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My studio practice always concentrate on the visual appeal of repetitive motions as well as the unpredictable nature of the process of the production. Re-locating, translating, and repurposing pieces to create new works. Randomness/accident during the process of production is also a key aspect in my practice, and the methodology I adopt could be considered as opportunities to generate random incidents.

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My practice this year has primarily involved oil and acrylic painting, while also having explored screen-printing and collaging for experimental means. The pieces I have created centralise young people in atmospheric settings indicative of student nightlife. I am particularly interested in conveying ambiguous dynamics between characters that may spark familiarity or intrigue in the observer.

My portraits are not sourced from traditional sittings, but from collages of transient happenings that would have been forgotten by the subjects. I am drawn to visually exposing a sensation of freedom in scenes reflective of fleeting impermanence. Young adulthood is full of these as a time of possibilities and newfound independence. A tension is observable in my work between the assumed invisibility of these moments and my, as well as the viewers, surveillance of them as an artwork.

The dramatic application of colour and light in my compositions illustrate this imbalance between privacy and exhibition, as well as creating an emotive ambience suggestive of an unknown, mysterious narrative.

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The Wave series is an experimental work of art in water waves. I want to express the de-urbanized loneliness that I feel in the solitary life after the outbreak of Covid-19 in the form of making water waves. In Wave I, I used coloured paper strips instead of the blue and white that usually represent water. Instead, I used a rainbow-like gradient of colours for the raindrops and a combination of wire and washi tape for the clouds.
In Wave II, I used techniques from Knot Art to secure the silk rope. In the colour selection of the work, I used blue and white to make Wave II more visually reminiscent of water ripples than Wave I. I cut each silk rope to the length of the ripple of my recorded rain sound. The way of hanging in mid-air can better reflect the uncertainty of the wave.
While making Wave III, I reused the silk rope but secured it with a wooden loop. More rope ensures that the silk ropes do not get tangled in each other while hanging, while the elastic cords that fix the inner and outer rings allow the Wave III to shake to show the softness of the water.
While making Wave Inside, I realized that a more intuitive visual representation was needed to show the loneliness in life. It is not good when a work of art requires too many words to explain its meaning. Therefore, I made the stop-motion animation work Wave Inside, combining the process of water droplets in the sink with sound. Let people feel the loneliness brought about by the neglected little things in life when watching the works.

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Wave
Iron wire, Paper tape, Paper
30cm x 150cm
2022

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Wave II
Silk Rope, Cotton Rope
124cm x 340cm
2022

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I try to capture different states throughout my practice, such as parasomnia, dreams, and confrontations with reality. A psychology paper entitled “The Interpretation of Dreams and Dreaming… Branching into Parallel Worlds and Hyper Dimensional Realms…” informed my practice; it was found in their study that when an individual dreams, a new branch of reality opens and exists in a parallel hyper dimension. Every iteration of a piece of work throughout this year was a representation of a parallel reality; the process is therefore holistic, allowing me to create a visual world where everything is related and derived from each other in some way.

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My practice reflects upon traditional portraiture, primarily taking inspiration from the ‘pioneers of painting’ within the renaissance; Velasquez, Vermeer etc. These form the foundations for my practice, taking their compositions and quoting them from my experience as a woman. The originals are often exclusionary or reductive when depicting women –  reducing them to an idealised ‘muse’. This ‘muse’ has been embodied as the idealized nude woman such as the reclining, submissive nude.

Through my more traditional portraits I seek to infiltrate the men represented (from the traditional reference) and insert women into these narratives ‘woman spreading’ (as opposed to man spreading) so to speak. Within my work, women’s narratives are recognized with the same space and dignity as previously were exclusively granted to men.

I further seek to investigate the access we as an audience expect to the female body. My expanded work disects and distracts from this expected gaze and utilises photographic manipulation and abstraction to create these diversions. The use of the digital-eye, perspective, gender reversal and  distorted imagery confronts our expectations and previously ‘freely granted’ viewing of the female form- particularly as a muse.

