Peddie
a fnal year student who is
an abstract painting artist
who is exploring culture,
women, understanding ones
identity, leadership, empow-
erment and equality. Her
work tells stories of a Black
heritage through the use of
earthy tones that all have
specifc meanings to them.
Her paintings are of cultural
curvaceous fgures, revealing
aspects of her life and unrav-
elling the inner her through
the use of shapes and colour
and material. Paris work is
not about showing the visual
attraction of a womans
body, she is exploring what
is beneath the outer exterior.
She does this by experi-
menting with abstracted
shapes and unusual forms
and powerful colours, all
these intriguing snatches of
her work help the viewer to
understand her not only as an
artist but as a woman.
PARIS

CAMPBELL PEDDIE
parispeddie@hotmail.co.uk
Who Am I? Series 4, Painting, (acrylics, card and
African textiles) 90x 60cm
84 85
KATIE MOIR katvonpaint@hotmail.co.uk
Dismantling the Truth, Painting, (acrylic, canvas), 1x 2 m
Her surrounding family
has mostly infuenced Katies
art the most. The main focus
in her work is the process of
interrupting a family photo
and converting it into a
collage: the progression of
transforming photography
into painting. The Cubism
movement and the key goal
of seeing more perspective
within one viewpoint, and
breaking the traditional way
of classical way of seeing
a realistic image helped
Katie to produce her work.
Katie paints mostly from
family photos, as they are
subjects that she knows
best and in certain aspects
makes her the person she
is. By producing collage and
cutting up the image gives
the viewer a feeling of being
misplaced and hiding true
image from the viewer.
Monika Bancyr-de-Angeli
is interested in the visual
language of communication:
how to communicate through
body language, objects,
symbols, and images so as
to open up the relationship
between the artist and the
audience.
In her work she explores the
possibilities of threading the
familiar meanings of objects
to convey new meanings
and ideas, to appropriate old
and recognisable symbols or
sings to contemporary social
and cultural contexts.
The work consists of a video
projection and an installation.
Installation consists of 35
LED lights and 5 torsos cast
in fbreglass.
MONIKA BANCYR-
DE-ANGELI
mbmonoloko@googlemail.com
Untitled, Detail, (fbreglass, LED lights) 85x 40cm
86 87
Julias work involves
putting in place strate-
gies to remove control, to
explore the tendencies of
process and materials, which
introduce uncertainty and
separation. This is followed
by her taking back control
usually through a construc-
tion process.
Her work addresses the
tradition of painting where
paint might not even form
part of the final work. It
involves abstraction but not
in the traditional reductive
sense but in an expansive
way that allows the incorpo-
ration of many materials and
current technology.
All Julias processes and
mat eri al i nvest i gat i ons
provide a portfolio of studio
works which are themselves
an important aspect of her
work. They represent the
plethora of possibilities and
stepping stones that ulti-
mately feed into her final
pieces.
JULIA NOBLE c_j_noble@onetel.com
Untitled, Fabric Dye, stitching and resin on canvas 126x 178.2cm
MARTHA B DOLAK marthabdolak@icloud.com
Art Doll, 4 Photographs, 25x 20cm
Martha B Dolak is a
performance art artist whos
work also includes photog-
raphy work and installation
as well as sculpture work.
Make up is the main tool she
uses in all of her work. The
subject of her work focuses
mainly on sexism in todays
society as well as common
stereotypes that woman are
victims of today. Her latest
project Art Doll is a series of
short flms and photographs
that illustrates the struggles
and the ridicule woman have
to deal with in the modern
society.
88 89
CHRISTIANNA
WEBSTER
christianna@blueyonder.co.uk
Wallpecker, Installation, (found materials) L70x H70x W45cm
Her seeks to recreate the
experience of space and its
architectural structures in
a variety of media - across
painting, installations and
drawings. These appear as
contemporary ruins, express-
ing the different layers and
complexity of living in a city,
particularly those of her own
life in Berlin, with all the
cultural and historical compli-
cation of Berlin, between
being present and the weight
of individual and collec-
tive memory; how does our
sensual apprehension of
space sit with the abstract
negotiation of that space,
mediated by advertising and
social and historical narra-
tives?
Max Heale uses collage,
drawing and painting to
pursue a deep interest in
Aesthetics, psychology and
visual sensation to extend
vocabulary and experimen-
tation within the expanded
feld of painting.
The work on exhibition
has been informed by the
cont emporary i magi ng
of natural hi story; the
high resolution images of
natural events that provide
a stabilised snapshot of
what is actually a dynamic
system - an ever changing,
evolving environment. The
paintings intend to respond
to and subvert these frozen
moments by restoring flux
through painterly means.
