Fuss magazine

So, what’s all the Fuss about?

Summer 2011 £6.50

Fussmagazine

www.fussmagazine.co.uk @fussmagazine0

Fuss Magazine UK

Editor’s LetterFuss, the magazine you hold in your hands this very moment, is something extraordinarily special, and probably unlike anything youʼve come across before. Fuss is dedicated to giving creative undergraduates a chance to see their work in print, to showcase their talents on a public scale, and to reach out to others in their chosen industry. As a recent undergraduate myself, I know just how frustrating it can be to get your work out there, and sometimes university exhibitions and personal blogs just donʼt seem to cut the mustard! Thatʼs why I decided to produce Fuss.

So, what exactly can you expect to fi nd in this magazine? Well, Fuss aims to bring you a collection of the best undergraduate creative work from around the UK, four times a year, whether that be in photography, illustration, painting, textiles, fashion design, drawing, poetry, graphic design or short story writing. In other words, itʼs like a big pile of business cards, collected for your enjoyment and convenience, and readily available to do with them what you will!

This very fi rst issue of Fuss contains the work of 38 fantastic creatives, whose inspiring talents absolutely deserve to be recognised. You can get in touch with all the contributors featured in the magazine – just look out for the ʻFIND MEʼ section down the side of the page.

You are now free to enjoy the magazine, feel it, sniff it, show it to your friends, and treasure it forever, because you never know whoʼs going to be the next big thing!

Let me show you what all the Fuss is about…

Abby [email protected]

I want to say a massive thank you to all my lovely contributors – you are all so talented, and without you this magazine would still only be an idea locked away in my head…And fi nally, a big thank you to Abby Wright for the beautiful portrait! (You can fi nd her work on pages 8&9).

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Thank you!

Weʼre always on the look out for new talent to feature in upcoming issues, so if youʼre a creative undergraduate and want the chance to see your work in print, please email: [email protected] with some recent high res j-pegs. Good luck!

FIND US:

Cover & back cover images by Bradlee Comer (pages 33-35)

Contribute!

8/9 Abby WrightIllustration

10/11 Adas SofroniouPhotography

12-14 Agnes BataclanPhotography

15 Alissa Khan-WhelanPhotography

16/17 Amy FerdinandoPhotography

18/19 Anastasia KuatkhinaFashion Design

20-22 Angela PelentridesMixed Media

23 Ashley MorrisGraphic Design

24/25 Avril KellyIllustration

26 Ayla El-MoussaPhotography

‘A’

28-30 Benedicte WilhelmsenPhotography/Poetry

31/32 Brad RoseGraphic Design

33-35 Bradlee ComerPhotography

36 Cairo-Louise LunnDrawing

37 Carleanne O’DonoghueShort Story

38/39 Caty PalmerFashion Design

40 China JordanPainting

41 Christopher CooleyPoetry

42/43 Danny GarsidePhotography

44-46 Felicity FrenchIllustration

‘B-G’

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10

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28-30 Benedicte WilhelmsenPhotography/Poetry

31/32 Brad RoseGraphic Design

33-35 Bradlee ComerPhotography

36 Cairo-Louise LunnDrawing

37 Carleanne O’DonoghueShort Story

38/39 Caty PalmerFashion Design

40 China JordanPainting

41 Christopher CooleyPoetry

42/43 Danny GarsidePhotography

44-46 Felicity FrenchIllustration

48-50 Helena SocratousPhotography

51 Iain WorganMixed Media

52/53 Jessica AviettiTextile Design

54/55 Joe HallPhotography

56 Katerina GeorgiouPhotography

57 Katherine TromansIllustration

58/59 Mark WiltshirePoetry

60/61 Matt LaingMixed Media

62 Nicole AntatPhotography

‘H-Q’

64/65 Rebecca FrenchIllustration

66/67 Robert WalkerPhotography

68/69 Roisin BrownPhotography

70 Rosie HymanPainting

71-73 Sam HawkinsIllustration

74 Sky NashCrafts

75/76 Sophie-Aimée JensenTextile Design

78-80 Tristan PigottPainting

81/82 Feature:Summer Events 2011

‘R-Z’

CONTENTS

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Fuss Magazine

So, what’s all the Fuss about?