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Using a range of media, such as acrylic paints, spray paint as well as performance, to reinvent the relationship between sound and visual art. Using ecstatic and wild colouration simulating the movement and flow that sound has, for the viewer to experience in a different stimulating sense. My artwork is to replicate the symptoms of synesthesia, a neurological condition where one’s brains process stimulation in a way that allows them to experience several senses at once. Influenced by artists such as Melissa Mccracken who has Chromesthesia, a category of synesthesia where most sounds can cause them to see shapes of different colours. Using bold and vibrant abstract colours Melissa transcribes her experience into lively oil paintings. All of which are based of particular songs and genres of music that are ‘nicer looking than others.’                                                                                                           As well as with my own experience with Chromesthesia my aim is to transcend sound and songs into a devotional visual experience.

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My practise is solely based within the process of screen printing. Upon adopting the technique of CYMK printing to produce full colour prints, I have been able to expand and adapt the idea of the conventional still life. I find a particular interest in the significance of everyday objects and their connection to the intangible relationships people develop towards their habitual environments. I have begun investigating the notion of trompe l’oeil from the two-dimensional quality of screen printing; seeking to trick the eye of the viewer through portraying and emphasising a distinct flatness within the objecthood of mundane clutter. I have always experienced a strange angst during the presentation of my artwork, because of its perception by those other than myself. I yearn for overlooking spectators in an attempt to bypass the exertion of the artist under the spotlight. Creating work that is small and commonplace to the eye of the viewer successfully diminishes my discontent of artistic perception.

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My work is sculpture based with a focus on ceramics. The sculptures produced are handmade, each drawing from different sentiments and personal experience. Through creating vessels, historically used throughout time to carry things important and meaningful to us, I have used vases to depict moments, facts, or honour loved ones.

Experimenting with clay and making rice paintings have allowed me to focus on processes of labour. Through using materials with malleable properties such as clay and rice, both with a capacity to change consistency, I have produced fragile ephemeral sculptures such as my rice painting, created by hand sticking individual grains of rice, or creating misshapen vases inspired by characteristics of my grandma. I explore the ways in which vessels can hold emotional value, based on connections with the people around me in a playful way.

Displays of my work have revolved around how to house important things, drawing from the concept of a cabinet of curiosities to display a personal collection, and now evolving into building a sacred space which is meaningful to the individual and also welcome to others as a means of exhibiting my collection of sculptures.

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Working with fabric in combination with acrylics is a method I have been keen on in the past months, in order to create a sequence of pop-art pieces called 'DONUT WORRY'. In these series of works, I am mainly using the famous Marilyn Monroe as my muse, not just because she is familiarised with the pop art movement, but also of how fascinating and mesmerising I find her playful aura that instantly led me in manipulating some of her pictures in order to create something colorful and bright. However, I didn’t want the progress of my work to look quite fictional, so I have included B&W colors with some realistic techniques. This method creates an odd distinction between the happy vibrant colors of pop art and the almost unpleasing colors of black and white. Additionally, the artist Matt Canningham has been a great inspiration towards my work including his elements of division, colors and manipulation of pictures.

The purpose of the works is to mainly raise awareness of a healthy, balanced, physical and mental lifestyle. The illustration of donuts found in the series, is my chosen subject matter alongside of Marylin, that highlights my intention to reflect on feelings of lust and desire, the different mental battles and hard work upon resisting and not giving up in one’s journey. Good health and lifestyle is a topic I am deeply invested in my life and with this artistic approach I hope people will question their daily health habits and how they’ve been impacting their lives unconsciously. Why not start by being more conscious with our choices in food and lifestyle since these choices will automatically have a positive impact in our mindset and growth?

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This time I created three oil paintings, they are the same series which name is “MALICE”.

Three works in this series are inspired by 《The crowd, A study of popular mind》 by Gustave lebon, which states that whether an individual or a group is in a state of being suggested, their thinking function will be completely lost.

The black sheep effect is also what I want to express in my painting. When we faced with great desire and social pressure, we usually transfer the unjustifiable problems to the relatively weak people, thus forming the "black sheep effect" in which a group of good people bully a good person. This is the malice that all identities and ostracism in the society have to face.

