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Áedán Price

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In this work I explore what its like to use speech as a mask, what is the truth we keep, what are the lies we tell. For individuals with ASD (Asperger's) A common trait is to form scripts /practice conversations before social interactions. A painful mask worn to camouflage Asperger diagnosis.

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Mask project

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A metaphorical concept that derived from  the contrast between different emotions and feelings that can be experienced through love.

I used different tape and coloured paper as well as cardboard to develop this piece.

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Aren't we all wearing a mask?

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I'm looking at the mask that is social media. The 'Life's Great!' selfies that we post to project a certain image to the world.
In my work a box is covered in masking tape ,obscuring the surfaces to blank, - except where there is a selfie. In this way I conceal what I don't want you to see and ensure you only see the image of myself I wish you to see.

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I have been inspired by collections of East Asian theatre masks. I found it interesting that many of the masks did not have a named maker. Upon viewing the V&As collection (as well as the British Museums collection), I was reminded of events such as the looting of the Old Summer Palace. The theme of "stealing" became apparent in both the collections and the masks (the masks steal a likeness to a person or an emotion). I decided to develop these ideas further by looking at how my own facial features had been "stolen" from my parents and labelling these features with masking tape (I also looked at labels I had been given and layered them over digital drawings to mask areas of my face). I developed these ideas further by painting an image of me wearing a mask onto a soya sauce bottle (that I had taken from my parents). I then masked my face again with this bottle.

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Watercolour
31cm x 23cm

The Background image was my hometown - Hong Kong. It was a British Colony before 1997. For me myself I can see a lot of characteristics of the UK around this city. This is the reason why I painted a magnifier and through the magnifier I can see British.

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Micro scape on a metal railing mimicking the landscape of campus buildings/skylines.In particular I was struck by the small blue figure- the same colour as the sky- as if suggesting we, as humans are part of the natural and urban landscapes. Perhaps the figure reveals the vast expansiveness of human nature and the landscape of the human mind as if it were a sky with clouds (thoughts) passing.

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This uses an urban landscape to convey some of my feelings and experience about the first weeks of the course. The jagged disjointed chaotic building arrangement reflects my sense of confusion, crowded head space and chaos. The high towers and low internal spaces reflect the highs and lows of my emotional range.

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Rust on metal. This micro landscape stood out as something that is constantly changing and is impacted by natural processes- again linking natural and urban scapes.

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The graduation from the eye upwards

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This collaborative monument piece explores uninhabited settings and humankind. It shows an unidentified person standing on Mars, planting a statue of Earth into the ground. This represents the idea of the human race taking over new places that we haven't yet been, representing its power.

We drew a picture of the image and edited it onto a photo of Mars, to show what it would look like.

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The desire to bring the natural world into urban spaces- in an obvious way- in order to create a space of calm, was the foundational idea of this collaborative project. The piece focuses on the element of earth- as both something which grounds us (hence the use of plants and natural growth) but also the Planet Earth (signified by the large spherical shape).

As a group we focused on different aspects of the design process- brainstorming,  writing a complementory text,visual sketches and paintings and model making.

The model below is made using recycled glass and weeds. In reality the monument would be placed in an urban location- somewhere outdoors yet surrounded by buildings. The scale would be larger.

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We have explored the concept of humans proclaiming space. Here is a human claiming Mars. We wanted to represent the idea of entitlement. For example, technology is advancing so quickly that it won’t be long until be reached mars or other plants. Thus, our monument is stating the power behind humans.

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In our group, we decided to all create a monument which we would like to see in place of Edward Colston's. I wanted this monument to be something everyone can benefit from and that made people smile as they walked past, something cheery. This is why I used bright colours to create a sun shape and the idea was that there would be small quotes written all over to keep people positive!!

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We wanted to explore the idea of humans dominating other planets. To show this dominance we used a large drawing of the earth to show the idea of humans taking over planets and putting earth like concepts on them. We chose to place our monument on Mars as it is a place currently uninhabited by human life.

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Using layers of paper and cardboard, I was inspired by Damien Blottiere to create a portrait revealing multiple layers.
My idea behind this is to reflect that we don’t always fully understand ourselves and we don’t know who we are fully therefore i left pieces of the face blank to show that we are always growing and learning.

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Using oils on cardboard, I have created a collage of a self portrait. I wanted the piece to represent my emotions at this moment in time: disconnected.