Editor/Art Director Abby WiltshireDeputy Editor Matthew Lambert

Sub-Editor Mark Wilcox

Advertising Sales Director Laura Maguire [email protected]/Marketing Manager Julie Wiltshire [email protected]

Interns Max Abbott, Jessica Knowles

Contributors in this issueAbby Wright, Adas Sofroniou, Agnes Bataclan, Alissa Khan-Whelan, Amy

Ferdinando, Anastasia Kuatkhina, Angela Pelentrides, Ashley Morris, Avril Kelly, Ayla El-Moussa, Benedicte Wilhelmsen, Brad Rose, Bradlee Comer, Cairo-Louise Lunn, Carleanne O’Donoghue, Caty Palmer, China Jordan, Christopher Cooley, Danny

Garside, Felicity French, Helena Socratous, Iain Worgan, Jessica Avietti, Joe Hall, Katerina Georgiou, Katherine Tromans, Mark Wiltshire, Matt Laing, Nicole Antat,

Rebecca French, Robert Walker, Roisin Brown, Rosie Hyman, Sam Hawkins, Sky Nash, Sophie-Aimee Jensen, Stacie Swift, Tristan Pigott.

Submissions [email protected]

Get in touch [email protected]

Fuss magazine, issue 1 Summer 2011. Published by Terrace Media, four times a year.

Studio A, 31 Mayfair Terrace, Southgate, London, N14 6HU. 02088821567.www.fussmagazine.co.uk

Contents © Terrace Media 2011. All rights reserved. No part of this publication may be reproduced without

permission from the publisher.

‘A’Abby Wright

Adas SofroniouAgnes Bataclan

Alissa Khan-WhelanAmy Ferdinando

Anastasia KuatkhinaAngela Pelentrides

Ashley MorrisAvril Kelly

Ayla El-Moussa

Image by Abby Wiltshire

Abby

Rachel Freire,Wacom tablet drawing, coloured in Photoshop.

Les Chi� oniers, Wacom tablet drawing, coloured in Photoshop.

Wright

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Hull School of Art and DesignBA (Hons) Illustration

I really enjoy incorporating hand drawn line work with colour and texture to produce

my illustrationsʻ ʻ

My favourite type of illustration is fashion and portraiture and I feel this is where my strengths lie. I love the beauty and texture of the clothes and this inspires my creations, I believe that when producing a fashion illustration the clothing must stand out against the rest, and so have developed a combination of line work against block colour and a

use of negative and positive space. I also enjoy working on editorial, and when I get the opportunity I love print-making!

Pretty Rubbish, Wacom tablet drawing, coloured in Photoshop.

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University of WestminsterBA (Hons) Photographic Arts

AdasSofroniou

I approach with caution and like to take time with my camera; the more pictures I take the more I have to work with. Photography for me

has taken time and it’s been a long relationship with up and downs, effort is the key ingredient to make it work.

Sky Triptych, Photograph

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Close Encounters, Photograph

Inland Horizon Sunset, Photograph

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AgnesBataclanLondon College of Fashion, UALBA (Hons) Fashion Photography

As my outlook on life changes, so does my work. In many ways taking photos is very personal, because it is a result of my continuous questioning how and whether what I do is

relevant to me and the outside world. I have quite an eclectic array of influences, anything from a song, or a scene in a film, to a situation I observe on the street can be

inspirational.

Punk, Photograph

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Lonesome City, Photograph

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I think the desire to create something extraordinary is a major drive in the pursuit to capture what has not been captured before, to create a fantasy, something surreal. A feeling of

perpetual dissatisfaction with my work allows me to move forward and reinvent myself over and over again.

Statue, Photograph

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This photograph is part of a series called ‘Elisabeth’ and was taken inside a bath. “We may see photographs with our eyes, but the images occur in our minds” is a quote that I believe best explains my work. I enjoy creating characters and telling a story through photographs.

Although there is something very personal about the picture shown, I’d like the audience to fantasise about the characters life themselves and question what is going on inside their

head.

AlissaKhan-Whelan

Elisabeth #1, Photograph

Central Saint Martins College of Art & Design, UAL

Foundation Diploma in Art and Design

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AmyFerdinando

Camberwell College of Arts, UALBA (Hons) Photography

My work is based on family and memories. In this series ‘Granny and Grandad’s’ I have created images that show an event that has occurred in the past and is now being remembered. I sew thread into the photographs to create this memory and it establishes a personal connection and closeness to myself and my work. I am interested in creating work that has a strong personal connection to my own family but which viewers can relate to through experience of their own families and their own memories within those family units. My work has been informed by my personal experiences, and interests surrounding family history and a text I read by Roland Barthes called ‘Camera Lucida’. I drew my inspiration from the sections of the text where Barthes talks about looking through his mother’s old photographs trying to find a true image of her and finally discovering an image from her childhood.

Untitled, Photographic print and thread

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Untitled, Photographic print and thread

Untitled, Photographic

print and thread

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AnastasiaKuatkhinaCentral Saint Martins College of Art & Design, UALBA (Hons) Fashion Design with Knitwear

The crème de la crème, Cotton, Felt,

Boning.Photo by James

Forbes.