The malice in human nature is the manifestation of the conflict and contradiction in the social system. Just as contemporary poetry and literature is a contradiction between the romanticism of words and the ugliness of reality. The main idea of my paintings is :" In the crow's world, the swan is the original sin." It constantly implies that the beautiful cloak covers the malice of human nature, and exposes the real and secret life style and the essential problems reflected in the spiritual level under the beautiful skin of human beings.

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The core theme that I am exploring in my practice is diaspora in relation to my Kurdish heritage. My work could be read as attempts to rediscover a forgotten culture and explore my own understanding around displaced identities. In my practice, I work with video, interviews, and archival footage as well as sound elements. The archival videos tend to return the focus to my Kurdish roots, using sound to depict cultural folk music and traditional dances of celebration or expression of anguish and separation from one's own country. Throughout my work, there are ongoing conversations about Kurdish politics with family and friends where I interview and have conversations with them. Alongside to this, I display the process of using clay to construct and form a shape. These shapes may be adapted to traditional Kurdish pot structures, or they may be pots that have not yet adapted to that shape but have become uniquely shaped. A major part of my inspiration comes from conversations I have had with my Baba (dad) over the dinner table about our Kurdish heritage and the limitations placed on Kurds and their culture. The aim of my process is to symbolise my own journey to explore and develop my understanding on my Kurdish heritage.

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“I think this man is suffering from memories.”

―Freud, Sigmund

In Marcel Proust’s “In search of Lost Time”, he depicts a scenario where the scent of a madeleine and tea with his grandma evoked ‘involuntary memory’. I quickly realised whilst reading that I had always painted the motif of European decorative tiles in my artwork due to the nostalgia they gave me of my upbringings in Spain. These tiles became my madeleine and tea. Experimenting with screen-printing within my paintings allows for machine like production and a form of repetition that parallels the layers of memory. I explore how memory develops to mean something different as we age. Reusing old materials from childhood (such as photography or even childhood drawings and short written stories) created a form of perceiving how wonderful lack of concern and innocence of youth is. Blissful ignorance that doesn’t last, as one ages their relationship with memory will change and experiences in the wider world cause increased fear.

The contents of my paintings are always figurative and often self-portraiture, creating a direct link to the self. I wanted to combine methods of artwork that felt childlike with traditional painting through their materiality, so the plastic mosaic tiles from Reading’s local arts and crafts shops felt perfect as an addition to a traditional portrait. The use of negative space within self-portraiture to explore the notions of false memory, or constructed memory.

www.morganabanana.com

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Inspired by contemporary artists from the 21st century. Some of her favourite topics to explore are horror, from vampires to witches Amy has created work covering a lot of the genre.  Working mainly from film, with her now began to explore the nature of witchcraft and the stereotype surrounding the craft. Her current project focuses on three witches, these three parts of a larger coven of 13 – of which you can see in the background of some of the pieces – and there travels through witch hood. Often focusing on the gaze of the female. Consisting of 8 to 10 pieces. Overall, the project is called “Coven of thee” with each piece having its own individual title. “Coven of Thee” is a multi-level story following these three witches on their travels, you see the high priestess welcoming you to the coven, casting rituals, the green witch, and others.

With her current work, and future works Amy looks to create complex layered stories. With her artwork remaining as a contender on how she shares her thoughts and ideas without having an unrealistic view of it changing the ideas of the witch in the public’s eye. Often looking down more contemporary roots on how to create work without overworking the piece, and ironic twist from its more historical ideas, provoking the new unexplored territories of the occult.

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My studio practice investigates institutionalised dynamics of power, control and authority - in the public urban and suburban context as well as in the museum and gallery. I am especially interested in the imbrications of systems of control and authority that end up occupying and governing these spaces.

In uncovering, cloning, and reconfiguring these by-product artefacts of technocratic power systems, I can demonstrate these power imbalances and struggles. Through specific media - installation, sculpture and sound - anti-homeless architecture - I re-make, assemble and construct surrogate urban architectural elements and furnishings. An urban vocabulary that is used through my work if you will.

I aim to create a fissure in the normative functionality of these objects and demonstrate the absurdity, gratuitousness and, often harmful nature that  systems of power all frequently possess.