In attempting to reactivate
and distort these environ-
ments, a tension exists in the
awareness and silence of the
painting and the attempt to
make noise with them.
MAXWELL HEALE maxheale@hotmail.com
Untitled, Painting, (oil paint, canvas) 1.2x 1.8m
90 91
TAHIR KHAN khanage-360@hotmail.co.uk
Untitled, Painting, (canvas, oil paint) 122x 76cm
Throughout my l i f e
Tahir have always loved
art and painting. His first
year(Foundat i on year)
at London met was very
memeroble but also challeng-
ing as he didnt know what to
expect. As he progressed
through the year, there was a
sense that he would becomer
a painter and he would paint
these streets very beatifully.
In his third year he painted
a another street scene of
where he lived but he decided
to change it by adding a
element of surrealism into by
mutuating the building into
these monster like creatures.
This is so it gives the sense of
whats real and whats not real
James Smithson is a
filmmaker who works as
a self sufficient unit. He
films, directs, produces
and sometimes acts for
the camera. He works with
no structure, only a vision.
The aesthetics is the most
important aspect of his
films. Generally there is
little or no speech; it is all
focused around the image.
His intention is to create
something that is interest-
ing and beautiful out of
something that is generally
quite mundane and dull. His
style is quite poetic almost
like a visual essay. There
are elements of documentary
and elements of narrative. He
flms very intense angles that
capture close facial expres-
sions and hand movements.
For James, the magic of the
flm doesnt occur until the
JAMES SMITHSON jamessmithson@live.co.uk
Untitled, Still from the Film
point where it is produced
and edited. He puts the clips
together almost like a collage
or montage of footage
elegantly put together.
92 93
P
u
b
l
i
c

A
c
t
s
RALITSA ANGELOVA 94
NORMAN MINE 95
DANIEL WRIGHT 96
AMBER JETHA 97
GEORGINA TYSON 98
EMMA LOUISE LAWRENCE 99
MIN CAWTHORNE 100
JOSHUA GRIFFIN 101
KEVIN JARIBU 102
6
94 95
Angelovas work explores
the possible socio-behav-
ioural and psychological
issues of secret keeping. It
is based on the outcome of
a social experiment, in the
sense that it is constructed
on trust between herself and
all of the volunteers who
donated their confessions,
as without them the work
would have been impos-
sible to create. Through
offering such personal infor-
mation, the anonymous
participants gave Angelova
the opportuni ty to put
together something utterly
unique. Each confession
gives an insightful look into
what the individual may have
otherwise kept secret. The
piece explores the internal
struggles within each of us
when faced with the keeping
and disclosure of secrets
through symbolic imagery
featuring a scene of protec-
tive embrace and violent
consuming.
RALITSA

ANGELOVA
ralitsa_angelova@hotmail.com
Metamorphosis, Collage (ink, biro pen, 140gsm paper) 29x 27cm
NORMAN MINE normanmine@live.com
1982 Scaffolding and Breaks, Installation, variable dimensions
I am seeking to express
a continual exploration of
the paradoxes at play in
language, association and
identification, shifting and
exploring different medium is
critical to my practice
Norman Mine is an explo-
ration of the blurring line
between what its consider to
be reality, stage and theat-
ricality; exploring issues of
image and identity, the
projection of the persona
into everyday life and the
restrictions of convention
and expectation, institution
and individual.Restriction
becomes the focus of Mines
practice underlying it there
is a desire to tease, question
and challenge both the
audience and his persona.
Like all relationships this
exchange holds both worship
and revulsion.
Mines investigate how his
work can transpose from
one scenario to another in
order to challenge its material
characteristic and meaning,
with the aim to explore the
interaction between art and
life and that of society and
individual.
96 97
DANIEL WRIGHT danwright002@gmail.com
Lets Sit Down and Talk About Religion... Detail,
Ar e r el i gi ons st i l l
powerful? In Lets sit Down
and Talk About Religion this
is one of many questions that
will be posed to members of
the public in, as the artist
invites them to participate
in activities such as creating
their own bible cover, writing
their own holy messages
on crucifxes and engaging
in discussion with the artist.
Considering the 9/11 attacks
in 2001 and the 7/7 tube
attacks in 2005 as cases in
point along with the lack of
political, sexual and social
freedom when living in a
Sharia state, one could
say religion still maintains
an aggressive foothold in
society and politics in certain
parts of the world. This
community work intends to
analyze the public concep-
tions regarding religion along
with discouraging any apathy
that may exist we may
acknowledge the dangers of
hate preaching and dogma,
but are we willing to discour-
age it?