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This piece is essentially an embodiment of my own struggle regarding my sexuality. A mask of my own face dripping in rainbow. The title "A secrete" is a play really on the fact that no one was surprised when I came out as gay. I felt that since its such a large part of my personality this would be one of the truest self portrait.

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Plastic grass, field glasses and photograph cuttings.

30cm x 14cm

I’ve always been a keen observer – of the natural world, of the people around me, of any environment I pass through, of my own thoughts….

This habit is key to me as an artist.

It provides the source of my art.

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Here I have used mod rock and wire. To represent each year of my life. For example, each wire represents how the year went. So 2020, was a very stressful year for me thus that wire would be a coiled up wire.

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A red rose with beads strung through and around it, with a maple leaf drifting under.

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The piece is inspired by my home back in the Philippines. Philippines is known as a 3rd world country with a large number of the population living off of their land. This hand which was done using plaster bandages wrapped around my hand. This hand was made to look tarnished and rough, just like how a farmers hand would look after working in their field for years. I chose this because it represents a part of my culture which represents a part of myself. A self portrait.

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What has made us who we are in both past and present . How can objects portray personality through jewerly , belongings ect ... Here is the past me and the present me .  This is what makes our personality our memories from the past and present even through the good and bad.

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This my first short film project. It started with looking at the variety of native nocturnal animals and thinking about them roaming around the campus unseen. I narrowed it down to a mole as they pop up from their subterranean habitat in all sorts of places. The ideas developed with experimenting with differing techniques in production and then further in post production. Enjoy!

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When we sleep we do not walk. When we sleep our walk is still. But our emotions walk for us, in our dreams, in the space between waking and falling asleep.

There are energies of emotions left from the day in the studios we worked in. Do they come alive at night? We can feel their resonance the next day perhaps.
In these series I examine a world in which how we feel fully governs our walk/our movement to uncontrolled extents.

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Quite , empty , monotonous rooms that feel familiar and nastalgic yet unknown . Corners and long corridors can often leave us feeling unease . What’s waiting for you behind that corner ...

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segments from a poem

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segments from a poem

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Using triangles and lines I was able to create my own alphabet. I wanted my alphabets to look a bit different from what the common ones look like. I made them in a way you would have to look deeply from a different perspective to truly understand each alphabet. I made sure there was at least one triangle in each alphabet. Medium used: pencil on paper.

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I wondered what it would be like to take the letters of the alphabet and assign a colour to them so we woud be communicating through blocks of colour. I used coloured pencils and paired them with letters that I thought suited them or worked well together (I havent put which letters to what colours below to sort of demonstrate what it would look like).

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Communication Through Shadow And Movement 

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Communication Through Shadow And Movement 

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I made this video and the idea was communicating through shadow because I thought of how people could figuratively communicate without actual alphabets.

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For this topic I decided to look at our alphabet and the way it can be hidden in subtle ways all around us, to do this I went around the art studio and campus photographing hidden letters in everyday objects. Unfortunately I ran out of time and so some letters are missing!

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I have made a set of Heiroglphics and numbers, many of which use iconograpgy reminisicent f animals that make a sound similar to the sound of the letter

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I looked at using the phonetic alphabet as my piece concept. Taking the phonetic alphabet I created a series of symbols for each letter which could be used as a way of visual communication. I also took inspiration for this from hieroglyphics.

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Working the clay – moment to moment - attention purely on the piece that is right now in my fingers – being there with it – in its’ form. The ‘isness’ of it. The connection I have with it – a relationship? At times a happy fun relationship – bits do funny things! – create shapes I haven’t expected – ping into new weird shapes that please me! At times it feels like a battle… the clay dense and clinging and un-co-operative…   That’s because I’m trying to impose on it something it doesn’t – can’t-  yield to….. It’s more fun when it’s my friend. …. When it flows – when we flow.

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Working the clay – moment to moment - attention purely on the piece that is right now in my fingers – being there with it – in its’ form. The ‘isness’ of it. The connection I have with it – a relationship? At times a happy fun relationship – bits do funny things! – create shapes I haven’t expected – ping into new weird shapes that please me! At times it feels like a battle… the clay dense and clinging and un-co-operative…   That’s because I’m trying to impose on it something it doesn’t – can’t-  yield to….. It’s more fun when it’s my friend. …. When it flows – when we flow.