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As a creator who admires the art of comics with the painting styles of Da Vinci and Turner…I am rooted in the history of Art & Graphics…tapered by the mastery of technique. My preferences to communicate complex stories or ideas by using dynamic action sequences with detailed character designs that have anatomical accuracy, can clearly be seen in my work ‘Arrowhead’. Essentially, this work was a protest against the mistreatment of women in Formula One, and sees a range of photographic techniques/styles, including intricate line-work that plays with bold colours to dramatically force compositions into highly-charged emotional depictions of what it may feel like for a woman, journeying through the world of ‘F1’. Particular, importance was paid to the details of how anatomy as well as perspective, could be utilised to celebrate the beauty and complexity of the human female form to demonstrate their characteristics of possessing vast degrees of internal as well as external strengths. However, my works entitled ‘Silver Bullit’ ‘and ‘Attack the Corner’ represented a different use of methods and degrees of applying paint, as In this case, I attempted to create an evocative landscape, portraying the luminous power and majesty of nature itself.

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Jasmin Geary publication artist statement 

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Jasmin Geary publication artist statement 

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Primarily with art I take focus within human condition and how society dictates this, finding more joy from strikingly melancholy portraits than picturesque landscapes. Art to me is simply a form of expression, a language understandable regardless of upbringing and geographical location; a way to safely wear my heart on my sleeve.

Spontaneity rules my practice, allowing  emotions and themes to grow so all consuming that I have no choice but to express myself, bringing the concept from idea to fruition within days. However, Carou-sell Yourself was quite the opposite, having this idea written down for almost 5 years now I felt it important to give myself the time to both grow and refine my skills to create this piece.

Carou-sell Yourself exists as an oxymoron, partnering nostalgia with vulgarity to represent the uneasiness of the male gaze. The women captured through golden silhouette pole dance within the carousel structure; representing the simultaneous pressure for woman to be virile sex symbols for their nuclear husbands partnered with the shame they are expected to feel for doing so. There is a fine line between a celebration of life and a freak show; to which the audience is left delicately tight roping.

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Biomorphism, chaos theory and automatism are constant themes amongst my practice. Artists such as Henry Moore, Mark Manders and Rebecca Warren, alongside architectural interior designer Simone Bodmer-Turner greatly inspire my medium and scale. Working with sculpture broke the cycle of two-dimensional paintings, whereby safety in the medium constricted me from reaching out. Learning from this, materiality became a particular interest of mine, as I currently attempt to depict materials as something they are not (i.e., foam or wax as unfired clay). On the same note, one may infer that such sculptures are heavy, but in actuality they are lightweight, fragile and less malleable than believed upon initial inspection-unlike typical characteristics of clay. The characters that I mould are depictions of my subconscious; a delve into my imagination and are not necessarily built, instead carved out. Removing material rather than building it up complimented my inability to influence the final visualisation. Surrealistic techniques such as exquisite corpse, Rorschach ink blots and collage envelope the development of such fantastical, limbless figures that are neither animal nor human. I hope that viewers feel an affinity with the characters, meanwhile questioning their presence, purpose and humanity amongst such beings.

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Throughout my practice I have experimented with different styles of tattooing, this has helped me to develop my own personal style of black and grey pointillism. I achieved this through my drawings using a multitude of mediums including acrylic, coloured pencil, and fine liner pens. Exploring these new ideas whether this be realism, pointillism, figures, and animals has benefited me to understand the difference between a tattoo and a regular drawing. Within these drawings I used not only a white background but used brown and different pigments to experiment with potential different skin tones. I have created many designs which I intend to tattoo in the future building up a portfolio of new experimentations. I have then applied these designs to body parts including the leg and in my final piece a male and female torso, this will allow me to learn about placement, presenting how they’d look on the skin instead of just a one-dimensional drawing. Within my final studio 4 piece I have explored on a much larger scale in a more detailed manner to incorporate new perspectives. This has allowed the development of my understand of the world of tattoos and becoming a tattoo artist.

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My practice can be seen as the amalgamation of hard-edge geometric abstraction and gestural abstract expressionism.

With an affinity to the phrase Abstract Engineering, which I believe can be used to most accurately describe my practice, I aim to investigate abstraction and its multiple uses as a means of problem solving, more specifcally how there can be a balance of refinement and functionality alongside the obscured and gesturally expressive.