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I usually use bright colours to strengthen the appeal of my creations, to add depth so that colour will guide one’s eye around the garment. Architecture and sculpture have always inspired my design. The heavy influence of Hussein Chalayan has led me to conceptual design; I like to think there is always more to a garment than just its use as a wearable object. I try to create a piece that would form a personal relationship with the wearer, focusing on play with proportion and comfort.

Exploring new textile technology and unorthodox materials have always interested me. I enjoy challenging typical uses of materials and combining the traditional with the new; I try to create fashion that can be viewed in a gallery and a show. My main inspiration is learning about smart materials, technology and searching for a complimentary silhouette, something that could resemble a statue, as demonstrated by the piece ‘The crème de la crème’.

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Breaking the glass ceiling, Polyester silk, Netting, Acetate, Vilene, Metal wire

Autumnal Light, Wool, Acrylic wool, UV thread, Fibre optics, L.E.D

AngelaPelentrides

Arts University College BournemouthBA (Hons) Illustration

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Eagle, Pencils

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MatroyshkaAcrylic paint

Untitled, Pencils

My illustrations have many inspirations, which range from tattoo art and realism, to a simple flower or the ocean. With my current drawings, I tend to use pencils, as I feel I have learnt how to create a strong outcome with them. I like to make my work eye-catching with the use of bold colour and/or beautiful contrasts. I am always pushing my ideas and techniques with every piece I create.

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Untitled, Digital

AshleyMorris

London College of Communication, UALBA (Hons) Graphic and Media Design

I like to explore and try different media and materials and use a lot of colour. I gain inspiration from little things in my area, many of which go unnoticed by most people, plus cartoon characters from my childhood. I am also strongly influenced by 60s-90s music and old American

Sports logos. For the birds is about three eagles travelling to different places and different directions in life. ‘ABC’ could mean anything to whoever sees it. My Meaning behind the letters are

words of inspiration; A for Achieve, B for Believe and C for Create.

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For the birds, Digital

AvrilKellyDublin Institute of TechnologyBA (Hons) Visual Communications

I’m an illustrator from Dublin with a particular love for combining different elements like collage, textures, photographic elements and patterns together. I believe that little details make a big difference and this is reflected in my work. I try to bring as much

character, life and humour to my illustrations as possible.‘24

Victoria the Fashionista, Collage and hand drawn elements

Poppy’s Love of Pattern, Collage and photographic elements ‘

I’ve been drawing since I could hold a pencil. Illustration and image-making were always a particular favorite area of my mine to work with. I take inspiration from the people around me, the places I’ve visited and the things that interest me; particularly books,

music, old records, photographs, charity shop rummages, vintage postcards, nature and anything else wonderful you can think of.

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Let Them Eat Cake, Collage

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AylaEl-Moussa

Chelsea College of Art and Design, UAL

Foundation in Art and Design

I took this piece on my return trip home - I like to push my models and really bring them out of the comforts of studios and warmth, what better way than to get undressed in

the snow? My inspiration was drawn from the Japanese Geishas, the contrast of the stark red and white snow and eerie mist really created an image that had a story. I create

images that capture the viewer and leave them staring at an image drawn in by my story.‘ ‘

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Canadian Geisha, Digital photograph

‘B-G’Benedicte Wilhelmsen

Brad RoseBradlee Comer

Cairo-Louise LunnCarleanne O’Donoghue

Caty PalmerChina Jordan

Christopher CooleyDanny GarsideFelicity French


BenedicteWilhelmsen

Central Saint Martins College of Art & Design, UALBA (Hons) Criticism, Communication and Curation: Arts and Design

SPONGE

we grew tired of dull evenings sopigmented them with lovely hallucinations

the smoke numbs our senses

until all that matters is inhale, exhale

worries drift . like clouds dispersingleaving the blue sky open on a summers day

the mind is a sponge . on the maritime floor

abandoned and alone

and ready to absorb

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TIME TRAVEL TIME COLLAPSE

time zone time lapse

across borders border control

check in/ check out

blur of decent meals and breakfast buffets

a million faces all look the same.

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‘B-G’

Mimicry, Colour print

Life is essentially a solitary experience but for the moment when looking at a photograph or reading a poem reveals the world viewed through someone else’s mind. I place importance on details that interest me, such as a conversation, a shadow on a building, a thought, a symbol, and try to convey this through my work. I find that using a manual camera allows me to focus on what I am photographing; it is meditative, as is poetry. The lack of need for structure or other grammatical rules in poetry is very liberating and allows thoughts to flow freely onto

paper.

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‘ ‘Solitary, Redscale print

Illumination, Redscale print

BradRose

Camberwell College of Arts, UALBA (Hons) Graphic Design

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I aim to explore and exploit print processes and believe in the significance of efficient design, the reliability of original design, and the benefit of beautiful design. I get most of my inspiration from the things

that surround me, no matter how random or ordinary it is.

