Item List

Within my artistic practice, the human form, and in particular the female nude, have become central concepts and the framework for my studies. Developing work that utilizes both physical and digital mediums, I’ve established a method of play and experimentation in which the body of my work has been created. As a queer, female artist, I stand at the cross sections of both desire and familiarity in the images I see and create. 
Drawing upon Classical paintings and experimenting with digital media, I found myself frustrated with the literal nature of the work produced. There lacked excitement; my forms seemed passive and expressionless. Utilizing the media but pushing the aesthetic further, I layered the paintings placing imagery behind them, creating abstract expressions of the female form. The resulting work sits between the sensual and confrontational, challenging the viewers experience and expectations of the feminine and the idea of modern femininity.

Anja Pynenburg

The main driving force for what I do is a passion for finding ways to collide imagery in conflicting styles to create a unique experience of the sublime. I use graphic imagery and recurring motifs to introduce a comedy, but also to help illuminate my dominant ideas and central themes as well as suggest a deeper meaning to my painting. I use erratic and ‘uncontrolled’ marks to deliver an unease, but to also link the painting and create a flow. I am always challenged by my paintings and constantly taken on a journey. I am always learning more about myself and growing as an artist. In that sense, I am never finished with my journey, only satisfied if I achieve my personal triumphs to then move forwards. There is no finish line. 
Bethan Page, April 2021 The University of Chester

Bethan Page

Portraiture has been a long-standing core focus of my work often reflecting the subjects struggles (in particular mental health difficulties). I am interested in negative space in terms of the story of the piece and also in helping the audience grasp a deeper understanding. 
I feel that negative space tells a story of what could be there, what should be there or what used to be. I find this, and a monochrome palette a very powerful way of showing emotion or lack of it.

Catherine Hague

As a visual storyteller, the national ‘Stay Home’ order inspired a set of works exploring loneliness, isolation as well as the everyday moments we all once took for granted before this time spent at home with our family.
A week before we entered the first ‘lockdown’ and before any of us knew what was to come, I started a journal. When the Covid-19 situation worsened, I began logging my days at home.
Now stacked full of screen grabs from zoom calls, stains from pressing flowers collected on daily walks, to do lists, sketches of house plants which began to swamp my room and climbing death tolls each week, I had built a point of reference and reflection for my future pieces.
 These ‘Lockdown Journals’, now a series of intimate oil paintings, communicate the confrontations we have all had with ourselves and how our small spaces have become our entire world.

Chloe Longley

My work follows a ‘Dadaesq’ like aesthetic yet aims to experiment with a number of conceptual notions such as materiality, affordances and the expectation of objects. I find inspiration in objects themselves, and then proceed to look at the properties and characteristics that make it such- I then decide whether to exaggerate, alter or completely contrast these features to then begin working with the object.  I often choose everyday household objects as these tend to be overlooked day to day. My work makes us stop for a moment in an ever-busy moving world, to try to figure out what exactly is going on in my pieces.
I also create 2D work that aims to stand alongside my sculptures in a supporting effort. These images hold the above aims but simply situate in the form of digitally composed composition, as opposed to a physical sculpture.

Dean Lockett

My work this year has been focused the subversion of traditional fine arts movements and techniques – namely Vanitas painting. Using a combination of readymade items, sculpture, and digital media my pieces explore the longstanding debate in fine arts as to whether the decorative can be high value. By using low-value craft items with traditional techniques focused on purity such as suprematism’s black-on-black painting, I aim to challenge the concept of purity equaling worth.
My pieces reference traditional seventeenth century paintings, juxtaposing the beautiful and functional with the disregarded, broken, and unfamiliar. Using digital media allows me to investigate an eerie, illusion-like dimension in my work by carefully controlling light and perspective. My intention is to question the status quo hierarchal approach to fine arts disciplines. This approach is informed by the w0rk of artists like Craig Fisher and Beverly Ayling-Smith whose pieces discuss gruesome topics using expensive, high culture materials.