I find inspiration, narritavely speaking, from external factors, such as contemporary discourse, as well as internal thoughts, feelings and experiences and use my practice and the works generated within it not only as a means of problem solving but additionally as a means of personal processing.

Having evolved my practice into three dimensional works concerning structural installation and small scale sculpture, I am interested in the inter-relational process within my practice; my current line of enquiry is concerned with the interference of surface, apparatus and materiality. Using materials which primarily have an association to crafts that fall outside of a generic artistic context, these works highlight not only my deliberate and intentional interference with the given work, but additionally highlight the associated narrative of the present work in ways such as, removal, trace, impression and masking in all forms.

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My screen-printing works with scale, testing the boundaries of how big a screen-print can be. Using digital software to manipulate my image, I can expand the size of the screen-print to wider dimensions by dividing up the image into smaller stencils that are printed side by side. This allows me to explore how big screen-prints could be, working towards life-size scales which helps to immerses the viewer in the moment.

As my practice developed, the theme of my prints shifted to darker social situations illuminated by coloured strobe lights. This way, I could not only recreate the moment through photorealistic CMYK stencils, as I had done earlier in my printing practice, but also encapsulate the moment through the screen-printing inks that I use. Using UV inks that glow under blacklight, I can recreate the intensity of the strobe lights in the prints in the way they appeared in person.

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The practice in my artwork is heavily visceral and more contemporary based compared to past artworks of mine. Visceral artwork refers to the innate, or perhaps a gut feeling, its emotional capability being felt deep within and is natural and earthy, “viscera” is often used in replacement and correlates to the internal organs of the body.
My artwork is natural in appeal, using red warm ochres and earthy tones helps  to create a more naturalist and internalised appeal, the rich reds and browns almost bloody on the canvas sheets. The addition of embroidery onto my pieces such as my 'disintegration series'; in which I created a canvas hanging tapestry and embroidered hundreds of small delicate glass beads around the brunt smouldered edges, is earthy and delicate. I had decided to sew and stitch the surrounding area with dark red and mahogany thread, giving the effect of the cloth being eaten away either by disease or illness, its dark bloody appendages reminding me of a blood covered bandage.
I'm finding the balance between the macabre and beautiful to be fascinating, and I plan on expanding more on this topic even when I have finished my degree, there's beauty even within the sadness.

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Working from an archive of photos depicting different social situations captured by myself or close friends, photos are used as reference to be transferred into a new medium. Combining the materiality of oil paint with a figurative narrative that explores the nature of early adulthood, the paintings characterise the ephemeral moments of transition between social situations. These short-lived junctures between friends are doused in memory, often finding themselves situated in somewhat dreamlike surroundings blurring the line of fiction with the real world.

The material and unpredictable qualities held within oil paint hold great value to myself, absorbed by the differing ways the medium can be applied and perform against the canvas has long been a fascination of mine. The mental chatter of the outside world is put to one side when faced with the surface, a meditative state where the possibilities of paint become the entire focus.

Thinly applied washes of oil sweep across the canvas to conceive a looming mist of memory that bleeds and branches off into the surface. The result constructed is an environment rich in colour somewhere between pipe dream and actuality. The paintings are formed from both emotion and feeling as much as they are a past truth.  I find that through the act of painting, memories can begin to blur and distort, becoming sometimes altered from the original where a new situation is born through the pursuit of paint.

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Rachel Bicknell, Website Mini Statement 

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Rachel Bicknell, Website Mini Statement 

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My practice focuses on the innate textures and elements of natural resources.
Through Ceramic Sculpture and Printing, my work explores the idea of layering and involving the process of tiling.

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With my practice, I want to dissect and interrogate the idea of gendered work, specifically through the use of objects and processes which traditionally seem to hold these norms within them. The ridiculousness of these dated concepts forms the basis of my creative ideation, and I wish to subvert these gendered norms, to consider how gender functions in the contemporary creative industry.

And so, my work heavily involves crochet and other textiles (processes which have often been deemed a ‘feminine’ craft) to create sculptural objects of a figurative nature, with a semi-satirical spin to them.