Rorschach - a typeface to mimic the ink blot, Screen printed with metallic silver on black 200gsm fine art paper

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One of my key inspirations for my work would have to be London, everything is fast paced, chaotic and overwhelming but within all that there is a clear defined system and it works. I get a real kick out of good design or even something that is just aesthetically pleasing. I

could sit there for hours on end looking through type specimen sheets, I’m obsessed with typography and get a real enjoyment out of

exploring it. My work is a visionary example of what flows through the holes in my brain.

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BradleeComer

Farnham UCA, SurreyBA (Hons) Photography

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Untitled, Photograph

My work is an accumulation of different interests, styles and inspirations. I try to steer away from the traditional style of fashion photography and more towards the lifestyle aspect. My inspiration stems from a range of places, there is not a single source which solely gets me inspired, I tend to look at aspects of different images I find, places I have been and the people I’m photographing to create something suited to my own personal brief or to create something interesting and fresh to me. My work tends to be of the moment, I rarely go into a shoot with a solid image set in my mind, I try to achieve as much as possible from each shoot without subjecting myself to one particular style.

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Cairo-LouiseLunn

Central Saint Martins College of Art & Design, UAL

BA (Hons) Graphic Design

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Butter� ies, Acetate

I was initially inspired by the work of Joseph Cornell and the etchings by Leonard Baskin and Da Vinci. I had been interested in keep-sakes and collectors items, like butterfl ies that were pinned with labels. I created a series of butterfl ies illustrated on tracing paper and acetate, then scanned them to create diff erent eff ects, with vivid results.

ʻʻ

The machine was getting closer to me now. The line that had seemed to be endless two hours beforehand was now almost completely non existent. Only a few figures stood between individualism and being indistinguishable amongst the rest of the humans left on earth. I had known from the day I was born that eventually this day would come. They had seized complete control of the earth, the galaxy and the universe. There nothing left nowadays. Buildings had crumbled to the ground and any buildings that had survived were either hidden amongst the carnage of the invasion or painted grey. Monotonous, solicitous and inanimate. The smell of death and defeat lingered in what was left of the air around us. It was saddening to say the least but I knew that there was nothing I could do anymore. I could see the force of the machine take hold of one poor man in front of me. The noise of the mechanical arm pierced my ears, it seemed so much louder over the obligatory silence everybody was partaking in. First it took his body. The huge steel arm gripped him with full power and seemed to just absorb his movement as he tried to squirm away. I don’t know which was worse, knowing I couldn’t help, or knowing that this was going to happen to me in a very short time. His body stiffened and I knew then that he was being turned into a grey. Grey number two million nine hundred and ninety nine to be exact. The machine mercilessly took his mind next. A clear cylinder lowered down to the platform the innocents were lined up on and surrounded the man’s lifeless body. All the colour was being drained from him. The painful reds of his past, the excitable yellows of his life experiences, the heroic gold of his endeavour and the rich purple of his wealth was washed away and replaced with desolate blacks for his heart and soul and a despairing grey for his mechanical body. I looked beyond the tragedy of the man in front and saw a boundless and immeasurable

formation of greys that seemed to progress through the ruin into the horizon. The greys, with their vacant stares and their identical comatose posture, looked like statues in the dismal afternoon sun with their beige faces and their grey clothing. I wanted to get away, escape somehow. I wanted to savour all that was left of me, but I knew from what my mother had told me when I was a child, that once they had taken your soul you were just the same as the rest, another inapt and insignificant mimic. I had realised by now that there was hardly any point in desiring escape from such a situation, I was never going to survive on my own. They would soon find me if I had tried to get out, just as they had done previously. They were a kind of thought police, if you like. It had become blindingly obvious to me during my months of vigilant freedom that opposing such an overpowering force was a lost cause, though it wasn’t like me to go down without putting up a fight of some sort. I had managed two months of liberty, I guess that was an advantage I had over everybody else who was involuntarily waiting in line to take great pride in. Not that it really mattered anymore. I was now coming painstakingly close to becoming a grey. It was hard to believe that this was the end of life as I knew it- it was over. When I was a child there was only a miniscule hold that the governing body had over the people of earth, but since then it had grown fiercer and stronger as the days went by. They had grown too strong too quickly. It was now unsurpassable, invincible and frightfully formidable. There was going to be nothing left. We were the last of the absolute freedom fighters and we were inevitably, going down. The machine had done its sorry duty to the remainder of the people in front. It was my turn. Time seemed to go so slowly as the grim black conveyor moved me closer and closer to my final destination. I felt a cold metal arm aggressively grip me around my ribs. It was over.

