Item List

These paintings are an inquiry into the notion of disruption and containment. Initially, this emerged from my practice-based research into an autoethnographic experience of persistent pain and expanded to explore dramatic global changes with the emergence of the COVID-19 pandemic.

There was synergy with my processes and the new reality I was navigating. I applied Erving Goffman’s dramaturgical theatrical ‘front’ or impression management. Lockdown encompassed a dualistic containment: managing constellatory persistent pain within another contained, safe stage (my home). For a time, I only saw the world through windows, and felt I was being moved like a character, in/ out of isolation, bubbles and social distancing.

My work questions what happens when we fail to contain the chaos, when we don’t manage to keep up the impression management, both as an individual and as a society? Will the hidden always seep out? What happens if we drop the façade?

Andrea Hilditch

Disruption and Containment: Theatre on the Canvas

This body of work is situated within the local landscape of a vicarage, it’s surrounding gardens, streets and fields. The exhibits are an embodiment of this place and form a poetic response to its history, grass verges, trees and adjoining meadows.

I work intuitively, gathering and sorting materials, and allow forms to emerge through simple acts of making; my processes are deliberately slow and have repetitive rhythms that lead to a multiplicity of outcomes. The studio, for me, is the space where research and creative activities come together across the medium of paint, drawing, handling material and making objects.

The intention for this exhibition is to give the viewer a sense of material presence with objects forming a correspondence within groups and across the gallery space. Presented in 5 groups, each form an intimate narrative where nature and culture come together.

Jill Walker


The handwritten vellum cuttings are excerpts from my grandmother’s journal. Visually, the writings come across as more abstract rather than representational, even though having pieces of her knit within the collage is very meaningful to me. The large, abstract oil paintings are a larger translation of the smaller collage pieces.
Reflecting on my process, I have treated the collages as a still life, playing with the notion of scale and challenging the viewer to question the relationship of the collage to the larger painting for my final MA exhibition.
Not only does the title of my exhibition “Transitions” apply to the transition and translation between collage and the larger works, it is also a reflection of my first year as a mother- providing a glimpse of my time which is constantly shifting, and how that has influenced my practice.

Lindsey Seddon


My practice has developed out of wanting to explore the balance between painting and sculpture and seeking out the space in the middle where they overlap. 

My collection of soft sculptures arrived through the complex working and reworking of worn fabric sand canvas. With the surface becoming important as it is defined by its folds, layers and creases. The pieces, which are concealed to purposely hide the internal structure or skeleton, exist only through their outwardly curious forms left for observation.

Through emphasising tactility, aesthetics and materiality, the visual appearance of my work verges on the ‘awkward’ and ‘unattractive’. Therefore, questioning the traditional ideals of beauty and aesthetics in art. Simultaneously, my objects and paintings represent an investigation of intentionality, leaving the viewer to try and decipher how much of their creation has been deliberate and how much has been unintentional.

Lydia Jennings

Middle Ground