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The first four photos are of the blindfolded session and the next four are from the next session. When listening to the music, I really let my fingers playing through the clay and this manifested itself into small tunnels in the clay. After the first session I noticed that there were some petal like shapes and I wanted to play off of that during the second session. This led to me breaking small pieces of the clay and moulding small petals around each othr.

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I really enjoyed the first part of this project, it felt very therapeutic allowing the pencil to take it's own route, having little control over the outcome made it exciting as I also didn't have that pressure/expectation of how it was meant to look once completed. I worked back into it with coloured pencil and observed the shapes that the blind drawing had given me noticing that in some parts it gave me small illustrations, I decided to highlight these as I found it interesting how the crossed over lines had unintentially created them.

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I did not have clay so I made use of a pencil on a paper. I blindfolded myself and had no vision of what I was drawing. I followed the music and how it made me feel at that time. My work may look like scribbles but it deeply represents my emotions at the time, which I could not and can not still explain. If you look closely you’ll spot an ‘E’ which is the first letter of my name and was intentionally drawn.

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Very theraputic

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There are some meaningless lines, I draw them according to the rhythm of the music. The paper balls were also randomly kneaded, and I used the excess colour on the paint board on the paper. I can't see the paper, so I will be very curious before removing the blindfold.  I will feel very satisfied when I take off my blindfold to satisfy my curiosity. I really enjoy this way.

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I just went mostly with the idea of making a thing, something that is meaningless and has no purpose even aesthetically so I collected some branches I saw when I went on a walk outside and decided to bind them together to make a kind of 'sculpture' or a thing in a way. I liked doing this because even though I have tried different materials before, I've never taken random things I found outside that seem very impractical to work with and used it for art

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This piece is made by leftover research information from previous projects. I used to know these information very well, but now they are not important anymore because the project was finished. I can only recall part of them.

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“Senseless enough, but in it’s own way, perfectly finished.”

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“Senseless enough, but in it’s own way, perfectly finished.”

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Kafka’s work inspired me to look at objects in a different light. Instead of being tools or things that have concrete meaning; objects can be fluid. Ultimately an object’s value or use depends on the person that is perceiving it.

My interpretation of Odradek, therefore, revolves around the idea that objects that are deemed no longer useful are usually discarded. I felt that in Kafka’s work, he played with the idea that they could actually be given new life and significance by the individual that interprets them.

I collected various objects and bits that are on their own no longer useful; bits of string, dead batteries, wire from an old sketchbook spine, broken jewelry, etc and I decided to give them new life. But what could make these objects important again?

Are they once again useful if they represent a tool? A hammer, perhaps?
Are they significant if they are anthropomorphised? A pareidolia?

Or could I embrace the nonsensical nature of the objects together, creating something entirely new?

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My interpretation of Odradek from 'The Cares of a Family Man' by Franz Kafka. I started by drawing preliminary sketches of how I visualise Odradedk from the descriptive language used in the story, then with regard to the idea of abandonment, took materials I found out of my recycling bin. Using thicker cardboard, including a toothpaste box and using decoupage to cover it with thinner paper, including receipts and newspaper.

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I took inspiration from the phrases saying "flat star-shaped spool for thread" and "they are distorted". I wanted to use something relatively similiar to thread in the sense of textiles, so I used lots of scrap fabric material. I think of an Odradek being quite vague and random, which is where this piece sort of came from, and i wanted to portray this. I also took inspiration from Judith Scott's work.

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Odradek to me is like a remnant of our lived lives. Odradek's essence is ambiguous: one of fragility/innocence and yet elicits a feeling of fear or disgust in me as a reader. Much like hair - once a symbol of beauty or some sort of success, growth - when abjected (cast off) from being part of our lives it is no longer of use or significance. It is seen as disgusting and useless.

Odradek makes me question if things that we cast aside, ever really, stop being part of us/our life.

This digital collage/sketch uses fine lines which mimic fallen pieces of hair to draw our attention to the old parts of us(objects around us) we no longer consider significant. The piece holds ambiguity between being strands of hair or a sort of moving/dancing figure- much like Odradek.

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In  The Cares of a Family Man by Franz Kafka, the main speaker comments on how the 'Odradek' is in a sense more resistant to the passage of time, and will outlive gthe speaker, and perhaps also the speakers family. To represnt this, I have created a looping gif of a model i have made (an interpretation of what is described in the passage), and made an animation of thread being wrapped around it,and taken away again, playing with the idea of a continuous usage, irrelevant to the passage of time round it (shown by the plain background, as if removed).