CarleanneO’Donoghue

London College of Communication, UALFDA Journalism

Grey. A literary response to George Orwell’s 1984

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CatyPalmer

London College of Fashion, UALFoundation in Art and Design

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Series title: The Decay of a Natural Beauty.Photos by Daniel Lehenbauer.Manipulated knit, knotted/dyed/printed silk.Headpiece: acetate, dyed chiffon with puff binder.

Not for thy fairy kingdom

The initial inspiration for this piece was an amazing purple cabbage flower I found abandoned at the end of a long day at Columbia Road Flower Market. I remember wondering why on earth anyone would leave such a beautiful thing to die, and resolved to give it a home. Ironically, my terrible memory got the better of me and I forgot to water it, leaving it decaying on my windowsill. The result, however, was fantastic: a cascading waterfall of distorted petals, musty purples and browns, frozen in crisp, crumpled waves. This inspired the twisted knit and knotted silk. I also took some inspiration from Titania, (queen of the fairies in A Mid Summer Night’s Dream) when doing the shoot. Her transformation from proud, passionate and radiant creature to a doting, deluded lover reminded me of the wilting flower and its pitiful yet exquisite demise. The neckpiece encompasses these concepts; The transformation from strength and splendour to vulnerability and weakness: in both scenarios, the decay of a natural beauty.

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Enchanting Extremities

ChinaJordan

Wimbledon College of Art, UALBA (Hons) Painting

My work is based on the facts of life. It confronts the viewer with feelings they try to hide, events they try to ignore, memories they lock away. I try to expose those inner emotions

whether it is from sympathy or empathy and through the power of painting, confront them. I am inspired by people and events that happen and how we deal with that. ‘ ‘

It will be ok, Oil on Canvas

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ChristopherCooley

London College of Communication, UALBA (Hons) Magazine Publishing

He was on the run.

Down a flight of steps.

A fire exit.

They had traced him.

He knew it was dangerous.

Just not THIS dangerous.

Who would have thought it?

He was a journalist.

Not a terrorist.

Who would have known words could be so effectual.

Adrenaline flows.

He begins to see the positives.

If his writing has been ordered to be destroyed...

then it must be good. Right?

You can’t change the way people think (the death of journalism)

All my work is very different and as it is done just for fun requiring no set structure. There is no preordained approach, I just write what I want.

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DannyGarside

University of Westminster BSc Photography and Digital Image

This work was made in Venice this year. There’s a market in the north of the city that I always love visiting, I’m compelled to take photographs there. I had to trust in the equipment I was using, I was shooting double exposures onto home-made redscale film, something that’s

pretty much impossible to plan completely, so I just had to go for it and see how it went. Overall my work is based on the ‘huh, that’s interesting, I want to show people that, I want to

tell them the story of that, I want communicate that idea’ feeling.

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‘Untitlted II (Venice), Redscaled Kodak ColourPlus 200

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Untitled I (Venice),Redscaled Kodak ColourPlus 200

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FelicityFrench

Arts University College Bournemouth

BA (Hons) Illustration

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Peacock, Pen

When making work, I always start by drawing things I love to look at, that I think will look beautiful as illustrations, if I don’t think something is visually exciting I won’t draw it. I love to incorporate nature within my work, especially illustrating birds and animals, anything with an

organic form that allows room for elaboration. I feel inspired by so many things, other illustrators, books, films, animals, nature, travelling, baking and generally the idea of making something for people to enjoy looking at! I often try to incorporate humour too, bringing a light hearted and fun feeling to my work. I tend to incorporate pattern and typography into

my work whenever I can as that is something I feels makes my work unique.

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Mean Crow (Little Yellow Spider series), Pen and watercolour

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Mockingbird (Little Yellow Spider series), Pen and watercolour

Crab Cake (Little Yellow Spider series), Pen and watercolour

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‘H-Q’Helena Socratous

Iain WorganJessica Avietti

Joe HallKaterina GeorgiouKatherine Tromans

Mark WiltshireMatt Laing

Nicole Antat


HelenaSocratous


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Tainted I, Canon 5D Mark II

‘H-Q’

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Tainted II, Canon 5D Mark II

The works of many great fashion/beauty photographers such as Guy Bourdin and Irving Penn inspired this photographic series. It aims to portray

an edgy style of fashion combined with ballerina-like poses and fabrics, feminine vs. masculine, hence the exclusion of colour. The photographic

focus was to create crisp, sharp images that could be displayed in today’s contemporary fashion magazines, e.g. i-D magazine. This work is very

personal, as I have styled each model myself, many of the photographs include hand made accessories that I used to form structure and shape to

enhance the visual aesthetic.