Elizabeth Pellicci

 This project touches on the positive and negative effects of the COVID restrictions over the last year and how people have been forced to slowdown and appreciate their surroundings and also in contrast to that the idea that that we as a nation have been trapped in our homes, not being able to see our loved ones. I am aware that art is an escape for a lot of people but as all my work this year has be done from the confines of my bedroom this topic was somewhat unavoidable for my final year project.

Freya Reisin

Throughout the three years of this degree, I have realised there is a
thread running through my work, an interest in personal and cultural
memories and the past. I consider myself a painter, and this year I
have been using oil paints in a traditional manner, slowly building
layers of glazes. I enjoy painting people trying to convey stories,
relationships, and emotions through body language. Here, I have used
works from art history as the inspiration, borrowing the gravitas these
images possess. The figures are then reimagined into a new reality. To
make these paintings contemporary and confuse the realism, I have
superimposed a pattern that blurs the details with misty veiled areas
that push the figures into the background. These patterns have a
connection to everyday modern materials, a layer from the present
that obscures the figures from the past.

Helen Mary MacDougall

Before my degree, I was a painter and a painter only. Needless to say, I had little interest in pursuing three-dimensional art. However, through the compelling insight of my lecturers, I began to let go of my inflexible and stubborn direction. As time passed, I learned to appreciate the sophistication of materials’ simplified arrangements and respect the essence of what makes a material individual to itself, Such as paper. Paper on its own is sometimes overlooked. We use paper to plan other pieces and then put it aside, or to draw and paint over. Either way, paper is typically just a steppingstone in reaching another goal, and understandably. Through this piece, I aimed to exhibit the versatility and elegance of suspended paper, with an organic-like hollow interior that breaths between each sheet, creating a deceptive sense of depth and weight.

Jacob Whewell

This project is based on movement documented through cubist shapes and abstract
qualities, highlighting the impact of negative space, composition and colour. Obscuring
the figure and making the dancer more prominent was an enjoyable challenge, through
further observation in my project you will gain understanding of the journey into
gestural movements and mark making. My work has reflected the interest in
collaborating with others in the creative field, developing ideas for future projects and
group workshops. The manipulation of art materials such as charcoal and acrylic
benefited strongly within my project, you will be able to identify the areas that merge
the figure together but also obscure it from view, further intensifying the piece when
viewers are curious to understand it. Minimal colour was an important decision as it
sharpened various pieces of my work and the connection of my movements being a part
of it was even more effective.

Jade Gore

 The initial concept for this project was to create an exploration of the theme of repetition through visual devices. Ostensibly, the strict grid-formation explores the theme of repetition; however, the viewers are placed in s state of repetition through the videos being shot in a first-person narrative. The fixed point of view gives the videos a documentarian observational style, where the unobtrusive camera becomes the viewers’ eyes and ears. A state of inescapability is derived from the fast pace editing depicting the audiences’ actions as gradually becoming tiresome. The body of work presents a dichotomy between the emptiness of the household environments and the liveliness of the projections; resulting in, the experimenting with visual representation of illusionistic space. The three-dimensional atmosphere allows the projections to be caught on different surfaces causing the artwork to appear simultaneously as if it is protruding outward directly into the viewers’ gaze and expanding into the background.

Jagroop Bains

My work is centred on interiors, which often include fish. I paint in acrylics, based on my explorations in collage. Time spent investigating is vital. 
As a visual artist, I am interested in creating ‘moments in time’ similar to ‘film stills’, but in a different way from cinema: the image need not tell a story with a beginning, a middle and an end; it can just be. This allows or provokes each individual viewer to interpret the painting according to their own scenario.
I am interested in how shapes fit together and in the repetition of shapes. I am profoundly interested in the relationship between colours, working with subtle, muted shades and restricted palettes, enjoying the challenge of this close interaction of colours.
I am exploring various galleries for my work and have used my work for greetings cards. I hope to continue my studies with the MA (Fine Art).

Joy Parker