By using my techniques of choice, crochet and knitting mainly, the softness of the fabric often contradicts the functionality of objects as well, i.e., making large, heavy, and almost brutal items softer and benign. I have also further explored this relationship in the opposite direction, by weaving harder, more heavy-duty materials into blankets and tapestries.

The investigation of these contradictions in physical properties and gender connotations result in my amusing, tactile, weird, and exaggerated artworks. I hope you enjoy.

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STOP THE CRIME RATE!
acrylic paint/film photography (kodak colorplus)
36 x 24 inches
23.4 x 16.5 inches
2022

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rank 2

Heartbreak kid
acrylic paint/audio
150 cm x 100 cm
2023

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Bringing politics to the table - conversations with my Baba
Film still
5min 57sec
2023

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i wish i knew more things about kurdistan

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Bringing politics to the table - conversations with my Baba
Film still
5min 57sec
2023

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No politics on the table
Clay work
16cm x 13cm
2022

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Bringing politics to the table - conversations with my Baba
Film still
5min 57sec
2023

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Nolite te Bastardes Carborundorum
mixed media- Performance, sculpture, textiles

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2
Where Did They Touch You
Installation
165 x 100cm
2023

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1
Stitched into Me
Photograph
29.7 cm x 42 cm
2022

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‘ here lies Dolly ‘
plaster, modroc
2m x 75cm
2023

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‘ you’ve given my voice away on a silver platter ‘
mixed media- clay and epoxy on canvas
30cm x 20cm
2022

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‘ carou-sell yourself ‘
mixed media- foam board, wood
2.5m x 1.5m
2022

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Open Scillian, 2021
Oil on Canvas
120x100cm

Instagram: @cats.vis

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Human Bathroom, 2022
Photographic series

Instagram: @cats.vis

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Test Tube Study, 2023
Series of 16 photographs

Instagram: @cats.vis

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Study of Piss, 2023
Film Still
1920 x1080 p, FHD

Instagram: @cats.vis

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Maybe the Next One, Darling
Oil on canvas
240x190cm
2022

@brianrose_art

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Fabric and Femininity
The Girl’s Bathroom
Oil painting on fabric
2022
Instagram: @jesspenfoldart

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Megan Hill. Video, performance and installation.

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Megan Hill. Video, performance and installation.

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PomPom's performance
Live performance
2022

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Megan Hill. Video, performance and installation. 

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Megan Hill. Video, performance and installation. 

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Inside I look like you
Video still
24min29sec
2023

@twentieth_century_fox

# data[].attributes.headline
Megan Hill. Video, performance and installation. 

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Megan Hill. Video, performance and installation. 

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'And yet we, mortal beings, in vain long to outrun it'

Mixed media installation
2023
@twentieth_century_fox

# data[].attributes.headline
Megan Hill. Video, performance and installation. 

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Megan Hill. Video, performance and installation. 

# data[].attributes.body
'How to be outside oneself / pompom's realisation'

Mixed media installation with performance
Video, 5min02sec
2022

@twentieth_century_fox

# data[].attributes.headline
Megan Hill. Video, Performance and installation 

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Megan Hill. Video, Performance and installation 

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THE ORB
Video
6min19sec
2022

@twentieth_century_fox

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(Rank 4)
"Home video"
Video piece
2022

@Livia.davies

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Livia Davies - Painter, acrylic and oil paint

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Livia Davies - Painter, acrylic and oil paint

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(Rank 3)
Close up of "Read between the lines"

@Livia.davies

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Livia Davies - Painter, in acrylic and oil paint

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Livia Davies - Painter, in acrylic and oil paint

# data[].attributes.body
(Rank 1)
"Read between the lines"
Acrylic paint, spray paint, oil pastels and oil pastels
120x120cm
2022

@Livia.davies

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Livia Davies - Painter, in acrylic and oil paint

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Livia Davies - Painter, in acrylic and oil paint

# data[].attributes.body
(Rank 2)
"It's kinda loud in here"
Acrylic paint, spray paint, oil pastels and mixed media
70x40cm
2021

@Livia.davies

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4 (ranks 3 and 4 placed together if possible)

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Untitled
Screen print on paper
42 x 59.4cm
2022

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Untitled
screen print on paper
42 x 59.4cm
2022