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Tainted III, Canon 5D Mark II

‘Iain

WorganCamberwell College of Arts, UALBA (Hons) Graphic Design

What may seem mundane to the everyday eye, I consider to be my inspiration, from leaflets collected in the street, to purposefully designed typographic pieces. The approach I take

towards my work may differ from piece to piece, yet I always stick to a visual style of simplicity, subtlety and minimalism. Through the use of white space, I portray complicated

ideas and concepts without losing the depth, importance and purity of the work. ‘

InsideOUT,A1 Digital print

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JessicaAvietti

University of BrightonBA (Hons)Textiles with Business Studies (Weave Specialism)

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Vintage inspired fabric collection, Woven

For my woven samples i draw inspiration from my surroundings, initially creating a sketchbook filled with photographs, paintings and drawings. From this i am then able to assemble my colour palette and develop woven structures. Eventually creating a collection of samples which are personal but not detracting from the original brief.

‘H-Q’

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‘ ‘

Spacesuit fabric, Woven

Geometric fabric, Woven

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JoeHall

Camberwell College of Arts, UALBA (Hons) Photography

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Seascape, Photograph

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In my practice I work within the subject of the ‘Real’. I have been influenced by the topic of man-made landscapes that are replicating the natural world. In particular spaces such as forests and woods, specifically the way humans are controlling nature by purposely planting trees in a particular position and order. I am drawn to the artificiality of the

space, the deceptive nature of the surroundings. The play of constructing natural scenes and intervening with natural places helps me create deceptive scenes portraying reality. I have taken influence from these man-made environments by producing my own visual

experience of the natural world.

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Landscape, Photograph

KaterinaGeorgiou

Norwich University College of the ArtsBA (Hons) Photography

With my photography I like to experiment with

different styles and approaches including

fashion, editorial, documentary, and still

life.

‘ ‘

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Fear,Photograph

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KatherineTromans

Arts University College BournemouthBA (Hons) Illustration

Up in the air, Pencil with digital

elements

Ultimately I enjoy creating images that I think are beautiful, which usually centre around the figure, or portraiture. I was once

told the hardest thing that you will ever draw is the

human form, and it’s something that I enjoy

learning about and including within my illustrations. I love

capturing colour and intricacy within my

illustrations.

‘‘

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MarkWiltshire

University of YorkBA (Hons) English and Related Literature

Beauty is deep red blood, poised in the sea;A closed picture of scarlet, warm and thick;Framed perfectly within the long plain waves,A crimson cloud, a heavy, laboured lick.Suspended, here, in momentary grace,This painted wish, religious to behold, Is lifted like a wine-drenched gossamer,With ripeness, passion, truth in every fold.Delicious and unyieldingly devout, To off’ring gifts and pleasures in the calm,Exceeding all our dearest, newest pains,The bleeding, now, abides only to charm.A still kiss to the chill confluent water,Blood brilliantly stands – the sea’s unmoving daughter

An idea for a poem is shaped with due consideration and tranquility. Writing is a labour, and words, stanzas and punctuation are continually altered during the process of composition.

One’s best work is often achieved when a poem is allowed to form itself, free from the restraints of a plan or other authorial intention; this way, the truest essence of a piece is not displaced by an inflexible commitment to a certain style, structure, metre etc, but exists as a

piece entirely detached from the biases of the poet.

On Beauty - A Sonnet

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Let him roam, that smiling fool,About the great green gardens tall,Between the trees, if it does pleaseThat happy, smiling fool.

A land of ripe red fruits he roams, Where robins sing from tree-top homes,And to that sound, he does abound,That happy, smiling fool.

Toward the setting sun he plays,To kiss the lips of pretty days,And wants not more than birds to soar,That happy, smiling fool.

There on the path where peacocks are,That runs beside the river far,He carries still his open will,That happy, smiling fool.

With blue and white the river teems, And spreads to be the gardens’ seams,Where he might sit and drink a bit, That happy, smiling fool.

Yes, while the land still nourishes,And petalled flower flourishes,He will delight in treasures bright, That happy, smiling fool.

Let him roam, that smiling fool,About the great green gardens tall,Between the trees, for it does pleaseThat happy, smiling fool.

The Smiling Fool - Lyrical Ballad

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MattLaing

Camberwell College of Arts, UALBA (Hons) Painting

Self Portrait, Latex on wooden

frame

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The work that I create is the outcome of a personal experience at a specific moment in time. The art acts as a document of self expression, rather than self expression itself. I am not restricted by forms and enjoy engaging with whichever medium represents the idea best. I have an extremely personal relationship with my work, until the point that I feel it is finished. I then believe it doesn’t belong to me, but to whoever experiences it.‘ ‘

Latex Cutlery, Latex

An expression,Oil on canvas

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NicoleAntat


My approach to this project was to glorify the human body in all its shapely perfection. I don’t see my work as a stereotype of the perfect body shape, but wish for people to see my work and, no matter what shape or size they are, feel a little more connected with what they have and appreciate it - in

other words, how I felt whilst producing this work.‘ ‘

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In all its glory; untitled I, Photograph

ʻR-ZʼRebecca FrenchRobert WalkerRoisin BrownRosie HymanRuby Lowe

Sam HawkinsSky Nash

Sophie-Aimée JensenStacie Swift

Tristan Pigott


RebeccaFrench

Middlesex UniversityBA (Hons) Illustration

I think I take quite a calculated approach to my work. I tend to draw the piece out in pencil a few times and play around with positioning before I actually decided on what I want the piece to look like. I’m most inspired by people and the way they interact with cities, whether they are in magazines or books, someone I have photographed out on the street in London, or remember from my travels. My work helps me to remember those moments in a way that

feels more intimate than a photograph.