(poplar wood, A4 glossed card, mix of used and new bibles)
Ambers work is heavily
inspired by the natural world,
her daily encounters and
hallucinations when entering
the unconscious. Being
connected with her environ-
ment helps her in creating
intricate detail within her
artwork focusing on shapes,
line work, pattern and empty
space. She is interested in
indigenous cultures particu-
larly their relationship with
nature and spiritual beliefs.
She is interested in ancient
symbols incorporating them
into my work, especially
geometric shapes. However
she balances this by also
working curvaceous and free
fowing to illustrate femininity
and masculinity embedded
in nature. Her ideas are
captured by her own expe-
riences and beliefs which
she intends to share but not
to preach combining private
with public.
AMBER JETHA amberjetha@gmail.com
Trip into Nature, Drawing, (black ink, card paper), 25x 25m
98 99
Liverpool born Georgina
Tyson puts her issues and
ideals into illustrations that
contain strong symbolism
from ancient and contempo-
rary sources that publicise
the private without giving too
much away. She questions
morality and tries to defne
her own moral reasoning
by mind mapping symbols
of good and evil using
simple lines and provoca-
tive imagery, placing them
in categories relevant to how
she thinks they ft. Within the
categories, symbols often
overlap and contradict each
other to demonstrate the
corruption of human values.
These ideas are judgements
based on Georginas own
experiences and are not how
she generalises the publics
views.
GEORGINA
TYSON
georginattyson@live.co.uk
The Good, The Bad and The Human,
Drawing, (fne liner, paper) 59.4x 84.1cm
EMMA LOUISE
LAWRENCE
emmalawrence92@aol.com
Disintegration, Drawing
Emmas artwork stems
from her fascination with
produci ng work under
certain limitations or through
various methods involving
chance. Interested in how
the subconscious can affect
and enhance artistic creation,
her explorative methods have
allowed her works to progres-
sively become far more open
and expressive. By internal-
izing the idea of chance in her
work, she gives way for the
tangible possibilities that
randomness brings forth.
Her work looks at the use of
colour and mixed media in
portraiture. Focusing mainly
on the use of line and the
subsequent translation of
pen onto paper, she studies
the transitional matter around
her as well as the expres-
sive lines in blind portrait
drawings. Creating images
that team together both of
these aspects allows her to
create images that are both
intricate and ethereal. The
overall outcome of a piece
is never her main concern,
but rather she values the
process taken to get there.
(ink, water, fne liner on paper) 29.7x 40cm
100 101
Min Cawthorne focuses
on the idea of conceptual
craft. She uses ideas of
changing spaces, docu-
mentation and chance to
generate outcomes with
the medium of crochet and
string. Min also does live
performances taking craft
out of the studio and into
the public realm. Her work
is mostly in outdoor spaces
to encourage interaction and
engagement from the public.
MIN CAWTHORNE the.sunshinekid@live.co.uk
mincawthorne.tumblr.com
Untitled, Installation, (yarn, chalk)
JOSHUA
GRIFFIN
j.griffn1991@hotmail.co.uk
Untitled, Painting, (oil paint, canvas) 40x 60cm
The Paintings Griffn has
developed are constructed
through expressionism.
The work Griffin has
created is his expression of
the 1920s to 1950s night life
in Europe post war. Griffns
vision is to show his ideas
of the seedy side of sex,
music and drugs as a step
backwards in history as a
public act of art. Griffns work
is a snap shot of a time based
on a respected society were
everyone had a role to play.
The mediums used for the
squeal are mainly oil and
acrylic paints but also with
texture paste and spray-
paints.
102
Brought to Britain from
central Africa as a fve year
old who spoke no English,
Jari bu became heavi l y
dependent on his visual
surroundings for informa-
tion. It was thanks to this
that he developed an ever
growing appreciation of art
and of the reinterpretation
of ones reality. I also drew
infuence from popular folk
tales and political histories
of both Europe and Africa.
Recruiting volunteers among
his peer group, I challenged
them to create policies for a
utopian society. Borrowing
from Platos notion of the
Phi l osopher-ki ngs, thi s
series is built around the
ideas of Artists as political
leaders, transforming their
ideas into a visually narrative
piece. Primarily focused on
illustrative and the narrative
storyline in the last century,
the work presented here is
inspired by political art of the
20th and 21st century and
how they communicate with
the public.
KEVIN JARIBU kevin_jaribu@hotmail.co.uk
Untitled, Print, (ink, paper)
www.cassdegreeshow.blogspot.co.uk
105
Many thanks are in order for all of the staff and students whose dedication and hard work
went towards the organization and fundraising of the show.
The Cass students would also like to gratefully acknowledge Dulce Caf and Hobbs
Reprographics for their sponsorship and support.
ACKNOWLEDGMENT