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The Highlights
Oil and Acrylic on Canvas
46 x 56cm
2023

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'the highlights' triptych installation 2

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Everybody's watching her
Oil and acrylic on canvas
2 x 2.5m
2022
@ellencarapaints

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Rank 5

House of Cards
Street-Killer Ink on Canvas.
1 m x 0.7 m
2022

@vic_art_s

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Rank 5
(Can use these as stickers, cut them out and use them wherever)
Printing Ink on Paper
10cm x 2cm
2023

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Rank 4
Untitled
Grout and Acrylic Paint on Wood
62cm x 50cm
2023

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Rank 3
Untitled
60cm x 52cm
Printing Ink on Paper and Projection
2023

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Rank 2
Untitled
Crank Clay and Glaze
25cm x 20cm
2023

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Rank 1
Life in the Pond
Printing Ink on Paper
42cm x 30cm
2023

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“Mifepristone 200mg” Clay sculpture

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“Memoirs : I” 40cmx60cm oil and acrylic on canvas.

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“It’s Rachel!”

Oil and screen print on canvas
90cm by 60 cm

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Untitled, CMYK Screen print on paper, 30 x 42cm, 2023

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Rank 2 ( Lydia can add these as stickers, cut them out and separate them if you want)

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Untitled, CMYK screen print on paper, 15x18cm, 2023

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Sorry you’re not invited, CMYK screen print on paper, 55 x55cm, 2023

# data[].attributes.body
Rank 3

Street-Killer Ink on Canvas.
1.5 m x 1.1 m
2022

@vic_art_s

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Rank 2

PWR SUB GRD - Circuit Breaker
Wood & Plaster. (154 Anti-Homeless Pyramids, Surrogate Electrical Substation)
2.4 m x 2.4 m x 1.2 m
2023

@vic_art_s

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Rank 4

PWR TRP
Plaster, Wood & Spotlight. (28 Anti-Homeless Pyramids)
0.7 m x 1.34 m
2023

@vic_art_s

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Rank 1

Hostile Furniture -01
Plaster & Wood. ( 32 Anti-Homeless Pyramids)
1.4 m x 0.7 m
2023

@vic_art_s

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A pear and a cuppa at the breakfast table 

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A pear and a cuppa at the breakfast table 

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Simone Hocherman
Screen print and Lino print on paper
33.5cmx33.5cm
2023
3rd image out of 3

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Sunsets in Lagos
Oil on canvas
76.2cm x 50.8cm

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Sunsets & a forever friend
Oil on canvas
80cm x 60cm

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Erè
Oil on canvas
60cm x 86cm

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Natasha Rekha Davis, Stop-motion Animation and Installation 

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Natasha Rekha Davis, Stop-motion Animation and Installation 

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Fae strike
Stop-motion Animation (screenshot)
2mins
2023

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"Find someone who is going to look after you".
Acrylic paint over photographic print.
2023.

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Natasha Rekha Davis, Stop-motion Animation and Installation.

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Natasha Rekha Davis, Stop-motion Animation and Installation.

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Fae strike
Interactive installation and stop-motion animation
2mins
2023

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Natasha Rekha Davis, Stop frame Animation and Installation.

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Natasha Rekha Davis, Stop frame Animation and Installation.

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Gamification
Stop motion animation (screenshot)
1 min 30 secs
2022

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‘Incarnadine’
Acrylic on canvas
60 x 80cm
2022

Instagram: @_constanzart_

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‘Incarnadine’
Acrylic on canvas
60 x 80cm

Instagram: @_constanzart_

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garlic!
ceramic, wooden stand
4x3cm
2023

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rice painting 2
black rice on MDF
20x8cm
2023

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Collection
Mixed media
90x40x180cm
2023

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acupuncture slipper vase
ceramic
30x45cm
2022

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My Grandma is more flexible than me, nin jiom pei pa koa, collapsed vase
glazed ceramics
14x17cm, 13x18cm, 13x14cm
2022

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5

'Innovation Warrior'
Creative photography
A3
2023

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4

'Q-Force'
Creative photography
A3
2022

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3

'Arrow Head'
Enamels & Acrylics on board
182cm x 183cm
2023