‘ ‘Boy in a Blue Coat, Mixed media

Autumn, Mixed mediaThe Purloined Letter, Ink on paper

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Edgeware Road, Mixed media

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RobertWalker

University of WestminsterBA (Hons) Photojournalism

Photography has always been the answer to remind me of how I like the world to look. It’s a tool to document the wonder of the natural world, to capture those moments that can make the result so unique. Photography lets me show the audience glimpses of who I am through what I see through a lens. It is a language that everyone can understand and

interpret. Let it live on.‘ ‘

Blue Room, Photograph

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Charl!e, Photograph

Oh Charlie!!!, Photograph

‘R-Z’

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RoisinBrown

Manchester School of Art, MMUBA (Hons) Photography

Expectations 1, Redscale film 6X4 C-Print

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l like to experiment with the techniques of analogue photography both with the camera and in the darkroom, which allows me to

create grainy, colourful photos such as my recent work Expectations, in which l revisited places l went as a child to see whether they were as I expected or different, and l recorded this using 35mm Redscale

film.

‘ ‘‘R-Z’

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Expectations 2, Redscale film 6X4 C-Print

RosieHyman

Nottingham Trent UniversityBA (Hons) Fine Art

We can only remember as well as our memory serves us, we cannot exactly recount any of our past events. I am trying to depict the ‘idea’ of memory; I want to create a ‘sense of vagueness’, recalling and recreating my ‘half memories’. Within my paintings I try to find a

balance between figuration and abstraction, with the imagery teetering somewhere between representation and ambiguity.

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Untitled II 2010, Oil and Emulsion on Canvas

SamHawkins

University of WestminsterBA (Hons) Illustration

Series title: Every Dog has his day, Ink and paper

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‘R-Z’

I draw, paint, take photographs and ride my bike. I find inspiration everywhere, but mainly on planet earth. I drew these dogs for my

girlfriend when I couldn’t sleep.‘ ‘

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SkyNash

London College of Communication, UAL

BA (Hons) Book Arts and Design

I love working in a hands-on manner,

constructing and making as I go. A lot of my

inspiration comes from children’s TV and books,

my favourite artist being Yoshitomo Nara. I love making books by hand, and knowing that I have made something unique and that no one

else could replicate in the same manner.

‘‘

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Cuteness, a concertina book.This book started of as an experiment with foil blocking, which then was applied to a book cover.

Squid, a concertina book.This book was made using cut outs which explored the shape of a squid.

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Sophie-AiméeJensen

University of BrightonTextiles MDes With Business Studies (Knitwear Specialism)

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Urban London, Knitted sample ‘Chevrons’

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I think of myself as an innovative knitwear designer using old techniques but applying new ways of using them, by adding colour, texture and a subtlety that make it new and fresh. For this particular collection I drew inspiration from London, searching for geometrical patterns

within the skyline, the streets, and the graffiti.

By photographing them on expired film I got more vivid colour, which inspired me to use the dark tones, subtly speckling the colour throughout the knit. I like putting things together that wouldn’t usually go together for example in this collection I used metal studs in with fine deli-

cate knits, juxtaposition is something I find really interesting.

‘‘

Urban London, Photoshop Fashion Illustration Urban London, Knitted sample

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StacieSwift

Middlesex UniversityBA (Hons) Illustration

I like to make images that contain humour and elements of fun. I tend to draw a lot of animals as this allows me to impose amusing characteristics that raise a smile and this also gives me the freedom to explore pattern and colour. My inspiration comes from the things that happen around me, from reading lots of books, from other illustrators and also the general oddities

of mundane things. Illustration work completely engulfs me, once I start on an image or series of images I am happy to sit at my desk all day and night until I am happy with the outcome. I

would hope that the fun I have creating my work is evident in the final outcomes.

‘ ‘

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Don’t Forget to Write, Pen/digital

TristanPigott

Camberwell College of Arts, UALBA (Hons) Painting

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Waste of Time, Oil on Canvas

My aim is to explore portraiture and the realism one can achieve without becoming boring and photographic. A lot of my inspiration comes from old masters, painters like Durer or Van Dyck, though my favorite contemporary

artist is Stuart Pearson-Wright.‘ ‘‘R-Z’

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Nude (looking at Francesco Hayez), Oil on Canvas

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Cat, Oil on Canvas

The Cult of Beauty: The Aesthetic Movement 1860-19002nd April – 17th July. V&A, London. Students £7. Standard £12

South Kensington’s V&A Museum is the perfect temporary home for those pieces which are showpieced in the anticipated ‘The Cult of Beauty’. The museum has beauty at its heart and as its object, and this newly opened exhibition, dark and decadent, warm and draped in velvet like the parlour of a Victorian ‘house beautiful’ acts as nothing less than an exquisite embellishment. Its aim, contrary perhaps to the Aesthetic period’s oft-repeated mantra of ‘Art for Art’s sake’, is to provide an accessible sense of context for the range of delightful objects on show. Objects, because though the bright and bold paintings of Leighton, the sensual paintings of Rossetti and Burne’s colour-drenched, vivid paintings undoubtedly dominate, exhibited also are several ‘objets d’art’ which gave rise to the famous satires against the leading figures of the movement; attention is paid, even, to Gilbert and Sullivan’s popular Patience which caricatured

Oscar Wilde and the infamous doyens of the period. An installation of a room in Rossetti’s own home accompanies the Wildean blue and white china and Anglo-Japanese furniture in providing a typical idea of the lifestyle of these famous aesthetes – a lifestyle which can often overshadow the tremendous contributions to the world of art that they should be remembered for. It must please a viewer to see, however, that the works of the period are where they deservedly should be, at the forefront of the experience of this wonderfully composed exhibition. Highlights include, but are absolutely not limited to, Leighton’s The Bath of Psyche, Rossetti’s Veronica Veronese and a collection of paintings which focus on those beautiful women, the ‘stunners’ of the late 19th Century, whose curves guided the brushes of these artists, and whose characters often won their hearts.

René Magritte: The Pleasure Principle

24th June – 16th October. Tate Liverpool. Students £9. Standard £11

Any interest in the Surrealist movement of the 20th Century is fully satisfied by the Tate Liverpool’s Rene Magritte: The Pleasure Principle. This being the first major exhibition of the Belgian’s work in the UK for 10 years, it possesses the danger of being viewed merely as a reintroduction to this modern master. The focus on new, unexplored aspects of Magritte’s life, however, provides a real insight into the heart of the man and the essence of his painting. Constructed roughly on the basis of two themes, Magritte’s commercial work and his painterly work, and the relationship there between, this exhibition promises over 100 artworks, many of which will be new to any UK admirer of the Surrealist’s work.

Tracey Emin: Love Is What You Want

18th May – 29th August. Hayward Gallery, London. Students £9. Standard £12

Art is at its most personal in the hands of Tracey Emin. Drawing inspiration from her own life andexperiences in the creation of her installations, films, textiles, drawings and sculptures, upon the completion of her work she still wishes to retain a strong connection with each individual piece. The artist’s very present sense of self enrages many critics, and they will certainly not be pleased by her live performances and correspondence via an interactive message board at London’s The Hayward. Her success, though, as shines through in this extensive collection, is well merited.

SUMM

ER EVENTS 2011

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Wim Crouwel: A Graphic Odyssey30th March – 3rd July. Design Museum, London.

Students £6. Standard £10

“I don’t believe in timelessness anymore”. Dutch graphic designer Wim Crouwel’s assertion almost perfectly encapsulates the premise of this new exhibition at the Design Museum. His work – striking visuals, prints, and revolutionary typographic designs – has developed spectacularly along different avenues and it is these changes of direction and belief throughout years of Crouwel’s career that this exhibition succeeds in conveying to a viewer.

Watch Me Move: The Animation Show15th June – 11th September. Barbican Art Gallery, London. Students £7 online. Standard £10 online

Its role in the media over the past 150 years, across Eastern and Western cultures and indeed all age groups has been immense, and yet the history of animation and the course of its development, from coarse drawings to highly defined images has largely remained unknown to the vast majority. Exploring animation in its many forms, and considering its influence and prevalence it today’s society, this exhibition allows for an exciting and insightful glance towards what, for most, has always played an enormous part in modern culture.

The Assembly Room – Art & Design market

20th/21st May. The Unitarian Church, New Road, Brighton.

FIND OUT MORE: www.theassemblyroombrighton.co.uk

Brighton continues to blossom as the area outside London most intimately connected with the Fashion and Art worlds. Yet, for many, what is considered the ‘best of Brighton’ is as yet unexplored. This unknown cove is the bi-annual ‘The Assembly Room’, a fringe (of course) festival of the work of contemporary artists, as well as affordable gifts and other unusual items. Do get involved, it is well worth a visit.

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